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"content": "\u003cp>The Ventura County Sheriff’s Office confirms it has recovered the body of Naya Rivera from a California lake. Divers have been searching the lake since shortly after Naya Rivera disappeared on July 8 while boating with her 4-year-old son. \u003c/p>\n\u003cp>Best known for her starring role on the Fox show \u003cem>Glee\u003c/em>, the actor is presumed to have drowned on Wednesday while boating on Lake Piru in the Los Padres National Forest, not far from Los Angeles. Rivera was 33 years old.\u003c/p>\n\u003cp>Sheriff William “Bill” Ayub says Rivera was not wearing a life vest, though one was found on the boat. \u003c/p>\n\u003cp>For six seasons, from 2009 to 2015, Rivera played the role of an unexpectedly popular television antihero. \u003cem>Glee\u003c/em>’s Santana Lopez was a cynical, initially closeted high school cheerleader with charisma to burn and an ax to grind. “The only straight I am is straight-up bitch,” Santana announced in Season 2. But the character’s bullying eventually yielded to team spirit and a tender romance with another cheerleader, the sweet natured but dim Brittany.\u003c/p>\n\u003cp>\u003cem>Glee\u003c/em> fans pushed for the storyline, which became one of the most popular arcs on the show. “Who knows if the writers would have taken that relationship so seriously if there hadn’t been such an outpouring for them to get together,” Rivera \u003ca href=\"https://www.latimes.com/entertainment/tv/la-xpm-2011-may-24-la-et-naya-rivera-20110524-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>The Los Angeles Times\u003c/em> in 2011\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A child actor and model, Rivera was barely more than a toddler when she played Redd Foxx’s granddaughter on the CBS comedy \u003cem>The Royal Family\u003c/em>. More television work followed, with appearances on such programs as \u003cem>The Fresh Prince of Bel-Air\u003c/em>, \u003cem>Baywatch\u003c/em>, \u003cem>The Bernie Mac Show\u003c/em> and \u003cem>CSI: Miami\u003c/em>.\u003c/p>\n\u003cp>Her breakthrough character, \u003ci>Glee\u003c/i>’s Santana, was originally conceived as a minor role, but Rivera brought swagger and unexpected sensitivity to the spiky character. Although \u003ca href=\"https://www.npr.org/2013/01/02/168215115/whos-gay-on-tv-dads-journalists-investigators-and-footmen\" target=\"_blank\" rel=\"noopener noreferrer\">some critics at the time complained\u003c/a> about seeing yet another traditionally beautiful queer femme of color, the character has also been celebrated as an outspoken, charismatic Latinx who pushes back against stereotyping.\u003c/p>\n\u003cp>“Honestly, I never thought I’d actually be playing a teen lesbian,” Rivera said in \u003cem>The Los Angeles Times\u003c/em> interview. “I didn’t think it was going to go this far. But I’m glad that it did, because there have been a lot of fans who have expressed that they’ve been going through similar situations in their lives. I’ve heard from girls that are in high school—they’re 16, 17—and they’re like, ‘I came out to my mom,’ or ‘I came out to my friends, and thank you for helping me do that.’”\u003c/p>\n\u003cp>Rivera was not gay in real life; she was engaged to the rapper Big Sean, with whom she recorded a single in 2013. She later married the actor Ryan Dorsey, whom she divorced in 2018. After \u003cem>Glee\u003c/em> ended in 2015, Rivera appeared on the Lifetime show \u003cem>Devious Maids\u003c/em> and the YouTube Red series \u003cem>Step Up: High Water\u003c/em>.\u003c/p>\n\u003cp>Rivera rented a boat on the afternoon of Wednesday, July 8, with her 4-year-old son. The boy was found safely in the boat and told authorities that his mother had gone swimming. She is the third regular cast member of \u003cem>Glee \u003c/em>to have died tragically and unexpectedly in the past five years. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Ventura County Sheriff’s Office confirms it has recovered the body of Naya Rivera from a California lake. Divers have been searching the lake since shortly after Naya Rivera disappeared on July 8 while boating with her 4-year-old son. \u003c/p>\n\u003cp>Best known for her starring role on the Fox show \u003cem>Glee\u003c/em>, the actor is presumed to have drowned on Wednesday while boating on Lake Piru in the Los Padres National Forest, not far from Los Angeles. Rivera was 33 years old.\u003c/p>\n\u003cp>Sheriff William “Bill” Ayub says Rivera was not wearing a life vest, though one was found on the boat. \u003c/p>\n\u003cp>For six seasons, from 2009 to 2015, Rivera played the role of an unexpectedly popular television antihero. \u003cem>Glee\u003c/em>’s Santana Lopez was a cynical, initially closeted high school cheerleader with charisma to burn and an ax to grind. “The only straight I am is straight-up bitch,” Santana announced in Season 2. But the character’s bullying eventually yielded to team spirit and a tender romance with another cheerleader, the sweet natured but dim Brittany.\u003c/p>\n\u003cp>\u003cem>Glee\u003c/em> fans pushed for the storyline, which became one of the most popular arcs on the show. “Who knows if the writers would have taken that relationship so seriously if there hadn’t been such an outpouring for them to get together,” Rivera \u003ca href=\"https://www.latimes.com/entertainment/tv/la-xpm-2011-may-24-la-et-naya-rivera-20110524-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>The Los Angeles Times\u003c/em> in 2011\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A child actor and model, Rivera was barely more than a toddler when she played Redd Foxx’s granddaughter on the CBS comedy \u003cem>The Royal Family\u003c/em>. More television work followed, with appearances on such programs as \u003cem>The Fresh Prince of Bel-Air\u003c/em>, \u003cem>Baywatch\u003c/em>, \u003cem>The Bernie Mac Show\u003c/em> and \u003cem>CSI: Miami\u003c/em>.\u003c/p>\n\u003cp>Her breakthrough character, \u003ci>Glee\u003c/i>’s Santana, was originally conceived as a minor role, but Rivera brought swagger and unexpected sensitivity to the spiky character. Although \u003ca href=\"https://www.npr.org/2013/01/02/168215115/whos-gay-on-tv-dads-journalists-investigators-and-footmen\" target=\"_blank\" rel=\"noopener noreferrer\">some critics at the time complained\u003c/a> about seeing yet another traditionally beautiful queer femme of color, the character has also been celebrated as an outspoken, charismatic Latinx who pushes back against stereotyping.\u003c/p>\n\u003cp>“Honestly, I never thought I’d actually be playing a teen lesbian,” Rivera said in \u003cem>The Los Angeles Times\u003c/em> interview. “I didn’t think it was going to go this far. But I’m glad that it did, because there have been a lot of fans who have expressed that they’ve been going through similar situations in their lives. I’ve heard from girls that are in high school—they’re 16, 17—and they’re like, ‘I came out to my mom,’ or ‘I came out to my friends, and thank you for helping me do that.’”\u003c/p>\n\u003cp>Rivera was not gay in real life; she was engaged to the rapper Big Sean, with whom she recorded a single in 2013. She later married the actor Ryan Dorsey, whom she divorced in 2018. After \u003cem>Glee\u003c/em> ended in 2015, Rivera appeared on the Lifetime show \u003cem>Devious Maids\u003c/em> and the YouTube Red series \u003cem>Step Up: High Water\u003c/em>.\u003c/p>\n\u003cp>Rivera rented a boat on the afternoon of Wednesday, July 8, with her 4-year-old son. The boy was found safely in the boat and told authorities that his mother had gone swimming. She is the third regular cast member of \u003cem>Glee \u003c/em>to have died tragically and unexpectedly in the past five years. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actress Kelly Preston has died after a two-year battle with breast cancer, according to an \u003ca href=\"https://www.instagram.com/p/CCkgCG5ptxE/?utm_source=ig_embed\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a> from her husband, John Travolta. She was 57 years old.\u003c/p>\n\u003cp>“She fought a courageous fight with the love and support of so many,” the actor wrote. “My family and I will forever be grateful to her doctors and nurses at MD Anderson Cancer Center, all the medical centers that have helped, as well as her many friends and loved ones who have been by her side.”\u003c/p>\n\u003cp>A family representative told \u003cem>\u003ca href=\"https://people.com/movies/kelly-preston-dies-of-breast-cancer-at-57/\" target=\"_blank\" rel=\"noopener noreferrer\">People\u003c/a>\u003c/em> that Preston had been undergoing treatment for some time but chose to keep her illness private. “She was a bright, beautiful and loving soul who cared deeply about others and who brought life to everything she touched. Her family asks for your understanding of their need for privacy at this time,” the rep told the magazine.\u003c/p>\n\u003cp>Preston was born Oct. 13, 1962, in Honolulu. She acted in various TV shows but rose to fame after her role in the 1988 Arnold Schwarzenegger and Danny DeVito comedy, \u003cem>Twins\u003c/em>. She met her future husband shortly afterward on the set of the coming-of-age comedy \u003cem>The Experts\u003c/em>. The two got married in 1991.\u003c/p>\n\u003cp>She went on to act in movies such as \u003cem>Jerry Maguire\u003c/em> and\u003cem> Jack Frost\u003c/em>, and made an appearance in the Travolta sci-fi movie \u003cem>Battlefield Earth\u003c/em>. Preston also acted alongside her husband in the 2018 biopic \u003cem>Gotti\u003c/em>, playing the late mobster’s wife, Victoria.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Travolta and Preston had three children together. Their son Jett died at age 16 in January 2009 after a seizure.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kelly+Preston%2C+Actress+And+Wife+Of+John+Travolta%2C+Dead+At+57&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actress Kelly Preston has died after a two-year battle with breast cancer, according to an \u003ca href=\"https://www.instagram.com/p/CCkgCG5ptxE/?utm_source=ig_embed\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a> from her husband, John Travolta. She was 57 years old.\u003c/p>\n\u003cp>“She fought a courageous fight with the love and support of so many,” the actor wrote. “My family and I will forever be grateful to her doctors and nurses at MD Anderson Cancer Center, all the medical centers that have helped, as well as her many friends and loved ones who have been by her side.”\u003c/p>\n\u003cp>A family representative told \u003cem>\u003ca href=\"https://people.com/movies/kelly-preston-dies-of-breast-cancer-at-57/\" target=\"_blank\" rel=\"noopener noreferrer\">People\u003c/a>\u003c/em> that Preston had been undergoing treatment for some time but chose to keep her illness private. “She was a bright, beautiful and loving soul who cared deeply about others and who brought life to everything she touched. Her family asks for your understanding of their need for privacy at this time,” the rep told the magazine.\u003c/p>\n\u003cp>Preston was born Oct. 13, 1962, in Honolulu. She acted in various TV shows but rose to fame after her role in the 1988 Arnold Schwarzenegger and Danny DeVito comedy, \u003cem>Twins\u003c/em>. She met her future husband shortly afterward on the set of the coming-of-age comedy \u003cem>The Experts\u003c/em>. The two got married in 1991.\u003c/p>\n\u003cp>She went on to act in movies such as \u003cem>Jerry Maguire\u003c/em> and\u003cem> Jack Frost\u003c/em>, and made an appearance in the Travolta sci-fi movie \u003cem>Battlefield Earth\u003c/em>. Preston also acted alongside her husband in the 2018 biopic \u003cem>Gotti\u003c/em>, playing the late mobster’s wife, Victoria.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Film Composer Ennio Morricone, Genius of Film Scores, Dies at 91",
"headTitle": "Film Composer Ennio Morricone, Genius of Film Scores, Dies at 91 | KQED",
"content": "\u003cp>Ennio Morricone, the Oscar-winning Italian composer who created the coyote-howl theme for the iconic Spaghetti Western \u003cem>The Good, the Bad and the Ugly\u003c/em> and often haunting soundtracks for such classic Hollywood gangster movies as \u003cem>The Untouchables\u003c/em> and the epic \u003cem>Once Upon A Time In America\u003c/em>, died Monday. He was 91.\u003c/p>\n\u003cp>Morricone’s longtime lawyer, Giorgio Assumma, said “the Maestro,” as he was known, died in a Rome hospital of complications following surgery after a recent fall in which he broke a leg bone.\u003c/p>\n\u003cp>Outside the hospital, Assumma read a farewell message from Morricone.\u003c/p>\n\u003cp>“I am Ennio Morricone, and I am dead,” began the message. In the greeting, the composer went on to explain that the only reason he was saying goodbye this way and had requested a private funeral was: “I don’t want to bother anyone.”\u003c/p>\n\u003cp>During a career that spanned decades and earned him an Oscar for lifetime achievement in 2007, Morricone collaborated with some of Hollywood’s and Italy’s top directors, including on \u003cem>The Untouchables\u003c/em> by Brian de Palma, \u003cem>The Hateful Eight\u003c/em> by Quentin Tarantino , \u003cem>The Battle of Algiers\u003c/em> by Gillo Pontecorvo and \u003cem>Nuovo Cinema Paradiso\u003c/em>, a nostalgic ode to the importance of movie houses in Italian small town life, by Giuseppe Tornatore.\u003c/p>\n\u003cp>The Tarantino film would win him the Oscar for best original score in 2016. In accepting that award, Morricone told the audience at the ceremony: “There is no great music without a great film that inspires it.”\u003c/p>\n\u003cp>In total, he produced more than 400 original scores for feature films.\u003c/p>\n\u003cfigure id=\"attachment_13882932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Ennio.Clint_-800x606.jpg\" alt=\"Ennio Morricone, left, accepts an honorary Oscar for his contributions to the art of film music as director Clint Eastwood looks on during the 79th Academy Awards in Los Angeles, in 2007.\" width=\"800\" height=\"606\" class=\"size-medium wp-image-13882932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ennio Morricone, left, accepts an honorary Oscar for his contributions to the art of film music as director Clint Eastwood looks on during the 79th Academy Awards in Los Angeles, in 2007. \u003ccite>(AP Photo/Mark J. Terrill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His iconic so-called Spaghetti Western movies saw him work closely with the late Italian film director Sergio Leone, a former classmate.\u003c/p>\n\u003cp>Morricone practically reinvented music for Western genre movies through his partnership with Leone. Their partnership included the \u003cem>Dollars\u003c/em> trilogy starring Clint Eastwood as a quick-shooting, lonesome gunman: \u003cem>A Fistful of Dollars\u003c/em> in 1964, \u003cem>For a Few Dollars More\u003c/em> in 1965 and \u003cem>The Good, the Bad and the Ugly\u003c/em> a year later.\u003c/p>\n\u003cp>Morricone was celebrated for crafting just a few notes — like those played on a harmonica in Leone’s 1984 movie \u003cem>Once Upon A Time in America\u003c/em> — that would instantly become a film’s highly memorable motif.\u003c/p>\n\u003cp>That movie is a saga about Jewish gangsters in New York that explores themes of friendship, lost love and the passing of time, starring Robert De Niro and James Wood. It is considered by some to be Leone’s masterpiece, thanks in part to Morricone’s evocative score, including a lush section played on string instruments.\u003c/p>\n\u003cp>“Inspiration does not exist,” Morricone said in a 2004 interview with The Associated Press. “What exists is an idea, a minimal idea that the composer develops at the desk, and that small idea becomes something important.”\u003c/p>\n\u003cp>In a later interview, with Italian state TV, Morricone cited “study, discipline and curiosity” as the keys to his creative genius. “Writing music, like all creative arts, comes from a long path” along life’s experiences, he said.\u003c/p>\n\u003cp>“A great phenomenon of world music” was how Italian film director Dario Argento described Morricone, who scored five of his films.\u003c/p>\n\u003cfigure id=\"attachment_13882933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Ennio.Conduct-800x560.jpg\" alt=\"Ennio Morricone conducts with the Budapest Symphonic Orchestra - Gyor in 2009.\" width=\"800\" height=\"560\" class=\"size-medium wp-image-13882933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ennio Morricone conducts with the Budapest Symphonic Orchestra – Gyor in 2009. \u003ccite>(AP Photo/Boris Grdanoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his late 80s, Morricone provided the score for \u003cem>The Hateful Eight\u003c/em>, Tarantino’s 2015 70-mm epic and the first time in decades that he had composed new music for a Western. It was also the first time Tarantino had used an original score.\u003c/p>\n\u003cp>In accepting Morricone’s Golden Globe for the music in his place, Tarantino called him his favorite composer.\u003c/p>\n\u003cp>“When I say ‘favorite composer,’ I don’t mean movie composer. … I’m talking about Mozart, I’m talking about Beethoven, I’m talking about Schubert,” Tarantino said.\u003c/p>\n\u003cp>Italy’s head of state, President Sergio Mattarella, in a condolence message to the composer’s family, wrote: “Both a refined and popular musician, he left a deep footprint on the musical history of the second half of the 1900s.”\u003c/p>\n\u003cp>Morricone’s sound tracks, Mattarella said, “contributed greatly to spreading and reinforcing the prestige of Italy in the world.”\u003c/p>\n\u003cp>Morricone’s style was sparse, made of memorable tunes and unusual instruments and arrangements, and often stirred deep emotions.\u003c/p>\n\u003cp>His music punctuated the long silences typical of the Spaghetti Westerns, with the characters locked in close-ups, staring at each other and waiting for their next moves. The coyote howl, harmonicas and eerie whistling of \u003cem>The Good, the Bad and the Ugly\u003c/em> became Morricone’s trademark and one of the most easily recognizable soundtracks in cinema.\u003c/p>\n\u003cp>Minutes before handing Morricone the Oscar for lifetime achievement in 2007, Eastwood recalled hearing for the first time the score of \u003cem>A Fistful of Dollars\u003c/em> and thinking: “What actor wouldn’t want to ride into town with that kind of music playing behind him?”\u003c/p>\n\u003cp>It was a night to remember for Morricone, who had been nominated for Oscars five times (\u003cem>The Hateful Eight\u003c/em> was his sixth) but until then had never won.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Rome on Nov. 10, 1928, Morricone was the oldest of the five children. His father was a trumpet player.\u003c/p>\n\u003cp>After studying trumpet and composition at the Conservatory of the Accademia Nazionale di Santa Cecilia in the Italian capital, he started working as a trumpeter and then as an arranger for record companies.\u003c/p>\n\u003cp>“I started working on very easy kinds of music pieces for the radio, for television and then for the theater, and then little by little I started to compose the film scores,” he told the AP in 2016.\u003c/p>\n\u003cp>In 1961 he wrote his first score for a movie, a bittersweet comedy set in the final moments of Fascism called \u003cem>Il Federale\u003c/em> (known in English as \u003cem>The Fascist\u003c/em>). That decade also saw Morricone cooperate with Pontecorvo, first on \u003cem>The Battle of Algiers\u003c/em>, the black-and-white classic depicting the Algerian uprising against the French; and later on \u003cem>Queimada\u003c/em>, a tale of colonialism starring Marlon Brando.\u003c/p>\n\u003cp>Morricone received his first Oscar nomination for original score with \u003cem>Days Of Heaven\u003c/em>, a 1978 movie by U.S. director Terence Malick. Beside \u003cem>The Hateful Eight\u003c/em>, the others were for \u003cem>The Mission\u003c/em> (1986), \u003cem>The Untouchables\u003c/em> (1987), \u003cem>Bugsy\u003c/em> (1991) and \u003cem>Malena\u003c/em> (2000).\u003c/p>\n\u003cp>Shortly before his lifetime Oscar, Morricone joked that he would have been happy without the coveted statuette, saying “I would have remained in the company of illustrious non-winners.”\u003c/p>\n\u003cp>But he also made no secret that he thought \u003cem>The Mission\u003c/em>, with its memorably sweet theme of “Gabriel’s Oboe,” deserved the Academy Award. That year, he lost to Herbie Hancock’s \u003cem>Round Midnight\u003c/em>.\u003c/p>\n\u003cp>Morricone had recently composed music to be performed in Genoa’s Carlo Felice Theater later this summer in honor of the 43 victims of that city’s 2018 Morandi Bridge collapse, Genoa Mayor Marco Bucci said. The music will be performed on the eve of a ceremony inaugurating the bridge’s replacement, the mayor said.\u003c/p>\n\u003cp>Highly versatile, Morricone also orchestrated Italian pop tunes that include enduring classics, like one version of an eternal summer hit, “Sapore di Sale” (“Taste of Salt”), which was written by famed Italian troubadour Gino Paoli.\u003c/p>\n\u003cp>Another renowned maestro, Riccardo Muti, cited his “friendship and admiration″ for Morricone. Muti on Monday recalled that when he directed the composer’s piece “Voci dal Silenzio” (“Voices from the Silence”) the work elicited “true emotion” from the audience, both in Chicago, where Muti directs the symphony orchestra, as well as during a performance in Ravenna, Italy.\u003c/p>\n\u003cp>Muti called Morricone an “extraordinary” composer both for films and in classical music.\u003c/p>\n\u003cp>Asked by Italian state TV a few years ago if there was one director he would have liked to have worked with but didn’t, Morricone said Stanley Kubrick had asked him to work on \u003cem>A Clockwork Orange\u003c/em>. But that collaboration didn’t happen because of a commitment to Leone, Morricone recalled.\u003c/p>\n\u003cp>Morricone is survived by his wife Maria Travia, whom he cited when accepting his 2016 Oscar. Married in 1956, the couple had four children, Marco, Alessandra, Andrea and Giovanni.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003cem>Biographical material for this report was contributed by former AP correspondent Alessandra Rizzo.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ennio Morricone, the Oscar-winning Italian composer who created the coyote-howl theme for the iconic Spaghetti Western \u003cem>The Good, the Bad and the Ugly\u003c/em> and often haunting soundtracks for such classic Hollywood gangster movies as \u003cem>The Untouchables\u003c/em> and the epic \u003cem>Once Upon A Time In America\u003c/em>, died Monday. He was 91.\u003c/p>\n\u003cp>Morricone’s longtime lawyer, Giorgio Assumma, said “the Maestro,” as he was known, died in a Rome hospital of complications following surgery after a recent fall in which he broke a leg bone.\u003c/p>\n\u003cp>Outside the hospital, Assumma read a farewell message from Morricone.\u003c/p>\n\u003cp>“I am Ennio Morricone, and I am dead,” began the message. In the greeting, the composer went on to explain that the only reason he was saying goodbye this way and had requested a private funeral was: “I don’t want to bother anyone.”\u003c/p>\n\u003cp>During a career that spanned decades and earned him an Oscar for lifetime achievement in 2007, Morricone collaborated with some of Hollywood’s and Italy’s top directors, including on \u003cem>The Untouchables\u003c/em> by Brian de Palma, \u003cem>The Hateful Eight\u003c/em> by Quentin Tarantino , \u003cem>The Battle of Algiers\u003c/em> by Gillo Pontecorvo and \u003cem>Nuovo Cinema Paradiso\u003c/em>, a nostalgic ode to the importance of movie houses in Italian small town life, by Giuseppe Tornatore.\u003c/p>\n\u003cp>The Tarantino film would win him the Oscar for best original score in 2016. In accepting that award, Morricone told the audience at the ceremony: “There is no great music without a great film that inspires it.”\u003c/p>\n\u003cp>In total, he produced more than 400 original scores for feature films.\u003c/p>\n\u003cfigure id=\"attachment_13882932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Ennio.Clint_-800x606.jpg\" alt=\"Ennio Morricone, left, accepts an honorary Oscar for his contributions to the art of film music as director Clint Eastwood looks on during the 79th Academy Awards in Los Angeles, in 2007.\" width=\"800\" height=\"606\" class=\"size-medium wp-image-13882932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ennio Morricone, left, accepts an honorary Oscar for his contributions to the art of film music as director Clint Eastwood looks on during the 79th Academy Awards in Los Angeles, in 2007. \u003ccite>(AP Photo/Mark J. Terrill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His iconic so-called Spaghetti Western movies saw him work closely with the late Italian film director Sergio Leone, a former classmate.\u003c/p>\n\u003cp>Morricone practically reinvented music for Western genre movies through his partnership with Leone. Their partnership included the \u003cem>Dollars\u003c/em> trilogy starring Clint Eastwood as a quick-shooting, lonesome gunman: \u003cem>A Fistful of Dollars\u003c/em> in 1964, \u003cem>For a Few Dollars More\u003c/em> in 1965 and \u003cem>The Good, the Bad and the Ugly\u003c/em> a year later.\u003c/p>\n\u003cp>Morricone was celebrated for crafting just a few notes — like those played on a harmonica in Leone’s 1984 movie \u003cem>Once Upon A Time in America\u003c/em> — that would instantly become a film’s highly memorable motif.\u003c/p>\n\u003cp>That movie is a saga about Jewish gangsters in New York that explores themes of friendship, lost love and the passing of time, starring Robert De Niro and James Wood. It is considered by some to be Leone’s masterpiece, thanks in part to Morricone’s evocative score, including a lush section played on string instruments.\u003c/p>\n\u003cp>“Inspiration does not exist,” Morricone said in a 2004 interview with The Associated Press. “What exists is an idea, a minimal idea that the composer develops at the desk, and that small idea becomes something important.”\u003c/p>\n\u003cp>In a later interview, with Italian state TV, Morricone cited “study, discipline and curiosity” as the keys to his creative genius. “Writing music, like all creative arts, comes from a long path” along life’s experiences, he said.\u003c/p>\n\u003cp>“A great phenomenon of world music” was how Italian film director Dario Argento described Morricone, who scored five of his films.\u003c/p>\n\u003cfigure id=\"attachment_13882933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Ennio.Conduct-800x560.jpg\" alt=\"Ennio Morricone conducts with the Budapest Symphonic Orchestra - Gyor in 2009.\" width=\"800\" height=\"560\" class=\"size-medium wp-image-13882933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ennio Morricone conducts with the Budapest Symphonic Orchestra – Gyor in 2009. \u003ccite>(AP Photo/Boris Grdanoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his late 80s, Morricone provided the score for \u003cem>The Hateful Eight\u003c/em>, Tarantino’s 2015 70-mm epic and the first time in decades that he had composed new music for a Western. It was also the first time Tarantino had used an original score.\u003c/p>\n\u003cp>In accepting Morricone’s Golden Globe for the music in his place, Tarantino called him his favorite composer.\u003c/p>\n\u003cp>“When I say ‘favorite composer,’ I don’t mean movie composer. … I’m talking about Mozart, I’m talking about Beethoven, I’m talking about Schubert,” Tarantino said.\u003c/p>\n\u003cp>Italy’s head of state, President Sergio Mattarella, in a condolence message to the composer’s family, wrote: “Both a refined and popular musician, he left a deep footprint on the musical history of the second half of the 1900s.”\u003c/p>\n\u003cp>Morricone’s sound tracks, Mattarella said, “contributed greatly to spreading and reinforcing the prestige of Italy in the world.”\u003c/p>\n\u003cp>Morricone’s style was sparse, made of memorable tunes and unusual instruments and arrangements, and often stirred deep emotions.\u003c/p>\n\u003cp>His music punctuated the long silences typical of the Spaghetti Westerns, with the characters locked in close-ups, staring at each other and waiting for their next moves. The coyote howl, harmonicas and eerie whistling of \u003cem>The Good, the Bad and the Ugly\u003c/em> became Morricone’s trademark and one of the most easily recognizable soundtracks in cinema.\u003c/p>\n\u003cp>Minutes before handing Morricone the Oscar for lifetime achievement in 2007, Eastwood recalled hearing for the first time the score of \u003cem>A Fistful of Dollars\u003c/em> and thinking: “What actor wouldn’t want to ride into town with that kind of music playing behind him?”\u003c/p>\n\u003cp>It was a night to remember for Morricone, who had been nominated for Oscars five times (\u003cem>The Hateful Eight\u003c/em> was his sixth) but until then had never won.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Rome on Nov. 10, 1928, Morricone was the oldest of the five children. His father was a trumpet player.\u003c/p>\n\u003cp>After studying trumpet and composition at the Conservatory of the Accademia Nazionale di Santa Cecilia in the Italian capital, he started working as a trumpeter and then as an arranger for record companies.\u003c/p>\n\u003cp>“I started working on very easy kinds of music pieces for the radio, for television and then for the theater, and then little by little I started to compose the film scores,” he told the AP in 2016.\u003c/p>\n\u003cp>In 1961 he wrote his first score for a movie, a bittersweet comedy set in the final moments of Fascism called \u003cem>Il Federale\u003c/em> (known in English as \u003cem>The Fascist\u003c/em>). That decade also saw Morricone cooperate with Pontecorvo, first on \u003cem>The Battle of Algiers\u003c/em>, the black-and-white classic depicting the Algerian uprising against the French; and later on \u003cem>Queimada\u003c/em>, a tale of colonialism starring Marlon Brando.\u003c/p>\n\u003cp>Morricone received his first Oscar nomination for original score with \u003cem>Days Of Heaven\u003c/em>, a 1978 movie by U.S. director Terence Malick. Beside \u003cem>The Hateful Eight\u003c/em>, the others were for \u003cem>The Mission\u003c/em> (1986), \u003cem>The Untouchables\u003c/em> (1987), \u003cem>Bugsy\u003c/em> (1991) and \u003cem>Malena\u003c/em> (2000).\u003c/p>\n\u003cp>Shortly before his lifetime Oscar, Morricone joked that he would have been happy without the coveted statuette, saying “I would have remained in the company of illustrious non-winners.”\u003c/p>\n\u003cp>But he also made no secret that he thought \u003cem>The Mission\u003c/em>, with its memorably sweet theme of “Gabriel’s Oboe,” deserved the Academy Award. That year, he lost to Herbie Hancock’s \u003cem>Round Midnight\u003c/em>.\u003c/p>\n\u003cp>Morricone had recently composed music to be performed in Genoa’s Carlo Felice Theater later this summer in honor of the 43 victims of that city’s 2018 Morandi Bridge collapse, Genoa Mayor Marco Bucci said. The music will be performed on the eve of a ceremony inaugurating the bridge’s replacement, the mayor said.\u003c/p>\n\u003cp>Highly versatile, Morricone also orchestrated Italian pop tunes that include enduring classics, like one version of an eternal summer hit, “Sapore di Sale” (“Taste of Salt”), which was written by famed Italian troubadour Gino Paoli.\u003c/p>\n\u003cp>Another renowned maestro, Riccardo Muti, cited his “friendship and admiration″ for Morricone. Muti on Monday recalled that when he directed the composer’s piece “Voci dal Silenzio” (“Voices from the Silence”) the work elicited “true emotion” from the audience, both in Chicago, where Muti directs the symphony orchestra, as well as during a performance in Ravenna, Italy.\u003c/p>\n\u003cp>Muti called Morricone an “extraordinary” composer both for films and in classical music.\u003c/p>\n\u003cp>Asked by Italian state TV a few years ago if there was one director he would have liked to have worked with but didn’t, Morricone said Stanley Kubrick had asked him to work on \u003cem>A Clockwork Orange\u003c/em>. But that collaboration didn’t happen because of a commitment to Leone, Morricone recalled.\u003c/p>\n\u003cp>Morricone is survived by his wife Maria Travia, whom he cited when accepting his 2016 Oscar. Married in 1956, the couple had four children, Marco, Alessandra, Andrea and Giovanni.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003cem>Biographical material for this report was contributed by former AP correspondent Alessandra Rizzo.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Carl Reiner, Actor, Director, Writer, Producer And Mensch, Dies At 98",
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"content": "\u003cp>Carl Reiner’s career began at the dawn of television comedy in the 1950s and lasted more than six decades. The actor, director, writer and producer died of natural causes Monday night at his home in Beverly Hills.\u003c/p>\n\u003cp>Reiner belonged to a generation of Jewish comics who helped define American comedy in the 20th century. He was born Carleton Reiner in the Bronx in 1922 to parents who had emigrated from Europe. He began as a serious actor, then a stand-up comic.\u003c/p>\n\u003cfigure id=\"attachment_13882727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg\" alt=\"Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show 'Caesar's Hour' in 1955.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13882727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show ‘Caesar’s Hour’ in 1955. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1950, comic actor Sid Caesar hired Reiner for the pioneering live TV sketch comedy program, \u003cem>Your Show of Shows.\u003c/em> Reiner was a writer alongside Woody Allen, Neil Simon and Mel Brooks. He also acted as a supporting player.\u003c/p>\n\u003cp>“Being a second banana to such a massive first banana … wasn’t a comedown at all for me,” said Reiner. “I realized I was working with the best.”\u003c/p>\n\u003cp>Reiner always seemed to work with the best — Caesar, Brooks, Steve Martin, Lily Tomlin, George Clooney, Amy Poehler.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\u003c/p>\n\u003cp>https://youtu.be/XOTKDgrdvdg\u003c/p>\n\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carl Reiner’s career began at the dawn of television comedy in the 1950s and lasted more than six decades. The actor, director, writer and producer died of natural causes Monday night at his home in Beverly Hills.\u003c/p>\n\u003cp>Reiner belonged to a generation of Jewish comics who helped define American comedy in the 20th century. He was born Carleton Reiner in the Bronx in 1922 to parents who had emigrated from Europe. He began as a serious actor, then a stand-up comic.\u003c/p>\n\u003cfigure id=\"attachment_13882727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg\" alt=\"Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show 'Caesar's Hour' in 1955.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13882727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show ‘Caesar’s Hour’ in 1955. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1950, comic actor Sid Caesar hired Reiner for the pioneering live TV sketch comedy program, \u003cem>Your Show of Shows.\u003c/em> Reiner was a writer alongside Woody Allen, Neil Simon and Mel Brooks. He also acted as a supporting player.\u003c/p>\n\u003cp>“Being a second banana to such a massive first banana … wasn’t a comedown at all for me,” said Reiner. “I realized I was working with the best.”\u003c/p>\n\u003cp>Reiner always seemed to work with the best — Caesar, Brooks, Steve Martin, Lily Tomlin, George Clooney, Amy Poehler.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\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/XOTKDgrdvdg'\n title='//www.youtube.com/embed/XOTKDgrdvdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Joel Schumacher, Director of ‘St. Elmo's Fire,’ Dies at 80",
"headTitle": "Joel Schumacher, Director of ‘St. Elmo’s Fire,’ Dies at 80 | KQED",
"content": "\u003cp>Joel Schumacher, the eclectic and brazen filmmaker who dressed New York department store windows before shepherding the Brat Pack to the big screen in \u003cem>St. Elmo’s Fire\u003c/em> and steering the Batman franchise into its most baroque territory in \u003cem>Batman Forever\u003c/em> and \u003cem>Batman & Robin\u003c/em>, has died. He was 80.\u003c/p>\n\u003cp>A representative for Schumacher said the filmmaker died Monday in New York after a yearlong battle with cancer.\u003c/p>\n\u003cp>A native New Yorker, Schumacher was first a sensation in the fashion world after attending Parsons School of Design and decorating Henri Bendel’s windows. His entry to film came first as a costume designer. Schumacher dressed a pair of Woody Allen movies in the 1970s: \u003cem>Interiors\u003c/em> and \u003cem>Sleeper\u003c/em>.\u003c/p>\n\u003cp>As a director, he established himself as a filmmaker of great flare, if not often good reviews, in a string of mainstream films in the ’80s and ’90s. To the frequent frustration of critics but the delight of audiences, Schumacher favored entertainment over tastefulness—including those infamous sensual Batman and Robin suits with visible nipples—and he did so proudly.\u003c/p>\n\u003cp>“A movie that’s in a movie theater that runs at 2, 4, 6, 8 and 10 and there’s no one in the audience when that movie runs—what’s the point?” Schumacher once told Charlie Rose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The success of his first hit, \u003cem>St. Elmo’s Fire\u003c/em>, with Rob Lowe, Demi Moore, Emilio Estevez and Ally Sheedy not only helped make a name for the Brat Pack but made Schumacher in-demand in Hollywood. He followed it up with 1987’s \u003cem>The Lost Boys\u003c/em>, with Jason Patric, Corey Haim, Kiefer Sutherland and Corey Feldman. A vampire horror comedy, it gave a darker, contemporary view of the perpetual adolescence of \u003cem>Peter Pan\u003c/em>.\u003c/p>\n\u003cp>Schumacher then made \u003cem>Flatliners\u003c/em>, about morbidly obsessed medical students, and a pair of John Grisham adaptations in \u003cem>The Client\u003c/em> and \u003cem>A Time to Kill\u003c/em>. \u003cem>Falling Down\u003c/em>, with Michael Douglas as a Los Angeles man whose anger from minute every-day interactions steadily builds in violence, was maybe his most critically acclaimed film, though its depictions of minorities—particularly a Korean grocer—were from the start hotly debated.\u003c/p>\n\u003cp>On the film’s 25th anniversary, April Wolfe of \u003cem>LA Weekly\u003c/em> wrote that it “remains one of Hollywood’s most overt yet morally complex depictions of the modern white-victimization narrative, one both adored and reviled by the extreme right.”\u003c/p>\n\u003cp>The slickness of those productions helped Schumacher inherit the DC universe from Tim Burton. In Schumacher’s hands, Batman received a garish overhaul that resulted in two of the the franchise’s most cartoonish movies in 1995’s \u003cem>Batman Forever\u003c/em> and 1997’s \u003cem>Batman & Robin\u003c/em>. The first was a box-office smash but the second fizzled and remains most often remembered for its infamous suits.\u003c/p>\n\u003cp>“It was like I had murdered a baby,” Schumacher said of the response to \u003cem>Batman & Robin\u003c/em>. Yet it, too, has developed a small cult following for those who prefer the antithesis of Christopher Nolan’s more grim Batman movies.\u003c/p>\n\u003cp>Schumacher was raised in Queens by his mother after his father died when he was four years old. As a youngster, he quickly became enmeshed in the city’s nightlife.\u003c/p>\n\u003cp>“The street was my education,” Schumacher told \u003cem>Vulture\u003c/em> earlier this year. “You could ride your bike over the 59th Street Bridge then. So I rode my bike everywhere. I was in Manhattan all the time and all over Queens. If you’re a kid on a bike, anything can happen, and predators come out of the woodwork, my God. I looked very innocent, but I wasn’t.”\u003c/p>\n\u003cp>Schumacher would often say he was fortunate to have survived the ’60s at all. He made habits of liquid Methadrine, acid and sex. Out long before many in Hollywood, Schumacher counted his lovers in “the double-digit thousands.” He was a warm and gossipy raconteur though Schumacher said he “never kissed and told about anybody who gives me the favor of sharing a bed with me.”\u003c/p>\n\u003cp>“I don’t not like talking about it, I just don’t believe it matters,” Schumacher said of his sexuality in a 2000 interview with the \u003cem>Guardian\u003c/em>. “I’ve lived my life very openly. I started drinking at nine. I started doing drugs in my early teens. I started smoking at 10 and I started sex at 11. So I’m not hiding anything. But I am totally and completely against labels.”\u003c/p>\n\u003cp>After \u003cem>Batman & Robin\u003c/em>, Schumacher turned to lower-budget thrillers: \u003cem>8mm\u003c/em>, with Nicholas Cage; \u003cem>Flawless\u003c/em>, with Robert De Niro; \u003cem>Phone Booth\u003c/em>, with Colin Farrell. Schumacher, behind the beginnings of so many careers, gave Farrell his first led role in 2000’s \u003cem>Tigerland\u003c/em>. In 2004, he took on Andrew Lloyd Weber’s \u003cem>Phantom of the Opera\u003c/em>, a late, gaudy flourish that combined Schumacher with perhaps his Broadway equivalent in the spectacle-making Weber. Most recently, he directed two episodes of Netflix’s \u003cem>House of Cards\u003c/em> in 2013.\u003c/p>\n\u003cp>In his last interview, with \u003cem>New York\u003c/em> magazine, Schumacher reflected on a show at London’s National Gallery of the now highly regarded works of James McNeill Whistler and John Singer Sargent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They did a brilliant thing. Right next to them on the wall, framed right next to the paintings, were all their horrible reviews,” said Schumacher. “Who remembers these reviews?”\u003c/p>\n\n",
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"excerpt": "The crowd-pleasing filmmaker behind 'Falling Down,' 'Batman Forever' and 'Flatliners' has died after a battle with cancer.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joel Schumacher, the eclectic and brazen filmmaker who dressed New York department store windows before shepherding the Brat Pack to the big screen in \u003cem>St. Elmo’s Fire\u003c/em> and steering the Batman franchise into its most baroque territory in \u003cem>Batman Forever\u003c/em> and \u003cem>Batman & Robin\u003c/em>, has died. He was 80.\u003c/p>\n\u003cp>A representative for Schumacher said the filmmaker died Monday in New York after a yearlong battle with cancer.\u003c/p>\n\u003cp>A native New Yorker, Schumacher was first a sensation in the fashion world after attending Parsons School of Design and decorating Henri Bendel’s windows. His entry to film came first as a costume designer. Schumacher dressed a pair of Woody Allen movies in the 1970s: \u003cem>Interiors\u003c/em> and \u003cem>Sleeper\u003c/em>.\u003c/p>\n\u003cp>As a director, he established himself as a filmmaker of great flare, if not often good reviews, in a string of mainstream films in the ’80s and ’90s. To the frequent frustration of critics but the delight of audiences, Schumacher favored entertainment over tastefulness—including those infamous sensual Batman and Robin suits with visible nipples—and he did so proudly.\u003c/p>\n\u003cp>“A movie that’s in a movie theater that runs at 2, 4, 6, 8 and 10 and there’s no one in the audience when that movie runs—what’s the point?” Schumacher once told Charlie Rose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The success of his first hit, \u003cem>St. Elmo’s Fire\u003c/em>, with Rob Lowe, Demi Moore, Emilio Estevez and Ally Sheedy not only helped make a name for the Brat Pack but made Schumacher in-demand in Hollywood. He followed it up with 1987’s \u003cem>The Lost Boys\u003c/em>, with Jason Patric, Corey Haim, Kiefer Sutherland and Corey Feldman. A vampire horror comedy, it gave a darker, contemporary view of the perpetual adolescence of \u003cem>Peter Pan\u003c/em>.\u003c/p>\n\u003cp>Schumacher then made \u003cem>Flatliners\u003c/em>, about morbidly obsessed medical students, and a pair of John Grisham adaptations in \u003cem>The Client\u003c/em> and \u003cem>A Time to Kill\u003c/em>. \u003cem>Falling Down\u003c/em>, with Michael Douglas as a Los Angeles man whose anger from minute every-day interactions steadily builds in violence, was maybe his most critically acclaimed film, though its depictions of minorities—particularly a Korean grocer—were from the start hotly debated.\u003c/p>\n\u003cp>On the film’s 25th anniversary, April Wolfe of \u003cem>LA Weekly\u003c/em> wrote that it “remains one of Hollywood’s most overt yet morally complex depictions of the modern white-victimization narrative, one both adored and reviled by the extreme right.”\u003c/p>\n\u003cp>The slickness of those productions helped Schumacher inherit the DC universe from Tim Burton. In Schumacher’s hands, Batman received a garish overhaul that resulted in two of the the franchise’s most cartoonish movies in 1995’s \u003cem>Batman Forever\u003c/em> and 1997’s \u003cem>Batman & Robin\u003c/em>. The first was a box-office smash but the second fizzled and remains most often remembered for its infamous suits.\u003c/p>\n\u003cp>“It was like I had murdered a baby,” Schumacher said of the response to \u003cem>Batman & Robin\u003c/em>. Yet it, too, has developed a small cult following for those who prefer the antithesis of Christopher Nolan’s more grim Batman movies.\u003c/p>\n\u003cp>Schumacher was raised in Queens by his mother after his father died when he was four years old. As a youngster, he quickly became enmeshed in the city’s nightlife.\u003c/p>\n\u003cp>“The street was my education,” Schumacher told \u003cem>Vulture\u003c/em> earlier this year. “You could ride your bike over the 59th Street Bridge then. So I rode my bike everywhere. I was in Manhattan all the time and all over Queens. If you’re a kid on a bike, anything can happen, and predators come out of the woodwork, my God. I looked very innocent, but I wasn’t.”\u003c/p>\n\u003cp>Schumacher would often say he was fortunate to have survived the ’60s at all. He made habits of liquid Methadrine, acid and sex. Out long before many in Hollywood, Schumacher counted his lovers in “the double-digit thousands.” He was a warm and gossipy raconteur though Schumacher said he “never kissed and told about anybody who gives me the favor of sharing a bed with me.”\u003c/p>\n\u003cp>“I don’t not like talking about it, I just don’t believe it matters,” Schumacher said of his sexuality in a 2000 interview with the \u003cem>Guardian\u003c/em>. “I’ve lived my life very openly. I started drinking at nine. I started doing drugs in my early teens. I started smoking at 10 and I started sex at 11. So I’m not hiding anything. But I am totally and completely against labels.”\u003c/p>\n\u003cp>After \u003cem>Batman & Robin\u003c/em>, Schumacher turned to lower-budget thrillers: \u003cem>8mm\u003c/em>, with Nicholas Cage; \u003cem>Flawless\u003c/em>, with Robert De Niro; \u003cem>Phone Booth\u003c/em>, with Colin Farrell. Schumacher, behind the beginnings of so many careers, gave Farrell his first led role in 2000’s \u003cem>Tigerland\u003c/em>. In 2004, he took on Andrew Lloyd Weber’s \u003cem>Phantom of the Opera\u003c/em>, a late, gaudy flourish that combined Schumacher with perhaps his Broadway equivalent in the spectacle-making Weber. Most recently, he directed two episodes of Netflix’s \u003cem>House of Cards\u003c/em> in 2013.\u003c/p>\n\u003cp>In his last interview, with \u003cem>New York\u003c/em> magazine, Schumacher reflected on a show at London’s National Gallery of the now highly regarded works of James McNeill Whistler and John Singer Sargent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They did a brilliant thing. Right next to them on the wall, framed right next to the paintings, were all their horrible reviews,” said Schumacher. “Who remembers these reviews?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Saying Goodbye to Artist and Prankster Clayton Bailey",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> man equal parts imagination and mustache (his facial hair was rumored to be over 24 inches long in its full glory), the irreverent East Bay artist \u003ca href=\"http://www.claytonbailey.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Clayton Bailey\u003c/a> died on June 6. His art was steeped in the universal languages of humor, curiosity and mischief, which allowed it to be accessible and beloved by everyone, fine art academics and young children included. As a longtime fan, I’m sad he’s gone, but comforted by the fact that I can’t think of anyone who led a better life than him. He passed as he lived: surrounded by loved ones, as well as legions of sketchy robots, burbling clay blobs, shrieking horn dogs, laboratory specimens and a triple-jointed “Bigfoot penis bone.”\u003c/p>\n\u003cp>Hailing from Antigo, Wisconsin, Clayton’s artistic impulses were first ignited while working as a comic book censor at a local drug store in the ’50s. His mother warned him that \u003ci>Mad Magazine\u003c/i> and EC horror comics would ruin his mind. “Maybe she was right,” he once told me. “But I got some good ideas and it has been a good life anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13882107\" class=\"wp-caption alignright\" style=\"max-width: 543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882107\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/claytonbailey-mustacheoil.jpg\" alt=\"Clayton Bailey mustache ceramics\" width=\"543\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/claytonbailey-mustacheoil.jpg 543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/claytonbailey-mustacheoil-160x236.jpg 160w\" sizes=\"(max-width: 543px) 100vw, 543px\">\u003cfigcaption class=\"wp-caption-text\">Clayton Bailey’s mustache oil. \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In junior high, he met the love of his life, the artist \u003ca href=\"http://www.claytonbailey.com/bettyindex.htm\" rel=\"noopener noreferrer\" target=\"_blank\">Betty Bailey\u003c/a> (née Graveen). The two were married in the Midwest and had two kids, Kurt and Robin, before heeding the siren song of ’60s counterculture and moving to the Bay Area. They were core contributors to the Funk Art scene (and, later, the Nut Art scene), a loosely defined movement of absurdist and personal art that thumbed its nose at fine art pretension. Their contemporaries included local artists like \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" rel=\"noopener noreferrer\" target=\"_blank\">Robert Arneson\u003c/a>, \u003ca href=\"http://www.maijapeeples-bright.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Maija Peeples-Bright\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13148579/dogs-are-people-too-inside-the-fantastical-world-of-roy-de-forest\" rel=\"noopener noreferrer\" target=\"_blank\">Roy De Forest\u003c/a>.\u003c/p>\n\u003cp>The Baileys settled in the outskirts of Contra Costa County, first in an old storefront in the shadow of Crockett’s iconic C&H Sugar Factory, before ultimately landing in a house situated along the rural back roads known as the Carquinez Straits. Their house sat alone (save for neighbor Roy De Forest) in a little valley amid the rolling hills between Crockett and Port Costa. Once settled in, and with their ceramics kiln fired up, the house grew into a fantastical fortress guarded by ceramic demon dogs and giant metal insects clinging to the eaves of the roof. “The Crockett Rocket,” a pointy silver rocket ship reminiscent of a ’50s sci-fi paperback cover, juts over the top of the fence poised for take-off. This psychedelic oasis in the middle of the countryside would be the Baileys’ home for the next 50 years.\u003c/p>\n\u003cp>My fascination with Clayton Bailey was seeded in the ’90s through tales told by one of his former Cal State Hayward ceramics students. On late night adventures to Port Costa as a young punk, I would press my nose against the car window as we passed his house, hoping to catch sight of a new creation peeking out from behind the fence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Port Costa is a rough-and-tumble little town, too small to warrant a traffic light. It ends in a dirt parking lot next to the train tracks and the Warehouse Bar, a cavernous and musty pit stop for bikers. The building is crammed full of vintage signage, dusty velvet bunting and dangling swag lamps; a large taxidermied polar bear rears up on its hind legs over the pool table.\u003c/p>\n\u003cfigure id=\"attachment_13882101\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882101\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/bigfootdropping2.jpg\" alt=\"Clayton Bailey Bigfoot dropping tester\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/bigfootdropping2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/bigfootdropping2-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Scientific apparatus created by Dr. Gladstone to test Bigfoot droppings. \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1976, this was the site of Clayton Bailey’s World of Wonders, an unnatural history museum where his P. T. Barnum tendencies could really run amok. Clayton had been sculpting full-size skeletons of mythical beasts like Bigfoot and Cyclops as part of a self-invented branch of pseudoscience called \u003ci>kaolism\u003c/i>. He buried these fossils “from the pre-credulous era of the Bone Age” in the hillside near his house and then brought in groups of school kids on archaeological expeditions to “discover” the bones (and have their minds blown). The fossils were exhibited at World of Wonders alongside certificates and scientific contraptions meant to “verify” their authenticity.\u003c/p>\n\u003cp>Clayton’s love of science, coupled with his mischievous spirit, synthesized into an alter ego named Dr. George Gladstone. Dr. Gladstone wore a pith helmet and a lab coat and served two purposes: to lend scientific credibility to Clayton’s art hoaxes and to operate as a stand-in able to discuss Clayton’s work. In true Andy Kaufman-level devotion to the bit, Clayton never conceded that Dr. Gladstone was just a character. (A UC Berkeley professor nominated Dr. Gladstone for a Nobel Prize in physics in 1976. Alas, he didn’t win.)\u003c/p>\n\u003cp>To lure visitors into the museum, Clayton decided he needed a hype man, an old-fashioned carnival barker to reel them in. This is how ON/OFF the Wonder Robot was conceived. ON/OFF was essentially a robot suit made of scrap metal worn by either Clayton or his son, Kurt. The robot would chase neighborhood children and had a thunderous amplified voice he used to command adults to feed him quarters and buy tickets to the museum. A trapdoor penis was later added to discourage curious people from non-consensually playing with his buttons and levers.\u003c/p>\n\u003cp>ON/OFF was the first in a long line of robots. While there would be no more suits, many of the robots were human-sized. Clayton pieced them together with familiar objects: coffee pots, brake pedals, vacuum parts and radio consoles. He scoured flea markets and the Custom Alloy scrap metal yard in Oakland for discarded home appliances that called out to be reborn into something greater and funnier than their original utilitarian form. As with all things, sex sells, and robots are no exception. A female robot with pointy breasts ultimately got Clayton removed from an exhibit at the Lawrence Hall of Science.\u003c/p>\n\u003cfigure id=\"attachment_13882106\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ONOFF.jpg\" alt=\"ON/OFF Clayton Bailey robot\" width=\"640\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ONOFF.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ONOFF-160x156.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">ON/OFF enjoying semi-retirement at the Bailey Art Gallery, 2014. \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>World of Wonders closed its doors after only two years, but it planted a seed in its creator’s mind. When the Bailey Art Museum opened in 2013, it was housed in Clayton and Betty’s original storefront home in Crockett. Finally, all of Clayton and Betty’s whimsical creations were available for the public to marvel over. The displays included a mad scientist lab with motion-activated animatronics. Lady Bigfoot (with high-heel foot bones), Cyclops and other fossils from the unnatural history museum returned to view. “Burping Bowls,” little ceramic blob creatures submerged in buckets of water, burbled up to the surface as visitors walked past, propelled by hidden fish tank pumps. A giant mounted pop gun allowed visitors to shoot a cork at a gong 30 feet away with a satisfying \u003ci>pop!\u003c/i> and \u003ci>ka-bong!\u003c/i> Hidden motion detectors triggered lights or radio fuzz in seemingly inactive robots. In a side room, the “Crime Fighting Device,” a suit of armor with a Bible burning in its belly, guaranteed the viewer psychic immunity from evil (for a small fee).\u003c/p>\n\u003cfigure id=\"attachment_13882109\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882109\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/blob2-800x600.jpg\" alt=\"Clayton Bailey blob\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/blob2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/blob2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/blob2-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Blob: “It came from a bucket of mud!” \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apart from being near a major metropolis, the museum bore all the hallmarks that define a quintessential roadside attraction. And it wasn’t all about Clayton. The Baileys’ son, Kurt, displayed fluorescent monster art in the museum. One room was mostly devoted to Betty’s amazing and often hilarious watercolor pencil drawings, lively folk-art renderings of the everyday moments that define a life. In these works on paper, women smoke around a table, take trips to Reno, play bocce ball, stand in line and make hospital visits. I still chuckle over a piece depicting Whoopi Goldberg on \u003ci>The View\u003c/i>, advising women to “air it out.”\u003c/p>\n\u003cfigure id=\"attachment_13882142\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/smokingparty.jpg\" alt=\"\" width=\"2500\" height=\"2095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-800x670.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-1020x855.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-1920x1609.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Betty Bailey, ‘A Smoking Party,’ 2005; Colored pencil and gouache on paper, 18 x 24 inches. \u003ccite>(Courtesy of \u003ca href=\"https://etaletc.com/betty-bailey-and-johanna-billing-jam-session\" target=\"_blank\">Et al.\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After conducting a fanzine interview with Clayton in 2002, we became pen pals. Once the museum opened its doors, I was a frequent visitor and eventually a friend. Every time I published something new, I dropped by for a hand delivery. If I had a special date or a new friend I wanted to impress, I brought them to the museum to chat with Clayton and Betty and to shoot the pop gun, to stick our hands in a demon dog’s mouth and trigger a sound effect. The Baileys had a knack for making everyone feel like the center of the universe and an honored guest. Their special brand of love and attention made me feel cool—and probably helped me land some second dates.\u003c/p>\n\u003cp>In 2018, Clayton suffered a stroke that left him partially paralyzed and mostly unable to speak. Later that year, Betty discovered the cancer she’d beat years before had returned. She passed away in 2019. Clayton’s old ceramics apprentice from the ’70s, Mary Smiley, moved into the house to keep him company for the remaining year of his life. He died shortly after his 81st birthday.\u003c/p>\n\u003cp>https://www.instagram.com/p/CBJxqOtDr9U/?igshid=2mbxohl0ib70\u003c/p>\n\u003cp>Clayton’s parting words in our 2002 interview were, “I think you need to be slightly out of whack to spend your life making personal things that are not really wanted or needed by anyone else but yourself.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This may be true in its way. But in a world that would prefer we spend the majority of our days staring into screens and commodifying our creative impulses, being out of whack seems to be the only way to truly win. Clayton spent his life surrounded by love, with his lifelong sweetheart by his side, making art that was simultaneously poignant and goofy. In the end, by becoming the robot, Clayton beat the robot. He will be missed.\u003c/p>\n\n",
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"description": "The irreverent East Bay artist died on June 6, shortly after his 81st birthday.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> man equal parts imagination and mustache (his facial hair was rumored to be over 24 inches long in its full glory), the irreverent East Bay artist \u003ca href=\"http://www.claytonbailey.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Clayton Bailey\u003c/a> died on June 6. His art was steeped in the universal languages of humor, curiosity and mischief, which allowed it to be accessible and beloved by everyone, fine art academics and young children included. As a longtime fan, I’m sad he’s gone, but comforted by the fact that I can’t think of anyone who led a better life than him. He passed as he lived: surrounded by loved ones, as well as legions of sketchy robots, burbling clay blobs, shrieking horn dogs, laboratory specimens and a triple-jointed “Bigfoot penis bone.”\u003c/p>\n\u003cp>Hailing from Antigo, Wisconsin, Clayton’s artistic impulses were first ignited while working as a comic book censor at a local drug store in the ’50s. His mother warned him that \u003ci>Mad Magazine\u003c/i> and EC horror comics would ruin his mind. “Maybe she was right,” he once told me. “But I got some good ideas and it has been a good life anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13882107\" class=\"wp-caption alignright\" style=\"max-width: 543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882107\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/claytonbailey-mustacheoil.jpg\" alt=\"Clayton Bailey mustache ceramics\" width=\"543\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/claytonbailey-mustacheoil.jpg 543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/claytonbailey-mustacheoil-160x236.jpg 160w\" sizes=\"(max-width: 543px) 100vw, 543px\">\u003cfigcaption class=\"wp-caption-text\">Clayton Bailey’s mustache oil. \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In junior high, he met the love of his life, the artist \u003ca href=\"http://www.claytonbailey.com/bettyindex.htm\" rel=\"noopener noreferrer\" target=\"_blank\">Betty Bailey\u003c/a> (née Graveen). The two were married in the Midwest and had two kids, Kurt and Robin, before heeding the siren song of ’60s counterculture and moving to the Bay Area. They were core contributors to the Funk Art scene (and, later, the Nut Art scene), a loosely defined movement of absurdist and personal art that thumbed its nose at fine art pretension. Their contemporaries included local artists like \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" rel=\"noopener noreferrer\" target=\"_blank\">Robert Arneson\u003c/a>, \u003ca href=\"http://www.maijapeeples-bright.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Maija Peeples-Bright\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13148579/dogs-are-people-too-inside-the-fantastical-world-of-roy-de-forest\" rel=\"noopener noreferrer\" target=\"_blank\">Roy De Forest\u003c/a>.\u003c/p>\n\u003cp>The Baileys settled in the outskirts of Contra Costa County, first in an old storefront in the shadow of Crockett’s iconic C&H Sugar Factory, before ultimately landing in a house situated along the rural back roads known as the Carquinez Straits. Their house sat alone (save for neighbor Roy De Forest) in a little valley amid the rolling hills between Crockett and Port Costa. Once settled in, and with their ceramics kiln fired up, the house grew into a fantastical fortress guarded by ceramic demon dogs and giant metal insects clinging to the eaves of the roof. “The Crockett Rocket,” a pointy silver rocket ship reminiscent of a ’50s sci-fi paperback cover, juts over the top of the fence poised for take-off. This psychedelic oasis in the middle of the countryside would be the Baileys’ home for the next 50 years.\u003c/p>\n\u003cp>My fascination with Clayton Bailey was seeded in the ’90s through tales told by one of his former Cal State Hayward ceramics students. On late night adventures to Port Costa as a young punk, I would press my nose against the car window as we passed his house, hoping to catch sight of a new creation peeking out from behind the fence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Port Costa is a rough-and-tumble little town, too small to warrant a traffic light. It ends in a dirt parking lot next to the train tracks and the Warehouse Bar, a cavernous and musty pit stop for bikers. The building is crammed full of vintage signage, dusty velvet bunting and dangling swag lamps; a large taxidermied polar bear rears up on its hind legs over the pool table.\u003c/p>\n\u003cfigure id=\"attachment_13882101\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882101\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/bigfootdropping2.jpg\" alt=\"Clayton Bailey Bigfoot dropping tester\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/bigfootdropping2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/bigfootdropping2-160x213.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Scientific apparatus created by Dr. Gladstone to test Bigfoot droppings. \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1976, this was the site of Clayton Bailey’s World of Wonders, an unnatural history museum where his P. T. Barnum tendencies could really run amok. Clayton had been sculpting full-size skeletons of mythical beasts like Bigfoot and Cyclops as part of a self-invented branch of pseudoscience called \u003ci>kaolism\u003c/i>. He buried these fossils “from the pre-credulous era of the Bone Age” in the hillside near his house and then brought in groups of school kids on archaeological expeditions to “discover” the bones (and have their minds blown). The fossils were exhibited at World of Wonders alongside certificates and scientific contraptions meant to “verify” their authenticity.\u003c/p>\n\u003cp>Clayton’s love of science, coupled with his mischievous spirit, synthesized into an alter ego named Dr. George Gladstone. Dr. Gladstone wore a pith helmet and a lab coat and served two purposes: to lend scientific credibility to Clayton’s art hoaxes and to operate as a stand-in able to discuss Clayton’s work. In true Andy Kaufman-level devotion to the bit, Clayton never conceded that Dr. Gladstone was just a character. (A UC Berkeley professor nominated Dr. Gladstone for a Nobel Prize in physics in 1976. Alas, he didn’t win.)\u003c/p>\n\u003cp>To lure visitors into the museum, Clayton decided he needed a hype man, an old-fashioned carnival barker to reel them in. This is how ON/OFF the Wonder Robot was conceived. ON/OFF was essentially a robot suit made of scrap metal worn by either Clayton or his son, Kurt. The robot would chase neighborhood children and had a thunderous amplified voice he used to command adults to feed him quarters and buy tickets to the museum. A trapdoor penis was later added to discourage curious people from non-consensually playing with his buttons and levers.\u003c/p>\n\u003cp>ON/OFF was the first in a long line of robots. While there would be no more suits, many of the robots were human-sized. Clayton pieced them together with familiar objects: coffee pots, brake pedals, vacuum parts and radio consoles. He scoured flea markets and the Custom Alloy scrap metal yard in Oakland for discarded home appliances that called out to be reborn into something greater and funnier than their original utilitarian form. As with all things, sex sells, and robots are no exception. A female robot with pointy breasts ultimately got Clayton removed from an exhibit at the Lawrence Hall of Science.\u003c/p>\n\u003cfigure id=\"attachment_13882106\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ONOFF.jpg\" alt=\"ON/OFF Clayton Bailey robot\" width=\"640\" height=\"623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ONOFF.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ONOFF-160x156.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">ON/OFF enjoying semi-retirement at the Bailey Art Gallery, 2014. \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>World of Wonders closed its doors after only two years, but it planted a seed in its creator’s mind. When the Bailey Art Museum opened in 2013, it was housed in Clayton and Betty’s original storefront home in Crockett. Finally, all of Clayton and Betty’s whimsical creations were available for the public to marvel over. The displays included a mad scientist lab with motion-activated animatronics. Lady Bigfoot (with high-heel foot bones), Cyclops and other fossils from the unnatural history museum returned to view. “Burping Bowls,” little ceramic blob creatures submerged in buckets of water, burbled up to the surface as visitors walked past, propelled by hidden fish tank pumps. A giant mounted pop gun allowed visitors to shoot a cork at a gong 30 feet away with a satisfying \u003ci>pop!\u003c/i> and \u003ci>ka-bong!\u003c/i> Hidden motion detectors triggered lights or radio fuzz in seemingly inactive robots. In a side room, the “Crime Fighting Device,” a suit of armor with a Bible burning in its belly, guaranteed the viewer psychic immunity from evil (for a small fee).\u003c/p>\n\u003cfigure id=\"attachment_13882109\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882109\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/blob2-800x600.jpg\" alt=\"Clayton Bailey blob\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/blob2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/blob2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/blob2-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Blob: “It came from a bucket of mud!” \u003ccite>(Janelle Hessig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apart from being near a major metropolis, the museum bore all the hallmarks that define a quintessential roadside attraction. And it wasn’t all about Clayton. The Baileys’ son, Kurt, displayed fluorescent monster art in the museum. One room was mostly devoted to Betty’s amazing and often hilarious watercolor pencil drawings, lively folk-art renderings of the everyday moments that define a life. In these works on paper, women smoke around a table, take trips to Reno, play bocce ball, stand in line and make hospital visits. I still chuckle over a piece depicting Whoopi Goldberg on \u003ci>The View\u003c/i>, advising women to “air it out.”\u003c/p>\n\u003cfigure id=\"attachment_13882142\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/smokingparty.jpg\" alt=\"\" width=\"2500\" height=\"2095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-800x670.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-1020x855.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/smokingparty-1920x1609.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Betty Bailey, ‘A Smoking Party,’ 2005; Colored pencil and gouache on paper, 18 x 24 inches. \u003ccite>(Courtesy of \u003ca href=\"https://etaletc.com/betty-bailey-and-johanna-billing-jam-session\" target=\"_blank\">Et al.\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After conducting a fanzine interview with Clayton in 2002, we became pen pals. Once the museum opened its doors, I was a frequent visitor and eventually a friend. Every time I published something new, I dropped by for a hand delivery. If I had a special date or a new friend I wanted to impress, I brought them to the museum to chat with Clayton and Betty and to shoot the pop gun, to stick our hands in a demon dog’s mouth and trigger a sound effect. The Baileys had a knack for making everyone feel like the center of the universe and an honored guest. Their special brand of love and attention made me feel cool—and probably helped me land some second dates.\u003c/p>\n\u003cp>In 2018, Clayton suffered a stroke that left him partially paralyzed and mostly unable to speak. Later that year, Betty discovered the cancer she’d beat years before had returned. She passed away in 2019. Clayton’s old ceramics apprentice from the ’70s, Mary Smiley, moved into the house to keep him company for the remaining year of his life. He died shortly after his 81st birthday.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Clayton’s parting words in our 2002 interview were, “I think you need to be slightly out of whack to spend your life making personal things that are not really wanted or needed by anyone else but yourself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This may be true in its way. But in a world that would prefer we spend the majority of our days staring into screens and commodifying our creative impulses, being out of whack seems to be the only way to truly win. Clayton spent his life surrounded by love, with his lifelong sweetheart by his side, making art that was simultaneously poignant and goofy. In the end, by becoming the robot, Clayton beat the robot. He will be missed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bonnie Pointer, Early Member of Pointer Sisters, Dies at 69",
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"content": "\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">Bonnie Pointer, who in 1969 convinced three of her church-singing siblings to form the Pointer Sisters, which would become one of the biggest acts of the next two decades, died Monday.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">The Grammy winner died of cardiac arrest in Los Angeles, publicist Roger Neal said. She was 69.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">“It is with great sadness that I have to announce to the fans of the Pointer Sisters that my sister, Bonnie died this morning,” sister Anita Pointer said in a statement. “Our family is devastated, on behalf of my siblings and I and the entire Pointer family, we ask for your prayers at this time.”\u003c/p>\n\u003cdiv class=\"Component-dfp-0-2-131\">\u003c/div>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">Bonnie Pointer often sang lead and was an essential member of the group through its early hits including “Yes We Can Can” and “Fairytale.” She would leave for a short and modest solo career in 1977 as her sisters went on to have several mega-hits without her.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">Ruth, Anita, Bonnie and June, born the daughters of a minister who also had two older sons, grew up singing in his church in Oakland, California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">It was Bonnie, shortly after graduating high school, who first wanted to move away from singing gospel songs into clubs to pursue a professional singing career.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">“The Pointer Sisters would never have happened had it not been for Bonnie,” Anita Pointer said in her statement. [aside postid='arts_13881529']\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">She convinced younger sister June to join her, and the two began doing gigs together as a duo in 1969. Eventually they’d enlist their two older sisters, who were already married with children, to join them.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">The quartet brought unique fusion of funk, soul and 1940s-style jazz, scat and pop to their act, often dressing in a retro style that resembled their forerunners the Andrews Sisters.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">They worked as backup singers for Taj Mahal, Boz Scaggs, Elvin Bishop and others before releasing their self-titled debut album in 1973, and the song “Yes We Can Can,” a funky anthem calling for unity and tolerance, became their breakout hit.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">They followed up with “That’s A Plenty,” which featured an eclectic mix of musical styles ranging from jazz to gospel to pop.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">They even delved into country. Bonnie and Anita co-wrote the song “Fairytale” about a crumbling relationship. The song earned them a groundbreaking gig performing as a rare African American act at the Grand Ole Opry, and they would win their first Grammy, for best country vocal performance by a group.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">Bonnie Pointer left the group in 1977, signing a solo deal with Motown Records. [aside postid='arts_13881399']\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">“We were devastated,” Anita Pointer told The Associated Press in 1990. “We did a show the night she left, but after that, we just stopped. We thought it wasn’t going to work without Bonnie.”\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">She would have only modest solo success. Her biggest hit was “Heaven Must Have Sent You,” a 1979 disco cover of an earlier Motown hit by the Elgins. It reached No. 11 on the Billboard Hot 100 in 1979.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">After making three albums for Motown, she would retire from the studio, and only perform occasionally.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">Her three sisters, who had nearly disbanded when she quit, instead regrouped, shed their retro image for a modern pop sound, and became one of the biggest acts of the 1980s with huge hits including “He’s So Shy,” “Jump (For My Love)” and “Neutron Dance.”\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">Bonnie married Motown producer Jeffrey Bowen in 1978. The two separated in 2004 and divorced in 2016.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">She twice reunited with her sisters for public appearances. Once in 1994, when they received a star on the Hollywood Walk of Fame, and again in 1996 at a show in Las Vegas.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">“She had always told me, mother, I want something for myself,” Bonnie’s mother Sarah Pointer told Ebony in 1974. “I want to be somebody in this world.”\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">June Pointer, the youngest of the sisters, died in 2006.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">In addition to Ruth and Anita, Bonnie Pointer is survived by her two older brothers, Aaron and Fritz.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">\u003cem>Follow AP Entertainment Writer Andrew Dalton on Twitter: \u003ca class=\"\" href=\"https://twitter.com/andyjamesdalton.\" target=\"_blank\" rel=\"noopener noreferrer\">https://twitter.com/andyjamesdalton.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "She sang lead on the influential Oakland pop, funk and soul group’s early hits.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">Bonnie Pointer, who in 1969 convinced three of her church-singing siblings to form the Pointer Sisters, which would become one of the biggest acts of the next two decades, died Monday.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">The Grammy winner died of cardiac arrest in Los Angeles, publicist Roger Neal said. She was 69.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">“It is with great sadness that I have to announce to the fans of the Pointer Sisters that my sister, Bonnie died this morning,” sister Anita Pointer said in a statement. “Our family is devastated, on behalf of my siblings and I and the entire Pointer family, we ask for your prayers at this time.”\u003c/p>\n\u003cdiv class=\"Component-dfp-0-2-131\">\u003c/div>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">Bonnie Pointer often sang lead and was an essential member of the group through its early hits including “Yes We Can Can” and “Fairytale.” She would leave for a short and modest solo career in 1977 as her sisters went on to have several mega-hits without her.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">Ruth, Anita, Bonnie and June, born the daughters of a minister who also had two older sons, grew up singing in his church in Oakland, California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">It was Bonnie, shortly after graduating high school, who first wanted to move away from singing gospel songs into clubs to pursue a professional singing career.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">“The Pointer Sisters would never have happened had it not been for Bonnie,” Anita Pointer said in her statement. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">She convinced younger sister June to join her, and the two began doing gigs together as a duo in 1969. Eventually they’d enlist their two older sisters, who were already married with children, to join them.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">The quartet brought unique fusion of funk, soul and 1940s-style jazz, scat and pop to their act, often dressing in a retro style that resembled their forerunners the Andrews Sisters.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">They worked as backup singers for Taj Mahal, Boz Scaggs, Elvin Bishop and others before releasing their self-titled debut album in 1973, and the song “Yes We Can Can,” a funky anthem calling for unity and tolerance, became their breakout hit.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">They followed up with “That’s A Plenty,” which featured an eclectic mix of musical styles ranging from jazz to gospel to pop.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">They even delved into country. Bonnie and Anita co-wrote the song “Fairytale” about a crumbling relationship. The song earned them a groundbreaking gig performing as a rare African American act at the Grand Ole Opry, and they would win their first Grammy, for best country vocal performance by a group.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">Bonnie Pointer left the group in 1977, signing a solo deal with Motown Records. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">“We were devastated,” Anita Pointer told The Associated Press in 1990. “We did a show the night she left, but after that, we just stopped. We thought it wasn’t going to work without Bonnie.”\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">She would have only modest solo success. Her biggest hit was “Heaven Must Have Sent You,” a 1979 disco cover of an earlier Motown hit by the Elgins. It reached No. 11 on the Billboard Hot 100 in 1979.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">After making three albums for Motown, she would retire from the studio, and only perform occasionally.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">Her three sisters, who had nearly disbanded when she quit, instead regrouped, shed their retro image for a modern pop sound, and became one of the biggest acts of the 1980s with huge hits including “He’s So Shy,” “Jump (For My Love)” and “Neutron Dance.”\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">Bonnie married Motown producer Jeffrey Bowen in 1978. The two separated in 2004 and divorced in 2016.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">She twice reunited with her sisters for public appearances. Once in 1994, when they received a star on the Hollywood Walk of Fame, and again in 1996 at a show in Las Vegas.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">“She had always told me, mother, I want something for myself,” Bonnie’s mother Sarah Pointer told Ebony in 1974. “I want to be somebody in this world.”\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">June Pointer, the youngest of the sisters, died in 2006.\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">In addition to Ruth and Anita, Bonnie Pointer is survived by her two older brothers, Aaron and Fritz.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"Component-root-0-2-135 Component-p-0-2-127\">\u003cem>Follow AP Entertainment Writer Andrew Dalton on Twitter: \u003ca class=\"\" href=\"https://twitter.com/andyjamesdalton.\" target=\"_blank\" rel=\"noopener noreferrer\">https://twitter.com/andyjamesdalton.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Larry Kramer, the playwright whose angry voice and pen raised theatergoers’ consciousness about AIDS and roused thousands to militant protests in the early years of the epidemic, has died at 84.\u003c/p>\n\u003cp>Bill Goldstein, a writer who was working on a biography of Kramer, confirmed the news to The Associated Press. Kramer’s husband, David Webster, told \u003cem>The New York Times\u003c/em> that Kramer died Wednesday of pneumonia.\u003c/p>\n\u003cp>“We have lost a giant of a man who stood up for gay rights like a warrior. His anger was needed at a time when gay men’s deaths to AIDS were being ignored by the American government,” said Elton John in a statement.\u003c/p>\n\u003cp>Kramer, who wrote \u003cem>The Normal Heart\u003c/em> and founded the AIDS Coalition to Unleash Power, or ACT UP, lost his lover to acquired immune deficiency syndrome in 1984 and was himself infected with the virus. He also suffered from hepatitis B and received a liver transplant in 2001 because the virus had caused liver failure.\u003c/p>\n\u003cp>He was nominated for an Academy Award for his screenplay for \u003cem>Women in Love\u003c/em>, the 1969 adaptation of D.H. Lawrence’s novel. It starred Glenda Jackson, who won her first Oscar for her performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. In 2011, he helped the American Foundation for Equal Rights mount their play \u003cem>8\u003c/em> on Broadway about the legal battle over same-sex marriage in California.\u003c/p>\n\u003cp>“The one nice thing that I seem to have acquired, accidentally, is this reputation of everyone afraid of my voice,” he told The AP in 2015. “So I get heard, whether it changes anything or not.”\u003c/p>\n\u003cp>One of his last projects was the massive two-volume \u003cem>The American People\u003c/em>, which chronicled the history of gay people in America and took decades to write.\u003c/p>\n\u003cp>“I just think it’s so important that we know our history — the history of how badly we’re treated and how hard we have to fight to get what we deserve, which is equality,” he told The AP.\u003c/p>\n\u003cp>At the 2013 Tonys, he was honored with the Isabelle Stevenson Award, given to a member of the theater community for philanthropic or civic efforts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A few months later, Kramer married his longtime partner, architect David Webster, in the intensive care unit of NYU Langone Medical Center, where Kramer was recovering from surgery for a bowel obstruction.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. 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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"hidden-brain": {
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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