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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s\u003c/strong>\u003c/em>\u003cstrong> \u003cem>note\u003c/em>:\u003c/strong> \u003cem>This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 24-28, we’re publishing content by high school students from all over the Bay Area. \u003c/em>\u003c/p>\n\u003cp>Anytime I feel the urge to listen to the \u003cem>Hamilton\u003c/em> soundtrack, a sense of shame floods over me. In recent years, I’d go as far as to shut off my shared listening activity and indulge in Spotify incognito mode. I had to listen in secret, because no way were any of my 17 followers going to see that I — a pop hating snob on the surface — find pleasure in singing along to an ultra-popular musical soundtrack. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13928153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/OliviaHopkins.headshot.jpg\" alt=\"\" width=\"139\" height=\"160\">\u003c/p>\n\u003cp>Behind my strictly alternative facade hides a girl with a taste for musical theater.\u003c/p>\n\u003cp>I don’t want people to know that I enjoy something so mainstream, especially something that was popular back in middle school. It feels vulnerable to reveal this side of me to the outside world, and it saddens me to be ashamed of a part of my music taste, something so integral to who I am.\u003c/p>\n\u003cp>As I continue to face these feelings, I’ve started to think, why am I insecure about something I genuinely enjoy? Whose judgment am I afraid of, anyway? And how do other people process these feelings of embarrassment? To get some answers, I set out to speak to three distinct music lovers, and their perspectives challenged me to grow in ways I didn’t expect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the back of a classroom, I spoke with Skyline High School student Zane Boyd, a member of an underground SoundCloud community he described as “exclusive.” Zane’s sub-niche is his group, NA (Never Alone). They create experimental beats with influences from an array of genres, including drill and new Sigilkore — a hyper-online rap subgenre involving occult symbols, anime references and heavy layered effects.\u003c/p>\n\u003cp>Zane says that he and other beatmakers find a sense of community on Discord, where they support one another’s creative ventures and help each other through family and mental health struggles. They prioritize making sure nobody in the group ever feels alone, hence their name.\u003c/p>\n\u003cfigure id=\"attachment_13928158\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/99C28991-F93D-4B73-A0B9-B0E4499ACCA8.jpg\" alt=\"A young man sits in his room in front of a computer and speakers.\" width=\"626\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/99C28991-F93D-4B73-A0B9-B0E4499ACCA8.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/99C28991-F93D-4B73-A0B9-B0E4499ACCA8-160x120.jpg 160w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">Skyline High School student Zane Boyd is part of a tight-knit music community on SoundCloud and Discord. \u003ccite>(Courtesy of Zane Boyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like me, Zane often finds himself writing off mainstream music, but not necessarily because he feels embarrassed. Rather, he believes that supporting his friends’ music is more impactful.\u003c/p>\n\u003cp>“The way I see it is a lot of people support Drake — someone with millions of dollars and [who] does not acknowledge your existence,” he says. “It’s like, why support Drake when you could support your friends?”\u003c/p>\n\u003cp>Although he may not wear it on his sleeve, Zane does enjoy some popular music like Paramore and other 2000s artists. But he’s not ashamed. “I’m still proud of it because, why should you be scared to show other people who you are?” he says.\u003c/p>\n\u003cp>For him, it’s the artist’s values that are important. “It’s more about who the artist is and what they stand for than the music. … I’d be more embarrassed to say I listen to Kanye than to say I listen to Paramore… cause it’s Kanye.”\u003c/p>\n\u003cfigure id=\"attachment_13928159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-800x539.jpg\" alt=\"A young woman plays guitar in a dark club.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C.jpg 843w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley High School senior Georgia Fishman is the lead singer of the band I’d Rather Sleep. \u003ccite>(Courtesy of Georgia Fishman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than fearing judgment about her music taste, Berkeley High School senior and musician Georgia Fishman says she feels pressure when it comes to her own sound. Georgia is the lead vocalist and guitarist in a band called \u003ca href=\"https://www.instagram.com/idrathersleep_510/?hl=en\">I’d Rather Sleep\u003c/a>, who make experimental alt rock. She’s involved in the local hardcore scene, nicknamed the “Bay scene,” and has performed at all-ages shows at venues like Berkley’s 924 Gilman.\u003c/p>\n\u003cp>At times, she feels judged by the diehards in the scene, but realizes she can’t appeal to everyone. “Sometimes people are very rigid with their music taste, and then it kind of makes it feel like, ‘Oh no, should we go heavier? Like, are we not accessible enough?’”\u003c/p>\n\u003cp>Some of Georgia’s own music taste might fall outside of what’s considered typical for the singer of an alt rock band, but she sees her middle school favorites — like Fall Out Boy — as an opportunity to connect with others. Some people may think “that’s cringe,” but Georgia refutes, “It’s not embarrassing, because some people just happened to agree with me.”\u003c/p>\n\u003cfigure id=\"attachment_13928160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928160\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/FullSizeRender-800x1067.jpg\" alt=\"A young man stands on stage holding his violin and wearing a Santa hat.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roman St. Gerard plays violin in the Skyline High School orchestra. \u003ccite>(Courtesy of Roman St. Gerard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Skyline High violinist Roman St. Gerard, navigating pressures around music has had more to do with his identity. Before, he was apprehensive to let people glance at his phone to see what he was listening to. But — unlike how I hid \u003cem>Hamilton\u003c/em> on Spotify — Roman decided to embrace it when he realized his Discord followers could see his \u003cem>Pitch Perfect\u003c/em> playlist.\u003c/p>\n\u003cp>“I’m Black and there’s usually in the Black community a lot of hip-hop and rock,” he says. “And while I do listen to those types of music that might be considered Black music or music that Black people usually listen to… I do find myself listening to other genres as well.”\u003c/p>\n\u003cp>“I used to think there was some sort of expectation, but I’ve just grown more comfortable with sharing the things I like with others,” he adds.\u003c/p>\n\u003cp>After hearing from different people my age who love music just as I do, I felt much less alone in my experiences with embarrassment. I realized that you can be proud of your music taste, even if it doesn’t necessarily fit in with your overall image. Maybe guilty pleasures shouldn’t be a source of shame, but rather, a way to connect with others. There’s beauty in being secure in all the things you enjoy.\u003c/p>\n\u003cp>I’ll try to remember that next time I feel like putting my Spotify in incognito mode.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Olivia Hopkins is a senior at Skyline High School in Oakland. In her free time, she enjoys exploring the outdoors, dancing and eating good food.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s\u003c/strong>\u003c/em>\u003cstrong> \u003cem>note\u003c/em>:\u003c/strong> \u003cem>This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 24-28, we’re publishing content by high school students from all over the Bay Area. \u003c/em>\u003c/p>\n\u003cp>Anytime I feel the urge to listen to the \u003cem>Hamilton\u003c/em> soundtrack, a sense of shame floods over me. In recent years, I’d go as far as to shut off my shared listening activity and indulge in Spotify incognito mode. I had to listen in secret, because no way were any of my 17 followers going to see that I — a pop hating snob on the surface — find pleasure in singing along to an ultra-popular musical soundtrack. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13928153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/OliviaHopkins.headshot.jpg\" alt=\"\" width=\"139\" height=\"160\">\u003c/p>\n\u003cp>Behind my strictly alternative facade hides a girl with a taste for musical theater.\u003c/p>\n\u003cp>I don’t want people to know that I enjoy something so mainstream, especially something that was popular back in middle school. It feels vulnerable to reveal this side of me to the outside world, and it saddens me to be ashamed of a part of my music taste, something so integral to who I am.\u003c/p>\n\u003cp>As I continue to face these feelings, I’ve started to think, why am I insecure about something I genuinely enjoy? Whose judgment am I afraid of, anyway? And how do other people process these feelings of embarrassment? To get some answers, I set out to speak to three distinct music lovers, and their perspectives challenged me to grow in ways I didn’t expect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the back of a classroom, I spoke with Skyline High School student Zane Boyd, a member of an underground SoundCloud community he described as “exclusive.” Zane’s sub-niche is his group, NA (Never Alone). They create experimental beats with influences from an array of genres, including drill and new Sigilkore — a hyper-online rap subgenre involving occult symbols, anime references and heavy layered effects.\u003c/p>\n\u003cp>Zane says that he and other beatmakers find a sense of community on Discord, where they support one another’s creative ventures and help each other through family and mental health struggles. They prioritize making sure nobody in the group ever feels alone, hence their name.\u003c/p>\n\u003cfigure id=\"attachment_13928158\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/99C28991-F93D-4B73-A0B9-B0E4499ACCA8.jpg\" alt=\"A young man sits in his room in front of a computer and speakers.\" width=\"626\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/99C28991-F93D-4B73-A0B9-B0E4499ACCA8.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/99C28991-F93D-4B73-A0B9-B0E4499ACCA8-160x120.jpg 160w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">Skyline High School student Zane Boyd is part of a tight-knit music community on SoundCloud and Discord. \u003ccite>(Courtesy of Zane Boyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like me, Zane often finds himself writing off mainstream music, but not necessarily because he feels embarrassed. Rather, he believes that supporting his friends’ music is more impactful.\u003c/p>\n\u003cp>“The way I see it is a lot of people support Drake — someone with millions of dollars and [who] does not acknowledge your existence,” he says. “It’s like, why support Drake when you could support your friends?”\u003c/p>\n\u003cp>Although he may not wear it on his sleeve, Zane does enjoy some popular music like Paramore and other 2000s artists. But he’s not ashamed. “I’m still proud of it because, why should you be scared to show other people who you are?” he says.\u003c/p>\n\u003cp>For him, it’s the artist’s values that are important. “It’s more about who the artist is and what they stand for than the music. … I’d be more embarrassed to say I listen to Kanye than to say I listen to Paramore… cause it’s Kanye.”\u003c/p>\n\u003cfigure id=\"attachment_13928159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-800x539.jpg\" alt=\"A young woman plays guitar in a dark club.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C.jpg 843w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley High School senior Georgia Fishman is the lead singer of the band I’d Rather Sleep. \u003ccite>(Courtesy of Georgia Fishman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than fearing judgment about her music taste, Berkeley High School senior and musician Georgia Fishman says she feels pressure when it comes to her own sound. Georgia is the lead vocalist and guitarist in a band called \u003ca href=\"https://www.instagram.com/idrathersleep_510/?hl=en\">I’d Rather Sleep\u003c/a>, who make experimental alt rock. She’s involved in the local hardcore scene, nicknamed the “Bay scene,” and has performed at all-ages shows at venues like Berkley’s 924 Gilman.\u003c/p>\n\u003cp>At times, she feels judged by the diehards in the scene, but realizes she can’t appeal to everyone. “Sometimes people are very rigid with their music taste, and then it kind of makes it feel like, ‘Oh no, should we go heavier? Like, are we not accessible enough?’”\u003c/p>\n\u003cp>Some of Georgia’s own music taste might fall outside of what’s considered typical for the singer of an alt rock band, but she sees her middle school favorites — like Fall Out Boy — as an opportunity to connect with others. Some people may think “that’s cringe,” but Georgia refutes, “It’s not embarrassing, because some people just happened to agree with me.”\u003c/p>\n\u003cfigure id=\"attachment_13928160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928160\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/FullSizeRender-800x1067.jpg\" alt=\"A young man stands on stage holding his violin and wearing a Santa hat.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roman St. Gerard plays violin in the Skyline High School orchestra. \u003ccite>(Courtesy of Roman St. Gerard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Skyline High violinist Roman St. Gerard, navigating pressures around music has had more to do with his identity. Before, he was apprehensive to let people glance at his phone to see what he was listening to. But — unlike how I hid \u003cem>Hamilton\u003c/em> on Spotify — Roman decided to embrace it when he realized his Discord followers could see his \u003cem>Pitch Perfect\u003c/em> playlist.\u003c/p>\n\u003cp>“I’m Black and there’s usually in the Black community a lot of hip-hop and rock,” he says. “And while I do listen to those types of music that might be considered Black music or music that Black people usually listen to… I do find myself listening to other genres as well.”\u003c/p>\n\u003cp>“I used to think there was some sort of expectation, but I’ve just grown more comfortable with sharing the things I like with others,” he adds.\u003c/p>\n\u003cp>After hearing from different people my age who love music just as I do, I felt much less alone in my experiences with embarrassment. I realized that you can be proud of your music taste, even if it doesn’t necessarily fit in with your overall image. Maybe guilty pleasures shouldn’t be a source of shame, but rather, a way to connect with others. There’s beauty in being secure in all the things you enjoy.\u003c/p>\n\u003cp>I’ll try to remember that next time I feel like putting my Spotify in incognito mode.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Hamilton' to Return to SF, Reopening the Orpheum Theater in August",
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"content": "\u003cp>The hit musical \u003cem>Hamilton\u003c/em> will return to San Francisco in August. \u003c/p>\n\u003cp>The four-week run of \u003cem>Hamilton\u003c/em>, from Aug. 10-Sept. 5, 2021, will mark the official reopening of the Orpheum Theatre, shuttered ever since it was forced to close by the coronavirus pandemic last March. (The show that had been running there last year, but \u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" rel=\"noopener noreferrer\" target=\"_blank\">closed early\u003c/a>? \u003cem>Hamilton\u003c/em>.)\u003c/p>\n\u003cp>Hamilton will also run for three weeks at San Jose’s Center for the Performing Arts from Oct. 12–31, 2021. Tickets for both the San Francisco and San Jose run go on sale Wednesday, June 2. Tickets range from $49 to $179, with premium seats from $199 to $299. \u003ca href=\"https://hamilton.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>In addition to Hamilton, upcoming shows at the Orpheum and Golden Gate theatres include \u003cem>The Prom, Hadestown, Moulin Rouge, To Kill a MockingBird, The Band’s Visit, Ain’t Too Proud—The Life and Times of the Temptations, Jesus Christ Superstar, Oklahoma! and My Fair Lady\u003c/em>. \u003cem>Mean Girls\u003c/em>, originally scheduled for July and August, will return at a later date.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hit musical \u003cem>Hamilton\u003c/em> will return to San Francisco in August. \u003c/p>\n\u003cp>The four-week run of \u003cem>Hamilton\u003c/em>, from Aug. 10-Sept. 5, 2021, will mark the official reopening of the Orpheum Theatre, shuttered ever since it was forced to close by the coronavirus pandemic last March. (The show that had been running there last year, but \u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" rel=\"noopener noreferrer\" target=\"_blank\">closed early\u003c/a>? \u003cem>Hamilton\u003c/em>.)\u003c/p>\n\u003cp>Hamilton will also run for three weeks at San Jose’s Center for the Performing Arts from Oct. 12–31, 2021. Tickets for both the San Francisco and San Jose run go on sale Wednesday, June 2. Tickets range from $49 to $179, with premium seats from $199 to $299. \u003ca href=\"https://hamilton.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>In addition to Hamilton, upcoming shows at the Orpheum and Golden Gate theatres include \u003cem>The Prom, Hadestown, Moulin Rouge, To Kill a MockingBird, The Band’s Visit, Ain’t Too Proud—The Life and Times of the Temptations, Jesus Christ Superstar, Oklahoma! and My Fair Lady\u003c/em>. \u003cem>Mean Girls\u003c/em>, originally scheduled for July and August, will return at a later date.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Don’t Panic: American Elections Have Always Been a Frickin’ Mess",
"headTitle": "Don’t Panic: American Elections Have Always Been a Frickin’ Mess | KQED",
"content": "\u003cp>The 2020 election is weird, to put it mildly. We’ve got a deadly pandemic limiting how many people feel safe voting in person. We’ve got fears around whether or not the USPS is capable of coping with an increase in mail ballots. We’ve got a president who has repeatedly refused to agree to a peaceful transfer of power. And we are facing election results that will likely take days to finalize instead of hours. It all feels very—to use the word that sums up almost everything in 2020—unprecedented.\u003c/p>\n\u003cp>Well, here’s a newsflash: It’s not.[aside postid='pop_20516']\u003c/p>\n\u003cp>Elections have been a mess in America ever since George Washington—a man who no longer even wanted to be president—was pressured into running \u003cem>unopposed\u003c/em> in 1792. (His insistence on retiring four years later is what led to our current two-term limit.) President James Monroe also ran without a major opponent in \u003ca href=\"https://en.wikipedia.org/wiki/1820_United_States_presidential_election\" target=\"_blank\" rel=\"noopener noreferrer\">1820\u003c/a>. Two hundred years later, at least we have two people to choose from?\u003c/p>\n\u003cp>Here are some other presidential elections from American history that make this one look slightly less unhinged.\u003c/p>\n\u003cp>\u003cstrong>1800: The Tied Election\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888536\" class=\"wp-caption aligncenter\" style=\"max-width: 766px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888536\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.24.53-AM.png\" alt=\"Thomas Jefferson.\" width=\"766\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.24.53-AM.png 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.24.53-AM-160x98.png 160w\" sizes=\"(max-width: 766px) 100vw, 766px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Jefferson.\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s election cycle too long for ya? Think of the patient Americans who had to sit through 1800’s seven-month-long election (it ran from April to October), only to learn it had ended in a tie. At the time, the voting structure involved picking two candidates—the winner would be president, the runner-up vice president. When Thomas Jefferson and Aaron Burr tied, it was left up to the House of Representatives to pick a winner. After seven days and 35 different ballots, Jefferson was declared president, with Burr as his vice. The process was so convoluted, the results weren’t declared until Feb. 7, 1801. (If you need more juicy details, this is all covered in \u003cem>Hamilton\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>1824: The (First) President Who Ignored the Popular Vote\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888537\" class=\"wp-caption aligncenter\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888537\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.26.40-AM.png\" alt=\"John Quincy Adams.\" width=\"758\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.26.40-AM.png 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.26.40-AM-160x97.png 160w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">John Quincy Adams.\u003c/figcaption>\u003c/figure>\n\u003cp>In 1824’s presidential election, Andrew Jackson won the popular vote. He lost the presidency to John Quincy Adams, however, after then-speaker of the house Henry Clay cast a tie-breaking vote to ensure Adams was declared president instead. Clay’s motivations for the move became clear after Adams promoted him to secretary of state. The much-displeased Jackson and his supporters accused them of a “corrupt bargain.” Which sounds pretty accurate, until you consider the fact that only 3.4% of Americans were permitted to vote, and all of them were rich white men, so … a belief the electoral process as “fair” to begin with is a bit rich.\u003c/p>\n\u003cp>\u003cstrong>1828: The (First) Bitchy Election\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888538\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.27.48-AM.png\" alt=\"Andrew Jackson.\" width=\"665\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.27.48-AM.png 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.27.48-AM-160x105.png 160w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Jackson.\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, hey! It’s John Quincy Adams again! When faced with his old opponent Andrew Jackson in the 1828 election, Adams went after Jackson’s wife, Rachel, referring to the couple as “a convicted adulteress and her paramour husband.” He was referring to the fact that the Jacksons accidentally got married before Rachel’s divorce was finalized. Then came “The Coffin Handbills”—leaflets that accused Jackson of massacring Native people during the War of 1812, executing deserters, and enjoying duels just a little bit too much. (He was involved in about 100 of them, so … yeah, probably.) Soon after, Virginia Congressman John Taliaferro piled on and accused Jackson of cannibalism. Jackson hit back by accusing Adams of sending an American girl to perform sex acts on a Russian czar. Adams also got (falsely) accused of making the government pay for his billiard table.\u003c/p>\n\u003cp>In the end, Jackson won in a landslide. Still, the bitterness remained. When Rachel Jackson died before his inauguration, Jackson accused Adams of having a hand in her death, via the stress caused by the bigamy accusations. “May God Almighty forgive her murderers as I know she forgave them,” Jackson said at her funeral. “I never can.” Needless to say, Jackson refused to meet with the outgoing president, as was customary. And Adams refused to go Jackson’s inauguration.\u003c/p>\n\u003cp>\u003cstrong>1872: The Presidential Candidate Who Died\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888539\" class=\"wp-caption aligncenter\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.29.34-AM.png\" alt=\"Horace Greeley.\" width=\"680\" height=\"393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.29.34-AM.png 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.29.34-AM-160x92.png 160w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Horace Greeley.\u003c/figcaption>\u003c/figure>\n\u003cp>Before his second term, President Ulysses S. Grant was up against Democrat Horace Greeley, the founder and editor of the \u003cem>New York Tribune\u003c/em>. Greeley, however, dropped dead before the electoral college votes had been cast. Grant ultimately sailed through with 286 of the votes, but Greeley got more support than anticipated, winning 44% of the popular vote (about 3 million ballots). Greeley remains the only presidential candidate in American history to die before a winner was declared. Strangely, his wife had died just one week before him. There is a semi-happy ending though: Grant successfully wiped out the Ku Klux Klan for 50 years with the Enforcement Act of 1871.\u003c/p>\n\u003cp>\u003cstrong>1876: The One Where Everyone Agreed to Screw Over Black People\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888540\" class=\"wp-caption aligncenter\" style=\"max-width: 765px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.31.41-AM.png\" alt=\"Rutherford B. Hayes.\" width=\"765\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.31.41-AM.png 765w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.31.41-AM-160x104.png 160w\" sizes=\"(max-width: 765px) 100vw, 765px\">\u003cfigcaption class=\"wp-caption-text\">Rutherford B. Hayes.\u003c/figcaption>\u003c/figure>\n\u003cp>When Republican Rutherford B. Hayes and Democrat Samuel J. Tilden went head-to-head in 1876, the results were a total mess. This was because Florida, Louisiana and South Carolina couldn’t decide who to grant victory to. Subsequently, despite the fact that Tilden was the winner of the popular vote, Republicans and Democrats decided to come up with a shady deal to put Hayes in office. It was called the Compromise of 1877; it granted Hayes the presidency in exchange for withdrawing federal troops from the South. This, in effect, ended \u003ca href=\"https://en.wikipedia.org/wiki/Reconstruction_era\" target=\"_blank\" rel=\"noopener noreferrer\">Reconstruction\u003c/a> and handed those states back to “Democratic Redeemers,” who immediately went about enacting Jim Crow laws and systematically stopping Black folks from voting. Thanks, white people.\u003c/p>\n\u003cp>\u003cstrong>1920: The Imprisoned Presidential Candidate\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888541\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.33.22-AM.png\" alt=\"Eugene V. Debs.\" width=\"725\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.33.22-AM.png 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.33.22-AM-160x101.png 160w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Eugene V. Debs.\u003c/figcaption>\u003c/figure>\n\u003cp>Socialist Party candidate Eugene V. Debs was serving 10 years in Atlanta’s Federal Penitentiary when he ran for President in 1920. Debs was imprisoned on espionage charges after vocally opposing World War I, and had previously been in and out of jail for his labor activism. 1920 was the fifth and last time Debs put himself forward as a presidential candidate. He won almost a million votes, taking third place after Republican Warren G. Harding and runner-up Democrat James Cox. The silver lining? One year into his term, President Harding commuted Debs’ sentence to time served.\u003c/p>\n\u003cp>\u003cstrong>2000: The State That Was Forced to Stop Counting Ballots\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/GettyImages-51568480-800x582.jpg\" alt=\"Newspapers sit side by side at a newstand. 'The New York Post' proclaims Texas Gov. George W. Bush the winner of the presidential election, while the 'New York Daily News' says the election is 'Too Close.' November, 2000.\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/GettyImages-51568480-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/GettyImages-51568480-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/GettyImages-51568480-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/GettyImages-51568480-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/GettyImages-51568480-1536x1118.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/GettyImages-51568480.jpg 1619w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The New York Post’ proclaims Texas Gov. George W. Bush the winner of the presidential election, while the ‘New York Daily News’ is more circumspect in their front page assessment. November, 2000. \u003ccite>(HENNY RAY ABRAMS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of us are old (and scarred) enough to remember the raging nightmare that was the aftermath of the 2000 election between George W. Bush and Al Gore. On the first night, the results in New Mexico, Oregon and Florida were too close to call. Then, when it finally came down to just Florida, Gore and the Democrats contested close results in several counties. This triggered mandatory recounts. Then the Florida and Federal Supreme Courts commenced a frustrating squabble that went on for an agonizing 36 days. (Don’t even get me started on all that “\u003ca href=\"https://www.npr.org/2018/11/12/666812854/the-florida-recount-of-2000-a-nightmare-that-goes-on-haunting\" target=\"_blank\" rel=\"noopener noreferrer\">hanging chads\u003c/a>” business.) In the end, the Supreme Court ruled that a statewide recount was unconstitutional, and that smaller recounts just straight up shouldn’t happen. That meant the original tally still stood, Bush became president, and Gore went on to teach the world about how soon climate change is going to kill us all.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Bush v. Gore is now remembered as the closest election in U.S. history. Pray hard we don’t have another like it.\u003c/p>\n\n",
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"excerpt": "Imprisoned candidates, unopposed elections, bitching matches... Here are the elections that give 2020 a run for its money. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2020 election is weird, to put it mildly. We’ve got a deadly pandemic limiting how many people feel safe voting in person. We’ve got fears around whether or not the USPS is capable of coping with an increase in mail ballots. We’ve got a president who has repeatedly refused to agree to a peaceful transfer of power. And we are facing election results that will likely take days to finalize instead of hours. It all feels very—to use the word that sums up almost everything in 2020—unprecedented.\u003c/p>\n\u003cp>Well, here’s a newsflash: It’s not.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elections have been a mess in America ever since George Washington—a man who no longer even wanted to be president—was pressured into running \u003cem>unopposed\u003c/em> in 1792. (His insistence on retiring four years later is what led to our current two-term limit.) President James Monroe also ran without a major opponent in \u003ca href=\"https://en.wikipedia.org/wiki/1820_United_States_presidential_election\" target=\"_blank\" rel=\"noopener noreferrer\">1820\u003c/a>. Two hundred years later, at least we have two people to choose from?\u003c/p>\n\u003cp>Here are some other presidential elections from American history that make this one look slightly less unhinged.\u003c/p>\n\u003cp>\u003cstrong>1800: The Tied Election\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888536\" class=\"wp-caption aligncenter\" style=\"max-width: 766px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888536\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.24.53-AM.png\" alt=\"Thomas Jefferson.\" width=\"766\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.24.53-AM.png 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.24.53-AM-160x98.png 160w\" sizes=\"(max-width: 766px) 100vw, 766px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Jefferson.\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s election cycle too long for ya? Think of the patient Americans who had to sit through 1800’s seven-month-long election (it ran from April to October), only to learn it had ended in a tie. At the time, the voting structure involved picking two candidates—the winner would be president, the runner-up vice president. When Thomas Jefferson and Aaron Burr tied, it was left up to the House of Representatives to pick a winner. After seven days and 35 different ballots, Jefferson was declared president, with Burr as his vice. The process was so convoluted, the results weren’t declared until Feb. 7, 1801. (If you need more juicy details, this is all covered in \u003cem>Hamilton\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1824: The (First) President Who Ignored the Popular Vote\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888537\" class=\"wp-caption aligncenter\" style=\"max-width: 758px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888537\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.26.40-AM.png\" alt=\"John Quincy Adams.\" width=\"758\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.26.40-AM.png 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.26.40-AM-160x97.png 160w\" sizes=\"(max-width: 758px) 100vw, 758px\">\u003cfigcaption class=\"wp-caption-text\">John Quincy Adams.\u003c/figcaption>\u003c/figure>\n\u003cp>In 1824’s presidential election, Andrew Jackson won the popular vote. He lost the presidency to John Quincy Adams, however, after then-speaker of the house Henry Clay cast a tie-breaking vote to ensure Adams was declared president instead. Clay’s motivations for the move became clear after Adams promoted him to secretary of state. The much-displeased Jackson and his supporters accused them of a “corrupt bargain.” Which sounds pretty accurate, until you consider the fact that only 3.4% of Americans were permitted to vote, and all of them were rich white men, so … a belief the electoral process as “fair” to begin with is a bit rich.\u003c/p>\n\u003cp>\u003cstrong>1828: The (First) Bitchy Election\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888538\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.27.48-AM.png\" alt=\"Andrew Jackson.\" width=\"665\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.27.48-AM.png 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.27.48-AM-160x105.png 160w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Jackson.\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, hey! It’s John Quincy Adams again! When faced with his old opponent Andrew Jackson in the 1828 election, Adams went after Jackson’s wife, Rachel, referring to the couple as “a convicted adulteress and her paramour husband.” He was referring to the fact that the Jacksons accidentally got married before Rachel’s divorce was finalized. Then came “The Coffin Handbills”—leaflets that accused Jackson of massacring Native people during the War of 1812, executing deserters, and enjoying duels just a little bit too much. (He was involved in about 100 of them, so … yeah, probably.) Soon after, Virginia Congressman John Taliaferro piled on and accused Jackson of cannibalism. Jackson hit back by accusing Adams of sending an American girl to perform sex acts on a Russian czar. Adams also got (falsely) accused of making the government pay for his billiard table.\u003c/p>\n\u003cp>In the end, Jackson won in a landslide. Still, the bitterness remained. When Rachel Jackson died before his inauguration, Jackson accused Adams of having a hand in her death, via the stress caused by the bigamy accusations. “May God Almighty forgive her murderers as I know she forgave them,” Jackson said at her funeral. “I never can.” Needless to say, Jackson refused to meet with the outgoing president, as was customary. And Adams refused to go Jackson’s inauguration.\u003c/p>\n\u003cp>\u003cstrong>1872: The Presidential Candidate Who Died\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888539\" class=\"wp-caption aligncenter\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.29.34-AM.png\" alt=\"Horace Greeley.\" width=\"680\" height=\"393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.29.34-AM.png 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.29.34-AM-160x92.png 160w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Horace Greeley.\u003c/figcaption>\u003c/figure>\n\u003cp>Before his second term, President Ulysses S. Grant was up against Democrat Horace Greeley, the founder and editor of the \u003cem>New York Tribune\u003c/em>. Greeley, however, dropped dead before the electoral college votes had been cast. Grant ultimately sailed through with 286 of the votes, but Greeley got more support than anticipated, winning 44% of the popular vote (about 3 million ballots). Greeley remains the only presidential candidate in American history to die before a winner was declared. Strangely, his wife had died just one week before him. There is a semi-happy ending though: Grant successfully wiped out the Ku Klux Klan for 50 years with the Enforcement Act of 1871.\u003c/p>\n\u003cp>\u003cstrong>1876: The One Where Everyone Agreed to Screw Over Black People\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888540\" class=\"wp-caption aligncenter\" style=\"max-width: 765px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.31.41-AM.png\" alt=\"Rutherford B. Hayes.\" width=\"765\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.31.41-AM.png 765w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.31.41-AM-160x104.png 160w\" sizes=\"(max-width: 765px) 100vw, 765px\">\u003cfigcaption class=\"wp-caption-text\">Rutherford B. Hayes.\u003c/figcaption>\u003c/figure>\n\u003cp>When Republican Rutherford B. Hayes and Democrat Samuel J. Tilden went head-to-head in 1876, the results were a total mess. This was because Florida, Louisiana and South Carolina couldn’t decide who to grant victory to. Subsequently, despite the fact that Tilden was the winner of the popular vote, Republicans and Democrats decided to come up with a shady deal to put Hayes in office. It was called the Compromise of 1877; it granted Hayes the presidency in exchange for withdrawing federal troops from the South. This, in effect, ended \u003ca href=\"https://en.wikipedia.org/wiki/Reconstruction_era\" target=\"_blank\" rel=\"noopener noreferrer\">Reconstruction\u003c/a> and handed those states back to “Democratic Redeemers,” who immediately went about enacting Jim Crow laws and systematically stopping Black folks from voting. Thanks, white people.\u003c/p>\n\u003cp>\u003cstrong>1920: The Imprisoned Presidential Candidate\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888541\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.33.22-AM.png\" alt=\"Eugene V. Debs.\" width=\"725\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.33.22-AM.png 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-29-at-12.33.22-AM-160x101.png 160w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Eugene V. Debs.\u003c/figcaption>\u003c/figure>\n\u003cp>Socialist Party candidate Eugene V. Debs was serving 10 years in Atlanta’s Federal Penitentiary when he ran for President in 1920. Debs was imprisoned on espionage charges after vocally opposing World War I, and had previously been in and out of jail for his labor activism. 1920 was the fifth and last time Debs put himself forward as a presidential candidate. He won almost a million votes, taking third place after Republican Warren G. Harding and runner-up Democrat James Cox. The silver lining? One year into his term, President Harding commuted Debs’ sentence to time served.\u003c/p>\n\u003cp>\u003cstrong>2000: The State That Was Forced to Stop Counting Ballots\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13888543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/GettyImages-51568480-800x582.jpg\" alt=\"Newspapers sit side by side at a newstand. 'The New York Post' proclaims Texas Gov. George W. Bush the winner of the presidential election, while the 'New York Daily News' says the election is 'Too Close.' November, 2000.\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/GettyImages-51568480-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/GettyImages-51568480-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/GettyImages-51568480-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/GettyImages-51568480-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/GettyImages-51568480-1536x1118.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/GettyImages-51568480.jpg 1619w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The New York Post’ proclaims Texas Gov. George W. Bush the winner of the presidential election, while the ‘New York Daily News’ is more circumspect in their front page assessment. November, 2000. \u003ccite>(HENNY RAY ABRAMS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of us are old (and scarred) enough to remember the raging nightmare that was the aftermath of the 2000 election between George W. Bush and Al Gore. On the first night, the results in New Mexico, Oregon and Florida were too close to call. Then, when it finally came down to just Florida, Gore and the Democrats contested close results in several counties. This triggered mandatory recounts. Then the Florida and Federal Supreme Courts commenced a frustrating squabble that went on for an agonizing 36 days. (Don’t even get me started on all that “\u003ca href=\"https://www.npr.org/2018/11/12/666812854/the-florida-recount-of-2000-a-nightmare-that-goes-on-haunting\" target=\"_blank\" rel=\"noopener noreferrer\">hanging chads\u003c/a>” business.) In the end, the Supreme Court ruled that a statewide recount was unconstitutional, and that smaller recounts just straight up shouldn’t happen. That meant the original tally still stood, Bush became president, and Gore went on to teach the world about how soon climate change is going to kill us all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bush v. Gore is now remembered as the closest election in U.S. history. Pray hard we don’t have another like it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Hamilton' Comes Home, Just in Time For the Fourth of July",
"headTitle": "‘Hamilton’ Comes Home, Just in Time For the Fourth of July | KQED",
"content": "\u003cblockquote>\u003cp>We committed the unpardonable crime of being mavericks who were successful, and everybody hated us. It would’ve been fine if we’d been just hacks and made a lot of money, that’s okay. Or to be really original and starve, that’s okay. But it’s not okay to do both, and they didn’t forgive us.\u003c/p>\u003c/blockquote>\n\u003cp>That’s what Stephen Sondheim says in the 2016 documentary \u003cem>Best Worst Thing That Ever Could’ve Happened\u003c/em>. He’s speaking about the glee and meanness in the press and elsewhere over the commercial failure and quick closure of the 1981 musical \u003cem>Merrily We Roll Along\u003c/em>, which he created with producer and director Hal Prince after the successes they’d had with \u003cem>Follies \u003c/em>and especially \u003cem>Sweeney Todd\u003c/em>. Sondheim isn’t saying that’s why people didn’t like the show; he’s saying that’s why they took such pleasure in not liking it.\u003c/p>\n\u003cp>Talking about \u003cem>Hamilton \u003c/em>now can, if Sondheim is right, provoke a similar reaction. The film version of \u003cem>Hamilton\u003c/em> that arrives Friday on Disney+ is a film of the stage musical, assembled from three days of performances when the show was at its hottest, in June 2016, just before the original cast began to leave. \u003cem>Hamilton\u003c/em> was a juggernaut by then, and it’s a Disney movie now, but it was also “really original” and, let’s be honest: pretty high-risk.\u003c/p>\n\u003cp>It’s not just that it’s a race-bent hip-hop musical about the Founding Fathers. It’s almost entirely sung-through, meaning there’s little dialogue to flesh out the story. The company, outside the main characters, dresses in plain white and cream in what often looks like underwear. The staging plays with time, both by spinning it backward and forward and by stopping it entirely. And arguably its most humane, deeply felt performance is by Leslie Odom Jr. playing Aaron Burr, the man who kills the title character. And who reminds you in the opening number that that’s how this all ends: “I’m the damn fool that shot him.”\u003c/p>\n\u003cp>It’s easy to forget now how much people struggled with what to make of it. In a \u003ca href=\"https://www.youtube.com/watch?v=WNFf7nMIGnE\" target=\"_blank\" rel=\"noopener noreferrer\">now-famous clip from 2009\u003c/a>, filmed when Barack Obama had been president only a few months, 29-year-old Lin-Manuel Miranda appears at a White House event called “An Evening of Poetry, Music & the Spoken Word.” He announces, in front of an audience that is not terribly different from the big-ticket Broadway audience he’ll one day have to impress, that he’s working on a hip-hop concept album about Alexander Hamilton, and they laugh at him. Gently, appreciatively, but they laugh. Even by the end, though they give him a big ovation, they don’t seem entirely sure it’s not a joke.\u003c/p>\n\u003cp>Can you imagine what it must have been like to continue working on this for another \u003cem>five years\u003c/em>, having taken something you see as an epic American tragedy for a spin at the White House and having them laugh? And continuing, and persuading your collaborators to continue, in the conviction that this was your \u003cem>Sweeney Todd\u003c/em>, and not your \u003cem>Merrily We Roll Along\u003c/em>?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But here we are, 11 years later, and the film adaptation is a marvelous and welcome addition to the show’s legacy in spite of a few imperfections. Even for those who know the celebrated cast album backward and forward. Even for those who have seen it live. Even for those who have seen it live with this cast.\u003c/p>\n\u003cp>A few basics: This is not a full film adaptation such as the movie versions of \u003cem>Grease \u003c/em>or \u003cem>Rent \u003c/em>or whatever. It’s a high-quality recording of the stage production, like the ones they would show on PBS’ \u003cem>Great Performances \u003c/em>(where some of us thought this might end up when they announced they were filming the show back in 2016). It’s directed by Thomas Kail, who also directed the musical onstage, and for the most part, it does a good job of translating the show for a home audience.\u003c/p>\n\u003cp>One reason to watch the film is to better appreciate the acting. Close-ups of theater actors can be a little distracting because acting for theater is sometimes exaggerated for the benefit of an audience that’s far away. When you see it from a foot away, it can look a little much. (Miranda is probably the performer who’s most negatively affected by that problem in this film. Well, Miranda and Jonathan Groff, whose tendency to spit is legendary. You shall see.) Fortunately, in most cases, the opportunity to see the actors up close brings out nuance and performance choices that aren’t discernible on the cast album \u003cem>and \u003c/em>wouldn’t even be fully obvious live. Phillipa Soo, playing Eliza, brings great warmth to some scenes that could be hard to take given the long-suffering nature of the character, and you get more of that when you see it up close.\u003c/p>\n\u003cp>Another reason is that the staging has a tendency to bring out different elements—additional elements—of what a song represents in a scene. One example is “My Shot.” On the album, it’s a song where Hamilton is bonding with John Laurens (Anthony Ramos), Lafayette (Daveed Diggs) and Hercules Mulligan (Okieriete Odaodowan). But in the film, you can more easily see how it serves to introduce Hamilton’s magnetism; it’s not only his new friends who are persuaded; he’s pulling in a whole bar full of listeners while Aaron Burr (Odom) sits, disapproving, nearby.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DSCKfXpAGHc&feature=emb_logo\u003c/p>\n\u003cp>You also really have to see it to appreciate the quality of the very best performances in it, particularly the work of Odom and Diggs. Aaron Burr is a confounding, complicated character, and seeing Odom operate in different parts of the stage and in clearly different performance modes reminds you that just like Diggs is playing Jefferson and also Lafayette and Ramos is playing Laurens and also Hamilton’s son Philip, Odom is also really playing two roles. He’s playing Burr in the moment, as Hamilton’s contemporary. But he’s also playing an older, reflective Burr—the one who’s able to explain at the end the profound effects of his having shot Hamilton. This older Burr is an intimately involved narrator, almost like the Leading Player in \u003cem>Pippin \u003c/em>or the narrator in \u003cem>Into the Woods \u003c/em>(or, for the matter, the Emcee in \u003cem>Cabaret\u003c/em>), and his performance there swells to “The World Was Wide Enough,” which contains the duel and Hamilton’s death.\u003c/p>\n\u003cp>But Odom’s performance as that contemporary Burr centers on two of the show’s best songs: “Wait For It” and “The Room Where it Happens.”\u003c/p>\n\u003cp>In the first, he’s a study in stillness, in the projection of restrained, coiled-spring tension. It’s a song of both great energy and enormous discipline, and seeing him perform it gives a better idea of how he holds those performance notes in balance. In “The Room Where it Happens,” you see that energy overwhelm him. This is where he abandons his existing ideas of patience, and the physicality of the performance—this is really the first time he fully joins in a dance—brings home the moment of transformation in a way that the music certainly supports but doesn’t fully communicate. When you see the performance, it is jazz, it’s Cab Calloway, it’s ecstatic, it’s church. It’s thrilling, and he’s losing himself.\u003c/p>\n\u003cp>As for Diggs, a true fact might say more than any description I can muster: I couldn’t stop watching his entrance as Lafayette in the song “Guns and Ships.” I kept rewinding it. I’ve heard the cast album more times than I can count (my phone might know, but I’m afraid to ask), and I still was so blown away by the charismatic sonic boom of that Lafayette entrance that I replayed those 45 seconds or so probably 10 times before I moved on, and then 10 more times at the end of the movie, and then 10 more times since.\u003c/p>\n\u003cp>There is something about a perfect marriage of writing and performance—that’s not to say there haven’t been and won’t be lots and lots of good Lafayettes, but it’s pretty hard to hear anybody else sing \u003ca href=\"https://www.youtube.com/watch?v=uQEeTe6nPX4\" target=\"_blank\" rel=\"noopener noreferrer\">“Blow, Gabriel, Blow”\u003c/a> after you hear Ethel Merman do it, you know? The same could be said about Diggs’ little hopping dance when he first enters as Jefferson, in his gaudy and somehow perfect purple suit, flapping the tails while he dances to “What’d I Miss?” He is an electric, charismatic, athletic performer, and when you see the physical choices, you get closer to understanding the full weight of the work he did.\u003c/p>\n\u003cp>It’s also worth seeing the film, as an effort to document the live show, because the musical performances are a little less polished. A cast album is … well, it’s a cast album, meant to be listenable by the broadest possible audience without reference to the action. And because that’s the case, the live performances of the music tend to be a little more ragged—more raucous, to use a more positive adjective—while the ones on the album are neater. Specifically with hip-hop and rap, the cast album documents those elements with the most rigorous adherence to the beat, while in the live show, there’s a little bit more of a tendency for the performers to bend the vocal a bit more around the rhythms, sometimes a bit more ahead of the beat or behind it, which you also hear in the performance of “My Shot” credited to the Roots that plays over the end credits. [aside postid='arts_13882671']\u003c/p>\n\u003cp>The last thing I’d mention that comes into focus much better when you see how it’s staged is the creative use of the company. There’s a relatively small ensemble outside the main cast, and they have to represent armies and wedding guests, and they provide the chorus, and they are the dancers. The way they’re used is both sparing and imaginative, with limited but emphatic costuming changes transforming them between scenes. And similarly, it’s worth noticing how the members of the main cast linger on the catwalk above the stage, sometimes singing or speaking from there and sometimes simply observing, often augmenting the ensemble. It’s a clever and sometimes quite touching way to continue the theme, which begins in the double-casting, of connections between the people in a life, how they are in the background at one time and prominent at another.\u003c/p>\n\u003cp>I do think there are a couple of missteps: Rather than simply showing the unconventional staging of “Satisfied,” which is the most creatively staged number—alongside perhaps the duel in the finale—Kail seems to have tried to come up with a filming technique that would provide, via filming and editing, the disorienting effect that staging had. They should’ve just filmed it, with its tremendous performance by Renée Elise Goldsberry; you lose something here that’s special. I would say the same about the side-by-side two-chair staging of “Dear Theodosia,” in that I’d have messed with it a little less.\u003c/p>\n\u003cp>But these are small nitpicks. On the whole, absolutely, positively, there is new insight and new excitement here for people who already know that they love this show, and even for those who have stayed away from the album. \u003cem>Hamilton\u003c/em> is a piece whose status as art is constantly threatened by its status as a phenomenon and a status symbol; the cultural exhaustion has been, at times, very real and beyond understandable. This is a good reset, and a good chance to put a fresh eye on it. You will notice new things (there are a few clever stage tricks I don’t want to spoil), you will marvel at little wonders like the perfectly still way Groff holds his head when he sings, and you will likely not be bothered by a couple of f-bombs that are garbled to avoid an R rating. (Most aren’t. But the rules are strict, so a couple had to be.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And if Sondheim is right, there will be plenty of people waiting for the next Lin-Manuel Miranda musical to go over like \u003cem>Merrily We Roll Along\u003c/em>. The film, I think, will not.\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=%27Hamilton%27+Comes+Home%2C+Just+In+Time+For+The+Fourth+Of+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The very good movie version of 'Hamilton,' filmed in 2016, will perk up faithful cast album fans—and new viewers, too.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote>\u003cp>We committed the unpardonable crime of being mavericks who were successful, and everybody hated us. It would’ve been fine if we’d been just hacks and made a lot of money, that’s okay. Or to be really original and starve, that’s okay. But it’s not okay to do both, and they didn’t forgive us.\u003c/p>\u003c/blockquote>\n\u003cp>That’s what Stephen Sondheim says in the 2016 documentary \u003cem>Best Worst Thing That Ever Could’ve Happened\u003c/em>. He’s speaking about the glee and meanness in the press and elsewhere over the commercial failure and quick closure of the 1981 musical \u003cem>Merrily We Roll Along\u003c/em>, which he created with producer and director Hal Prince after the successes they’d had with \u003cem>Follies \u003c/em>and especially \u003cem>Sweeney Todd\u003c/em>. Sondheim isn’t saying that’s why people didn’t like the show; he’s saying that’s why they took such pleasure in not liking it.\u003c/p>\n\u003cp>Talking about \u003cem>Hamilton \u003c/em>now can, if Sondheim is right, provoke a similar reaction. The film version of \u003cem>Hamilton\u003c/em> that arrives Friday on Disney+ is a film of the stage musical, assembled from three days of performances when the show was at its hottest, in June 2016, just before the original cast began to leave. \u003cem>Hamilton\u003c/em> was a juggernaut by then, and it’s a Disney movie now, but it was also “really original” and, let’s be honest: pretty high-risk.\u003c/p>\n\u003cp>It’s not just that it’s a race-bent hip-hop musical about the Founding Fathers. It’s almost entirely sung-through, meaning there’s little dialogue to flesh out the story. The company, outside the main characters, dresses in plain white and cream in what often looks like underwear. The staging plays with time, both by spinning it backward and forward and by stopping it entirely. And arguably its most humane, deeply felt performance is by Leslie Odom Jr. playing Aaron Burr, the man who kills the title character. And who reminds you in the opening number that that’s how this all ends: “I’m the damn fool that shot him.”\u003c/p>\n\u003cp>It’s easy to forget now how much people struggled with what to make of it. In a \u003ca href=\"https://www.youtube.com/watch?v=WNFf7nMIGnE\" target=\"_blank\" rel=\"noopener noreferrer\">now-famous clip from 2009\u003c/a>, filmed when Barack Obama had been president only a few months, 29-year-old Lin-Manuel Miranda appears at a White House event called “An Evening of Poetry, Music & the Spoken Word.” He announces, in front of an audience that is not terribly different from the big-ticket Broadway audience he’ll one day have to impress, that he’s working on a hip-hop concept album about Alexander Hamilton, and they laugh at him. Gently, appreciatively, but they laugh. Even by the end, though they give him a big ovation, they don’t seem entirely sure it’s not a joke.\u003c/p>\n\u003cp>Can you imagine what it must have been like to continue working on this for another \u003cem>five years\u003c/em>, having taken something you see as an epic American tragedy for a spin at the White House and having them laugh? And continuing, and persuading your collaborators to continue, in the conviction that this was your \u003cem>Sweeney Todd\u003c/em>, and not your \u003cem>Merrily We Roll Along\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But here we are, 11 years later, and the film adaptation is a marvelous and welcome addition to the show’s legacy in spite of a few imperfections. Even for those who know the celebrated cast album backward and forward. Even for those who have seen it live. Even for those who have seen it live with this cast.\u003c/p>\n\u003cp>A few basics: This is not a full film adaptation such as the movie versions of \u003cem>Grease \u003c/em>or \u003cem>Rent \u003c/em>or whatever. It’s a high-quality recording of the stage production, like the ones they would show on PBS’ \u003cem>Great Performances \u003c/em>(where some of us thought this might end up when they announced they were filming the show back in 2016). It’s directed by Thomas Kail, who also directed the musical onstage, and for the most part, it does a good job of translating the show for a home audience.\u003c/p>\n\u003cp>One reason to watch the film is to better appreciate the acting. Close-ups of theater actors can be a little distracting because acting for theater is sometimes exaggerated for the benefit of an audience that’s far away. When you see it from a foot away, it can look a little much. (Miranda is probably the performer who’s most negatively affected by that problem in this film. Well, Miranda and Jonathan Groff, whose tendency to spit is legendary. You shall see.) Fortunately, in most cases, the opportunity to see the actors up close brings out nuance and performance choices that aren’t discernible on the cast album \u003cem>and \u003c/em>wouldn’t even be fully obvious live. Phillipa Soo, playing Eliza, brings great warmth to some scenes that could be hard to take given the long-suffering nature of the character, and you get more of that when you see it up close.\u003c/p>\n\u003cp>Another reason is that the staging has a tendency to bring out different elements—additional elements—of what a song represents in a scene. One example is “My Shot.” On the album, it’s a song where Hamilton is bonding with John Laurens (Anthony Ramos), Lafayette (Daveed Diggs) and Hercules Mulligan (Okieriete Odaodowan). But in the film, you can more easily see how it serves to introduce Hamilton’s magnetism; it’s not only his new friends who are persuaded; he’s pulling in a whole bar full of listeners while Aaron Burr (Odom) sits, disapproving, nearby.\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/DSCKfXpAGHc'\n title='//www.youtube.com/embed/DSCKfXpAGHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You also really have to see it to appreciate the quality of the very best performances in it, particularly the work of Odom and Diggs. Aaron Burr is a confounding, complicated character, and seeing Odom operate in different parts of the stage and in clearly different performance modes reminds you that just like Diggs is playing Jefferson and also Lafayette and Ramos is playing Laurens and also Hamilton’s son Philip, Odom is also really playing two roles. He’s playing Burr in the moment, as Hamilton’s contemporary. But he’s also playing an older, reflective Burr—the one who’s able to explain at the end the profound effects of his having shot Hamilton. This older Burr is an intimately involved narrator, almost like the Leading Player in \u003cem>Pippin \u003c/em>or the narrator in \u003cem>Into the Woods \u003c/em>(or, for the matter, the Emcee in \u003cem>Cabaret\u003c/em>), and his performance there swells to “The World Was Wide Enough,” which contains the duel and Hamilton’s death.\u003c/p>\n\u003cp>But Odom’s performance as that contemporary Burr centers on two of the show’s best songs: “Wait For It” and “The Room Where it Happens.”\u003c/p>\n\u003cp>In the first, he’s a study in stillness, in the projection of restrained, coiled-spring tension. It’s a song of both great energy and enormous discipline, and seeing him perform it gives a better idea of how he holds those performance notes in balance. In “The Room Where it Happens,” you see that energy overwhelm him. This is where he abandons his existing ideas of patience, and the physicality of the performance—this is really the first time he fully joins in a dance—brings home the moment of transformation in a way that the music certainly supports but doesn’t fully communicate. When you see the performance, it is jazz, it’s Cab Calloway, it’s ecstatic, it’s church. It’s thrilling, and he’s losing himself.\u003c/p>\n\u003cp>As for Diggs, a true fact might say more than any description I can muster: I couldn’t stop watching his entrance as Lafayette in the song “Guns and Ships.” I kept rewinding it. I’ve heard the cast album more times than I can count (my phone might know, but I’m afraid to ask), and I still was so blown away by the charismatic sonic boom of that Lafayette entrance that I replayed those 45 seconds or so probably 10 times before I moved on, and then 10 more times at the end of the movie, and then 10 more times since.\u003c/p>\n\u003cp>There is something about a perfect marriage of writing and performance—that’s not to say there haven’t been and won’t be lots and lots of good Lafayettes, but it’s pretty hard to hear anybody else sing \u003ca href=\"https://www.youtube.com/watch?v=uQEeTe6nPX4\" target=\"_blank\" rel=\"noopener noreferrer\">“Blow, Gabriel, Blow”\u003c/a> after you hear Ethel Merman do it, you know? The same could be said about Diggs’ little hopping dance when he first enters as Jefferson, in his gaudy and somehow perfect purple suit, flapping the tails while he dances to “What’d I Miss?” He is an electric, charismatic, athletic performer, and when you see the physical choices, you get closer to understanding the full weight of the work he did.\u003c/p>\n\u003cp>It’s also worth seeing the film, as an effort to document the live show, because the musical performances are a little less polished. A cast album is … well, it’s a cast album, meant to be listenable by the broadest possible audience without reference to the action. And because that’s the case, the live performances of the music tend to be a little more ragged—more raucous, to use a more positive adjective—while the ones on the album are neater. Specifically with hip-hop and rap, the cast album documents those elements with the most rigorous adherence to the beat, while in the live show, there’s a little bit more of a tendency for the performers to bend the vocal a bit more around the rhythms, sometimes a bit more ahead of the beat or behind it, which you also hear in the performance of “My Shot” credited to the Roots that plays over the end credits. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last thing I’d mention that comes into focus much better when you see how it’s staged is the creative use of the company. There’s a relatively small ensemble outside the main cast, and they have to represent armies and wedding guests, and they provide the chorus, and they are the dancers. The way they’re used is both sparing and imaginative, with limited but emphatic costuming changes transforming them between scenes. And similarly, it’s worth noticing how the members of the main cast linger on the catwalk above the stage, sometimes singing or speaking from there and sometimes simply observing, often augmenting the ensemble. It’s a clever and sometimes quite touching way to continue the theme, which begins in the double-casting, of connections between the people in a life, how they are in the background at one time and prominent at another.\u003c/p>\n\u003cp>I do think there are a couple of missteps: Rather than simply showing the unconventional staging of “Satisfied,” which is the most creatively staged number—alongside perhaps the duel in the finale—Kail seems to have tried to come up with a filming technique that would provide, via filming and editing, the disorienting effect that staging had. They should’ve just filmed it, with its tremendous performance by Renée Elise Goldsberry; you lose something here that’s special. I would say the same about the side-by-side two-chair staging of “Dear Theodosia,” in that I’d have messed with it a little less.\u003c/p>\n\u003cp>But these are small nitpicks. On the whole, absolutely, positively, there is new insight and new excitement here for people who already know that they love this show, and even for those who have stayed away from the album. \u003cem>Hamilton\u003c/em> is a piece whose status as art is constantly threatened by its status as a phenomenon and a status symbol; the cultural exhaustion has been, at times, very real and beyond understandable. This is a good reset, and a good chance to put a fresh eye on it. You will notice new things (there are a few clever stage tricks I don’t want to spoil), you will marvel at little wonders like the perfectly still way Groff holds his head when he sings, and you will likely not be bothered by a couple of f-bombs that are garbled to avoid an R rating. (Most aren’t. But the rules are strict, so a couple had to be.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And if Sondheim is right, there will be plenty of people waiting for the next Lin-Manuel Miranda musical to go over like \u003cem>Merrily We Roll Along\u003c/em>. The film, I think, will not.\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=%27Hamilton%27+Comes+Home%2C+Just+In+Time+For+The+Fourth+Of+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Past Isn't Done With Us,' Says 'Hamilton' Creator Lin-Manuel Miranda",
"headTitle": "‘The Past Isn’t Done With Us,’ Says ‘Hamilton’ Creator Lin-Manuel Miranda | KQED",
"content": "\u003cp>For \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\" target=\"_blank\" rel=\"noopener noreferrer\">Lin-Manuel Miranda\u003c/a>, creator of the hip-hop musical \u003cem>Hamilton\u003c/em>, history always informs the present. “The past isn’t done with us. Ever, ever, ever,” he says.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> tells the story of the nation’s founding fathers, including Treasury Secretary Alexander Hamilton. Miranda wrote the music and lyrics and starred in the original production, which debuted on Broadway in 2015. The production garnered 11 Tony Awards, a Pulitzer Prize for drama and a Grammy for its original cast recording.\u003c/p>\n\u003cp>Miranda’s been heartened to see the musical’s lyrics—including “I’m past patiently waiting” and “History has its eyes on you”—printed on signs at \u003ca href=\"https://www.npr.org/2020/06/06/871553038/largely-peaceful-anti-police-brutality-protests-continue-across-the-country\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter protests \u003c/a>around the country.\u003c/p>\n\u003cp>“When you write a musical that brushes against sort of the origins of this country, it’s always going to be relevant,” he says. “The fights we had at the [country’s] origin are the fights we’re still having. … I’ve always said that slavery is the original sin of this country.”\u003c/p>\n\u003cp>A film of the original Broadway production of \u003cem>Hamilton,\u003c/em> taped in 2016\u003cem>, \u003c/em>will begin streaming on Disney+ on July 3. Miranda, who stars in the title role, calls the film a “a love letter and thank you” to the company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s probably the best rehearsed movie cast of all time, because we’d been doing our roles for a year,” Miranda says. “It’s not a definitive production of a live\u003cem> Hamilton\u003c/em>, but it is a snapshot of what it felt like with that company at the end of June of 2016.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DSCKfXpAGHc\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the way \u003c/strong>\u003cstrong>\u003cem>Hamilton \u003c/em>\u003c/strong>\u003cstrong>fits into the country’s current conversation about systemic racism and the legacy of slavery \u003c/strong>\u003c/p>\n\u003cp>[Slavery] is in the third line of our show. It’s a system in which every character in our show is complicit in some way or another. And again, I think different things resonate differently. …\u003c/p>\n\u003cp>Hamilton—although he voiced anti-slavery beliefs—remained complicit in the system. And other than calling out Jefferson on his hypocrisy with regards to slavery in Act 2, doesn’t really say much else over the course of Act 2. And I think that’s actually pretty honest. … He didn’t really do much about it after that. None of them did. None of them did enough. And we say that, too, in the final moments of the song. So that hits differently now because we’re having a conversation, we’re having a real reckoning of how do you uproot an original sin?\u003c/p>\n\u003cp>\u003cstrong>On creating Broadway roles for people of color with \u003c/strong>\u003cem>\u003cstrong>Hamilton \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Listen, I’m a musical theater composer because I couldn’t be just a musical theater actor. If I’d settled for being a musical theater actor I’d be hopefully auditioning for a bus-and-truck [production] of \u003cem>West Side Story \u003c/em>somewhere. … The realization landed on me early, like there’s no life for you in musical theater because there are no parts. And \u003cem>In the Heights\u003c/em> [Miranda’s first Broadway production] really came out of a result of seeing [and] writing what I saw as missing in the musical theater canon for Latinos, and really as simple as: Can we not be holding knives in a gang in the ’50s? Because that exists. And like, what do we have to show for it nearly 50 years later?\u003c/p>\n\u003cp>And so every time I write a piece of theater, I’m trying to get us on the board. And that continued with \u003cem>Hamilton\u003c/em>, of, how can we write the parts that I didn’t see existing? Really, the only thing I saw that really gave me permission to write musicals was\u003cem> Rent\u003c/em>, which was an incredibly diverse cast. And I went from being a fan of musicals to writing musicals when I saw that show, because it was the thing that gave me permission. It was contemporary and it had Latino actors and Black actors, and it told me you’re allowed to write what you know into a show. No other musical had told me that. … It’s been gratifying to see how these shows\u003cem> Heights\u003c/em> and \u003cem>Hamilton\u003c/em> in particular, not only provide employment, but also provide like permission and amplification of a lot of other voices.\u003c/p>\n\u003cp>\u003cstrong>On this work being ongoing \u003c/strong>\u003c/p>\n\u003cp>I never bought into the illusion that the Obamas being in the White House ended racial issues in our country. Just the same way I used to get the question all the time in that first year of, “Now that \u003cem>Hamilton\u003c/em>‘s here, do you feel like Broadway will be more diverse?” And I was like, no, because shows take years to develop. And I know what’s in the pipeline and it’s not [diverse]. Next year is going to be even whiter than this year was. … I gird myself for the whiplash in both the country and the particular corner of the world that is theater.\u003c/p>\n\u003cp>\u003cstrong>On being a Puerto Rican kid\u003c/strong>\u003c/p>\n\u003cp>I went to a school with not a lot of other Latino kids. I think [there was] one other Puerto Rican kid in my grade. And so for me, it was this fantastic secret. And my parents were so proudly Puerto Rican and so pro-learning [our] heritage that I was proud that I got extra Three Kings Day on top of Christmas. …\u003c/p>\n\u003cp>I also would spend my summers on [Puerto Rico], this beautiful island where my grandparents both worked. My grandmother ran a travel agency and my grandfather was a bank manager. And I bounced between their businesses eating candy and left to my own devices, exploring town, and was sort of spoiled rotten in this incredible landscape. …\u003c/p>\n\u003cp>So it to me, it felt additive. But it also wasn’t something I brought to school much. And I think a lot of \u003cem>In the Heights \u003c/em>was me learning to bring all of myself in the room. I let most folks call me Lin. My parents and my wife call me Lin-Manuel, and a lot of what\u003cem> In the Heights \u003c/em>was about was bringing Lin-Manuel into the same room where Lin was writing musicals and sort of using all of myself to write.\u003c/p>\n\u003cp>\u003cstrong>On seeing his musical \u003c/strong>\u003cstrong>\u003cem>In the Heights\u003c/em>\u003c/strong>\u003cstrong> brought to the screen on a large scale—the film is scheduled for release in 2021\u003c/strong>\u003c/p>\n\u003cp>I have to give [director] Jon [M. Chu] a lot of credit, because he had a big vision for it and it was bigger than even my vision of it. I always sort of pictured it as this little indie musical and hopefully we could film it in our neighborhood, because I just don’t think any other neighborhood looks like [New York City’s] Washington Heights. Demographics aside, the hills and the bridge and the literal heights of it, I find it breathtaking every day. I breathe easier when I’m in it.\u003c/p>\n\u003cp>But Jon also was coming off the success of \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>. And what he learned on that was, we don’t get a lot of opportunities like this, so we have to swing big. And he really lobbied for a big movie that is also set in this neighborhood. And so filming last summer was one of those joyous experiences of my life because, again, I was writing songs about this neighborhood I loved to be performed on stage. But then to see those songs reinterpreted on the streets where I was writing them was breathtaking.\u003c/p>\n\u003cp>\u003cstrong> On not putting pressure on himself to be creatively productive during the pandemic \u003c/strong>\u003c/p>\n\u003cp>[I] feed so much on the energy of the city, and I miss that. One of my favorite writing spots is actually taking the train, because you kind of choose your level of engagement. I can sit in a corner of the A train. I can absorb the energy from the folks around me, whatever mariachi or break-dancing group might be happening, wherever folks are getting on and whatever lives are coming on and off the train. And I still have my headphones on and still be in my bubble and write. It’s like all of the energy of interaction without necessarily being drawn out of the writing trance. So I think I miss that the most. …\u003c/p>\n\u003cp>I’d love to be able to tell you that I am writing \u003cem>King Lear\u003c/em> or the sonnets now that the plagues have closed all the playhouses. I’m afraid I can’t, because I’m as worried about the world as anyone else. I think I wake up with stomachaches more often than I don’t, because I worry about what’s going on. I worry about my city reopening too soon and having a second spike. I worry about the protesters and hoping they’re okay. I worry about all the things everyone is worried about.\u003c/p>\n\u003cp>And I find that because I’m home, it is harder to … distance myself from those thoughts. … And I think that’s okay. Like, the world is being remade in a fundamentally different way because of this pandemic, and just because of where we are. And artists have to give themselves the latitude to acknowledge that. So give yourself a break if you’re not writing right now.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Past+Isn%27t+Done+With+Us%2C%27+Says+%27Hamilton%27+Creator+Lin-Manuel+Miranda+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\" target=\"_blank\" rel=\"noopener noreferrer\">Lin-Manuel Miranda\u003c/a>, creator of the hip-hop musical \u003cem>Hamilton\u003c/em>, history always informs the present. “The past isn’t done with us. Ever, ever, ever,” he says.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> tells the story of the nation’s founding fathers, including Treasury Secretary Alexander Hamilton. Miranda wrote the music and lyrics and starred in the original production, which debuted on Broadway in 2015. The production garnered 11 Tony Awards, a Pulitzer Prize for drama and a Grammy for its original cast recording.\u003c/p>\n\u003cp>Miranda’s been heartened to see the musical’s lyrics—including “I’m past patiently waiting” and “History has its eyes on you”—printed on signs at \u003ca href=\"https://www.npr.org/2020/06/06/871553038/largely-peaceful-anti-police-brutality-protests-continue-across-the-country\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter protests \u003c/a>around the country.\u003c/p>\n\u003cp>“When you write a musical that brushes against sort of the origins of this country, it’s always going to be relevant,” he says. “The fights we had at the [country’s] origin are the fights we’re still having. … I’ve always said that slavery is the original sin of this country.”\u003c/p>\n\u003cp>A film of the original Broadway production of \u003cem>Hamilton,\u003c/em> taped in 2016\u003cem>, \u003c/em>will begin streaming on Disney+ on July 3. Miranda, who stars in the title role, calls the film a “a love letter and thank you” to the company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s probably the best rehearsed movie cast of all time, because we’d been doing our roles for a year,” Miranda says. “It’s not a definitive production of a live\u003cem> Hamilton\u003c/em>, but it is a snapshot of what it felt like with that company at the end of June of 2016.”\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/DSCKfXpAGHc'\n title='//www.youtube.com/embed/DSCKfXpAGHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the way \u003c/strong>\u003cstrong>\u003cem>Hamilton \u003c/em>\u003c/strong>\u003cstrong>fits into the country’s current conversation about systemic racism and the legacy of slavery \u003c/strong>\u003c/p>\n\u003cp>[Slavery] is in the third line of our show. It’s a system in which every character in our show is complicit in some way or another. And again, I think different things resonate differently. …\u003c/p>\n\u003cp>Hamilton—although he voiced anti-slavery beliefs—remained complicit in the system. And other than calling out Jefferson on his hypocrisy with regards to slavery in Act 2, doesn’t really say much else over the course of Act 2. And I think that’s actually pretty honest. … He didn’t really do much about it after that. None of them did. None of them did enough. And we say that, too, in the final moments of the song. So that hits differently now because we’re having a conversation, we’re having a real reckoning of how do you uproot an original sin?\u003c/p>\n\u003cp>\u003cstrong>On creating Broadway roles for people of color with \u003c/strong>\u003cem>\u003cstrong>Hamilton \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Listen, I’m a musical theater composer because I couldn’t be just a musical theater actor. If I’d settled for being a musical theater actor I’d be hopefully auditioning for a bus-and-truck [production] of \u003cem>West Side Story \u003c/em>somewhere. … The realization landed on me early, like there’s no life for you in musical theater because there are no parts. And \u003cem>In the Heights\u003c/em> [Miranda’s first Broadway production] really came out of a result of seeing [and] writing what I saw as missing in the musical theater canon for Latinos, and really as simple as: Can we not be holding knives in a gang in the ’50s? Because that exists. And like, what do we have to show for it nearly 50 years later?\u003c/p>\n\u003cp>And so every time I write a piece of theater, I’m trying to get us on the board. And that continued with \u003cem>Hamilton\u003c/em>, of, how can we write the parts that I didn’t see existing? Really, the only thing I saw that really gave me permission to write musicals was\u003cem> Rent\u003c/em>, which was an incredibly diverse cast. And I went from being a fan of musicals to writing musicals when I saw that show, because it was the thing that gave me permission. It was contemporary and it had Latino actors and Black actors, and it told me you’re allowed to write what you know into a show. No other musical had told me that. … It’s been gratifying to see how these shows\u003cem> Heights\u003c/em> and \u003cem>Hamilton\u003c/em> in particular, not only provide employment, but also provide like permission and amplification of a lot of other voices.\u003c/p>\n\u003cp>\u003cstrong>On this work being ongoing \u003c/strong>\u003c/p>\n\u003cp>I never bought into the illusion that the Obamas being in the White House ended racial issues in our country. Just the same way I used to get the question all the time in that first year of, “Now that \u003cem>Hamilton\u003c/em>‘s here, do you feel like Broadway will be more diverse?” And I was like, no, because shows take years to develop. And I know what’s in the pipeline and it’s not [diverse]. Next year is going to be even whiter than this year was. … I gird myself for the whiplash in both the country and the particular corner of the world that is theater.\u003c/p>\n\u003cp>\u003cstrong>On being a Puerto Rican kid\u003c/strong>\u003c/p>\n\u003cp>I went to a school with not a lot of other Latino kids. I think [there was] one other Puerto Rican kid in my grade. And so for me, it was this fantastic secret. And my parents were so proudly Puerto Rican and so pro-learning [our] heritage that I was proud that I got extra Three Kings Day on top of Christmas. …\u003c/p>\n\u003cp>I also would spend my summers on [Puerto Rico], this beautiful island where my grandparents both worked. My grandmother ran a travel agency and my grandfather was a bank manager. And I bounced between their businesses eating candy and left to my own devices, exploring town, and was sort of spoiled rotten in this incredible landscape. …\u003c/p>\n\u003cp>So it to me, it felt additive. But it also wasn’t something I brought to school much. And I think a lot of \u003cem>In the Heights \u003c/em>was me learning to bring all of myself in the room. I let most folks call me Lin. My parents and my wife call me Lin-Manuel, and a lot of what\u003cem> In the Heights \u003c/em>was about was bringing Lin-Manuel into the same room where Lin was writing musicals and sort of using all of myself to write.\u003c/p>\n\u003cp>\u003cstrong>On seeing his musical \u003c/strong>\u003cstrong>\u003cem>In the Heights\u003c/em>\u003c/strong>\u003cstrong> brought to the screen on a large scale—the film is scheduled for release in 2021\u003c/strong>\u003c/p>\n\u003cp>I have to give [director] Jon [M. Chu] a lot of credit, because he had a big vision for it and it was bigger than even my vision of it. I always sort of pictured it as this little indie musical and hopefully we could film it in our neighborhood, because I just don’t think any other neighborhood looks like [New York City’s] Washington Heights. Demographics aside, the hills and the bridge and the literal heights of it, I find it breathtaking every day. I breathe easier when I’m in it.\u003c/p>\n\u003cp>But Jon also was coming off the success of \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>. And what he learned on that was, we don’t get a lot of opportunities like this, so we have to swing big. And he really lobbied for a big movie that is also set in this neighborhood. And so filming last summer was one of those joyous experiences of my life because, again, I was writing songs about this neighborhood I loved to be performed on stage. But then to see those songs reinterpreted on the streets where I was writing them was breathtaking.\u003c/p>\n\u003cp>\u003cstrong> On not putting pressure on himself to be creatively productive during the pandemic \u003c/strong>\u003c/p>\n\u003cp>[I] feed so much on the energy of the city, and I miss that. One of my favorite writing spots is actually taking the train, because you kind of choose your level of engagement. I can sit in a corner of the A train. I can absorb the energy from the folks around me, whatever mariachi or break-dancing group might be happening, wherever folks are getting on and whatever lives are coming on and off the train. And I still have my headphones on and still be in my bubble and write. It’s like all of the energy of interaction without necessarily being drawn out of the writing trance. So I think I miss that the most. …\u003c/p>\n\u003cp>I’d love to be able to tell you that I am writing \u003cem>King Lear\u003c/em> or the sonnets now that the plagues have closed all the playhouses. I’m afraid I can’t, because I’m as worried about the world as anyone else. I think I wake up with stomachaches more often than I don’t, because I worry about what’s going on. I worry about my city reopening too soon and having a second spike. I worry about the protesters and hoping they’re okay. I worry about all the things everyone is worried about.\u003c/p>\n\u003cp>And I find that because I’m home, it is harder to … distance myself from those thoughts. … And I think that’s okay. Like, the world is being remade in a fundamentally different way because of this pandemic, and just because of where we are. And artists have to give themselves the latitude to acknowledge that. So give yourself a break if you’re not writing right now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 13
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"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {},
"restaurantData": []
},
"location": {
"pathname": "/arts/tag/hamilton",
"previousPathname": "/"
}
}
