Stanley Karnow, Historian and Journalist, Is Dead at 87





Stanley Karnow, a Pulitzer Prize-winning historian and journalist who produced acclaimed books and television documentaries about Vietnam and the Philippines in the throes of war and upheaval, died on Sunday at his home in Potomac, Md. He was 87.




The cause was congestive heart failure, said Mr. Karnow’s son, Michael.


For more than three decades Mr. Karnow was a correspondent in Southeast Asia, working for Time, Life, The Saturday Evening Post, The Washington Post, NBC News, The New Republic, King Features Syndicate and the Public Broadcasting Service. But he was best known for his books and documentaries.


He was in Vietnam in 1959, when the first American advisers were killed, and lingered long after the guns fell silent, talking to fighters, villagers, refugees, North and South Vietnamese political and military leaders, the French and the Americans, researching a people and a war that had been little understood.


The result was the 750-page book “Vietnam: A History,” published in 1983, and its companion, a 13-hour PBS documentary, “Vietnam: A Television History.” Unlike many books and films on Vietnam in the 1960s and ’70s and the nightly newscasts that focused primarily on America’s role and its consequences at home and abroad, Mr. Karnow addressed all sides of the conflict and traced Vietnam’s culture and history.


“Vietnam: A History” was widely praised and a best seller. The documentary, with Mr. Karnow as chief correspondent, was at the time the most successful ever produced by public television, viewed by an average of nearly 10 million people a night through 13 episodes. It won six Emmy Awards, as well as Peabody, Polk and duPont-Columbia awards.


Six years later, Mr. Karnow delivered his second comprehensive book and television examination of a Southeast Asian nation. The book, “In Our Image: America’s Empire in the Philippines” (1989), was a panorama of centuries of Filipino life under Spanish and American colonial rule, followed by independence under sometimes corrupt American-backed leaders. It won the 1990 Pulitzer Prize for history.


Narrated by Mr. Karnow, the three-part PBS documentary “The U.S. and the Philippines: In Our Image” traced America’s paternalistic colonial rule in the Philippines, the shared suffering of Filipinos and Americans under a cruel Japanese occupation in World War II, and Manila’s postwar independence under regimes nominally democratic but repressive, corrupt or indifferent to the miseries of its people.


Mr. Karnow also wrote “Mao and China: From Revolution to Revolution” (1972) and was a co-author of or contributor to books based on his years in Asia, including “Asian-Americans in Transition” (1992), “Passage to Vietnam” (1994), “Mekong” (1995) and “Historical Atlas of the Vietnam War” (1995).


Early in his career he lived in Paris for a decade, and in 1997 he published a memoir, “Paris in the Fifties.” A nostalgic reporter’s notebook of life among the cafe philosophers, berated musicians and pseudo-revolutionary artistes, it danced with digressions about taxes, restaurants, the guillotine, Hemingway, Charles de Gaulle and the Devil’s Island penal colony.


In its range, learning and appetite for fun, Bernard Kalb, the former CBS reporter and Mr. Karnow’s friend since Vietnam, told The Associated Press in 2009, the memoir was vintage Karnow. “Stanley has a great line about how being a journalist is like being an adolescent all your life,” he said.


Stanley Karnow was born in Brooklyn on Feb. 4, 1925, the son of Harry and Henriette Koeppel Karnow. He grew up in a city with more than a dozen daily newspapers and decided early that he wanted to become a reporter. He served in the Army Air Forces in World War II. After graduating from Harvard with a bachelor’s degree in 1947, he sailed for France, intending to spend the summer. He stayed for a decade.


This article has been revised to reflect the following correction:

Correction: January 28, 2013

An earlier version of this article misstated the year in which Stanley Karnow was a Nieman Fellow at Harvard University. It was 1958, not 2002. The article also misspelled the name of the Nieman Fellowship.



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Providence theater experiments with ‘tweet seats’






PROVIDENCE, R.I. (AP) — Sarah Bertness slipped into her seat at a recent staging of the musical “Million Dollar Quartet” and, when the lights dimmed, started doing something that’s long been taboo inside theaters: typing away at her iPhone.


The 26-year-old freelance writer from Providence wasn’t being rude. She had a spot in the “tweet seat” section at the Providence Performing Arts Center.






The downtown theater is now setting aside a small number of seats — in the back — for those who promise to live-tweet from the performance using a special hash tag. They might offer impressions of the set, music or costumes, lines of dialogue that resonate with them or anything else that strikes them, really.


At “Million Dollar Quartet,” based on the true story of a 1956 recording session that united music greats Johnny Cash, Elvis Presley, Jerry Lee Lewis and Carl Perkins, PPAC for the first time had cast members tweeting from backstage, too.


A growing number of theaters, including some on Broadway, have been experimenting in recent years with tweet seats and other real-time uses of social media as they try to figure out the relationship between the stage and the smartphone.


Some insist the theater should remain a sacred, technology-free place and that allowing the use of phones during a show — even discreetly — only serves as a potential distraction for other patrons. But others say theaters can’t afford not to engage the digital generation, and that the way performances were once enjoyed, in a vacuum, doesn’t hold up anymore.


“I think that it’s important that PPAC and cultural institutions in general kind of jump on the social media bandwagon and learn to engage a broader audience,” said Bertness, who runs the blog The Rhode Islander and is such a big Johnny Cash fan that she showed up to the performance wearing all black. “I think it’s such a valuable tool.”


Scott Moreau, an understudy for Johnny Cash, hadn’t ever tweeted from backstage during a performance. He tried to provide a glimpse of what life’s like on the tour, which he likened to the special features on a DVD. He said he enjoyed getting instant feedback from the tweeters — feedback he shared with other cast members.


“It makes it feel a lot more personal,” Moreau said.


A picture of Moreau that was tweeted out from backstage — he was tweeting in it himself — prompted someone in the tweet seats to declare that’s what the Man in Black would have looked like, with an iPhone.


Other theaters are also trying different digital ways to engage with patrons. In Boston, the Huntington Theater plans to introduce a “Twittermission” where an artist affiliated with the production, or someone from the theater’s staff, answers questions about the show on Twitter during intermissions. The tweets will also be projected on screens in the theater lobby, according to spokeswoman Rebecca Curtiss.


The theater won’t be introducing tweet seats, though.


“We feel strongly that the experience that an audience member has in our theater should be limited to what they are seeing on the stage,” Curtiss said. “When the lights go down and the show begins, we want the art on stage to speak for itself.”


PPAC isn’t sure yet whether any social media buzz generated by those in the tweet seats will have a measurable effect at the box office. But spokeswoman P.J. Prokop said the theater intends to keep the program through the end of the year, and then evaluate it. Those who sit in the tweet seats get their tickets for free.


Kirsten DiChiappari, who has tweeted three shows there to her nearly 1,400 followers, grew up in New Jersey going to Broadway musicals, plays and the opera. The 41-year-old social media consultant from Bristol sees her live-tweeting as a way to lure people from their living rooms, where many are glued to “horrible reality television.”


“It’s kind of a way to tease people back to support the live arts, the real arts, the original arts,” she said. “I feel like once they go, they’ll go again.”


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Funniest Quotes We're Still Talking About from the SAG Awards





Tina gives a shout-out to Girls' baby mama Amy, Jennifer Lawrence's super sweet 16 win and more LOL one-liners








Credit: Michael Buckner/WireImage



Updated: Monday Jan 28, 2013 | 12:20 AM EST




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CDC: Flu seems to level off except in the West


New government figures show that flu cases seem to be leveling off nationwide. Flu activity is declining in most regions although still rising in the West.


The Centers for Disease Control and Prevention says hospitalizations and deaths spiked again last week, especially among the elderly. The CDC says quick treatment with antiviral medicines is important, in particular for the very young or old. The season's first flu case resistant to treatment with Tamiflu was reported Friday.


Eight more children have died from the flu, bringing this season's total pediatric deaths to 37. About 100 children die in an average flu season.


There is still vaccine available although it may be hard to find. The CDC has a website that can help.


___


CDC: http://www.cdc.gov/flu/


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Unarmed man killed by deputies was shot in the back, autopsy says









A Culver City man who was fatally shot by Los Angeles County sheriff's deputies after a pursuit in November was struck by bullets five times in the back and once each in the right hip and right forearm, also from behind, according to an autopsy report obtained by The Times.


Jose de la Trinidad, a 36-year-old father of two, was killed Nov. 10 by deputies who believed he was reaching for a weapon after a pursuit. But a witness to the shooting said De la Trinidad, who was unarmed, was complying with deputies and had his hands above his head when he was shot.


Multiple law enforcement agencies are investigating the shooting.





De la Trinidad was shot five times in the upper and lower back, according to the Los Angeles County coroner's report dated Nov. 13. The report describes four of those wounds as fatal. He was also shot in the right forearm and right hip, with both shots entering from behind, the report found.


"Here's a man who complied, did what he was supposed to, and was gunned down by trigger-happy deputies," said Arnoldo Casillas, the family's attorney, who provided a copy of the autopsy report to The Times. He said he planned to sue the Sheriff's Department.


A sheriff's official declined to discuss specifics of the autopsy report because of the ongoing investigation. But he emphasized that the report's findings would be included in the department's determination of what happened that night.


"The sheriff and our department extend its condolences to the De la Trinidad" family, said Steve Whitmore, a sheriff's spokesman.


"Deadly force is always a last resort," he said. "The deputies involved were convinced that the public was in danger when they drew their weapons."


On Saturday, relatives of De la Trinidad and about 100 other people marched through the streets of Compton, shouting, "No justice, no peace! No killer police!"


His widow, Rosie de la Trinidad, joined the march with the couple's two young daughters.


"He was doing everything he was supposed to," she said of her husband, fighting back tears. "All we're asking for is justice."


Jose de la Trinidad was shot minutes after leaving his niece's quinceañera with his brother Francisco. He was riding in the passenger seat of his brother's car when deputies tried to pull them over for speeding about 10:20 p.m., authorities said. After a brief car chase, De la Trinidad got out of the car in the 1900 block of East 122nd Street in Compton and was shot by deputies.


The Sheriff's Department maintains that the deputies opened fire only after De la Trinidad appeared to reach for his waist, where he could have been concealing a weapon.


But a woman who witnessed the officer-involved shooting told investigators that De la Trinidad had complied with deputies' orders to stop running and put his hands on his head to surrender when two deputies shot him. The witness said she watched the shooting from her bedroom window across the street.


"I know what I saw," the witness, Estefani — who asked that her last name not be used — said at the time. "His hands were on his head when they started shooting."


According to the deputies' account: De la Trinidad jumped out of the passenger seat. His brother took off again in the car. One of the four deputies on the scene gave chase in his cruiser, leaving De la Trinidad on the sidewalk and three deputies standing in the street with their weapons drawn.


The deputies said De la Trinidad then appeared to reach for his waistband, prompting two of them to fire shots at him. The unarmed man died at the scene.


Unbeknown to the deputies at the time, Estefani watched the scene unfold from her bedroom window. A short while later, she told The Times, two sheriff's deputies canvassing the neighborhood for witnesses came to her door.


The deputies, she said, repeatedly asked her which direction De la Trinidad was facing, which she perceived as an attempt to get her to change her story.


"I told them, 'You're just trying to confuse me,' and then they stopped," she said. Authorities later interviewed Estefani a second time.


Whitmore said the two deputies involved in the shooting were assigned desk duties immediately after the incident but returned to patrol five days later. He said this was standard practice for deputies involved in shootings.


Although such investigations typically take months, Whitmore said the department has given special urgency to this case and hopes to complete its probe in a timely manner.


"We want to have answers about what happened that night soon rather than later," he said. "Even then, we know it doesn't change the grief the family is experiencing."


As with all deputy-involved shootings, De la Trinidad's killing is subject to investigation by the district attorney, the sheriff's homicide and internal affairs bureaus and the Sheriff's Executive Force Review Committee.


wesley.lowery@latimes.com





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IHT Rendezvous: 17th-Century Masterpiece Discovered at the Ritz

PARIS – The Hôtel Ritz Paris, famous for its bar, its swimming pool and its assignations, had a treasure hiding in plain sight, an exceptional painting that had been hanging on a wall for decades without anyone paying it the least attention.

With the hotel shut for renovation, the auction house Christie’s announced this week that art experts had decided that the long-ignored canvas was by Charles Le Brun, one of the masters of 17th-century French painting, and that it would be put it up for auction.

The painting, called “Le Sacrifice de Polyxène” (“The sacrifice of Polyxena”), dates from 1647. It hung above a desk in the hotel suite where Coco Chanel lived for more than 30 years, and was only discovered to be important last summer, when the hotel shut for a 27-month renovation in the face of stiff competition from newer hotels.

“It is a magical discovery,” said Cécile Bernard, a Christie’s expert. “The painting must have been there for at least 50 years.”

The painting depicts the killing of Polyxena, the youngest daughter of King Priam of Troy, who according to myth revealed the weakness of Achilles’ heel and thus led to his death. It will be shown at Christie’s in New York from Jan. 26 to 29 and auctioned on April 15.

Christie’s said it authenticated the painting after it was discovered by two art experts hired by the hotel, and estimates that it will sell for up to 500,000 euros ($665,000).

“Le Sacrifice de Polyxene” is an early work of Le Brun (1619-1690), whose monumental paintings adorn the gallery of Apollo in the Louvre and the Great Hall of Mirrors at Versailles. Experts say that the painting, which bears the painter’s initials, was done for a private collector before Le Brun was made “first painter to the king” by Louis XIV, who called him “the greatest French painter of all time.’’

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SAG Awards: Watch Live with PEOPLE









01/24/2013 at 06:30 PM EST



Happy Screen Actors Guild Awards!

On a night when the biggest stars of TV and film honor each other, we will be covering every inch of the red carpet beginning at 6 p.m. ET (3 p.m. PT) on our live pre-show, hosted by PEOPLE's Deputy Managing Editor Peter Castro and PEOPLE StyleWatch Managing Editor Susan Kaufman, right here on PEOPLE.com.

Join our @StyleWatchMag and @peoplemag Twitter party on Sunday to discuss the best dresses, the hottest hair and makeup and the most eye-popping jewels that nominees like Claire Danes, Jessica Chastain and Jennifer Lawrence will be wearing. Just use hashtag #PeopleSAG and your comments could appear on PEOPLE.com.

Once the show starts at 8 p.m. ET (5 p.m. PT), the fun continues as we track the winners, losers and best speeches of the night. PEOPLE editors and the stars, including Busy Phillips, will be Tweeting commentary, exclusive photos, behind-the-scenes tidbits and more on one of Hollywood's most heartfelt nights.

The 19th Annual Screen Actors Guild Awards will air live on TNT and TBS on Sunday, Jan. 27, at 8 p.m. ET (5 p.m. PT) from the Shrine Auditorium in Los Angeles. Be sure to join us!

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CDC: Flu seems to level off except in the West


New government figures show that flu cases seem to be leveling off nationwide. Flu activity is declining in most regions although still rising in the West.


The Centers for Disease Control and Prevention says hospitalizations and deaths spiked again last week, especially among the elderly. The CDC says quick treatment with antiviral medicines is important, in particular for the very young or old. The season's first flu case resistant to treatment with Tamiflu was reported Friday.


Eight more children have died from the flu, bringing this season's total pediatric deaths to 37. About 100 children die in an average flu season.


There is still vaccine available although it may be hard to find. The CDC has a website that can help.


___


CDC: http://www.cdc.gov/flu/


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For the record















































Bratz verdict: An article in the Jan. 25 Business section about litigation between Mattel Inc. and MGA Entertainment Inc. over rights to the Bratz doll franchise said that a federal appeals court for the second time reversed a verdict that had been in favor of MGA. In fact, a previous overturning involved a verdict that had favored Mattel, not MGA. Also, the latest action was only a partial reversal.

Proposition A: An article in the Jan. 26 LATExtra section about the campaign to approve a half-cent sales tax increase in Los Angeles identified one of the contributors to the Proposition A campaign as Excel Paving. The donor was Excel Property Management Services.

Teacher evaluations: The caption for a photo that accompanied an article in the Jan. 20 California section about members of United Teachers Los Angeles approving the use of student test scores in teacher evaluations misspelled Lisa Karahalios' name as Karahahlios.








1977 slaying: An article in the Jan. 20 California section about the 1977 slaying of Pamela Lambson, a possible victim of serial killer Rodney Alcala, misspelled the name of the San Francisco restaurant Scoma's as Skoma's.

Arts district: An article in the Jan. 20 Business section about the transformation of downtown Los Angeles' arts district misspelled the last name of real estate entrepreneur Tyler Stonebreaker as Stonebraker.






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India Ink: Jeet Thayil's Novel of Opium and Bombay Takes DSC Prize

Jeet Thayil, an Indian poet and author, won the DSC Prize for South Asian Literature at the Jaipur Literature Festival on Friday for his debut novel “Narcopolis.”

“Finally!” Mr. Thayil exclaimed when he was presented the award. His book, about the narcotic underbelly of Bombay 30 years ago, had been short-listed for four awards, but never won any.

The award is special because it is an Indian prize, he said. “How you are perceived at home does matter,” he said.

The Kerala-born author will take home a $50,000 prize purse. Mr. Thayil noted that it was a substantial amount of money, and part of the reason that the award was taken seriously.

“Writers like money,” he said. “We don’t have a job, but we have bills to pay.”

Mr. Thayil is the first Indian to win the award since its introduction by the infrastructure company DSC Limited in 2010. The first winner was a Pakistani writer, H.M. Naqvi, for his debut novel the “Home Boy.” Last year the Sri Lankan author Shehan Karunatilake’ s novel “Chinaman” won the prize.

A five-member jury received more than 80 entries for the prize, including translations of non-English writing. The contest is open to any writing about South Asia, not just to South Asian writers. The Indian poet and literary critic K. Satchidanandan, who led the jury, said, the award is significant because it is the first award that honors literary works about South Asia.

Other finalists included two Indians, two Pakistanis and a Bangladeshi writer.

Jamil Ahmed, a Pakistani author whose book, “The Wandering Falcon,” was a finalist, said that it took 40 years to publish the book. The retired bureaucrat wrote about the tribal population living along the Pakistan-Afghanistan border. He was born in pre-partition India and during his childhood he traveled across India with his family. That was when he said he first came in contact with tribes, which led him to “romanticize the tribes.”

“I want people to understand that tribes are not savage,” he said.

A work by the Indian author Uday Prakash, “The Walls of Delhi,” was also a finalist. The book, actually three novellas, was originally written in Hindi. The stories highlight the flaws of the state, including bureaucracy and the deep entrenchment of corruption, and it is narrated by three characters, a weaver, sweeper and a baby in a slum suffering from an undiagnosed disease. Mr. Prakash said these narratives symbolized the lives led by 70 percent Indians.

Other finalists included the Indian writer Amitav Ghosh for his book “River of Smoke,” the Pakistani writer Mohammed Hanif, for “Our Lady of Alice Bhatti” and Tahmima Anam, the author of “The Good Muslim,” from Bangladesh.

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