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"content": "\u003cp>“This town could keep a secret,” says one of the small-town Arizonans who appears in \u003cem>Bisbee ’17\u003c/em>. But the people who most wanted Bisbee’s secret kept — the executives of a copper-mining company — are long-gone. And a centennial is a fine opportunity to discuss events of the past, however unspeakable they once were. \u003c/p>\n\u003cp>The not-quite-secret history told in Robert Greene’s thematically rich, narratively canny film involves the 1917 roundup and banishment of some 1,300 striking miners. A century ago, brother literally turned against brother when Bisbee’s copper baron mobilized a compliant sheriff and more than 2,000 deputized vigilantes against men organized by the Industrial Workers of the World (a union then considered the country’s most radical). \u003c/p>\n\u003cp>The primary issues were, as usual, money and control. But there was something else, Bisbee’s civic chroniclers reveal. About 90 percent of the workers who were expelled (to New Mexico, not from the country) were foreign-born. Most were Mexican and Eastern European in origin, and doubts about their allegiance to their new country were intensified by World War I fervor. \u003c/p>\n\u003cp>https://youtu.be/etwjMcdvxx8\u003c/p>\n\u003cp>The episode is pertinent today, since the town is just seven miles from the still-contested U.S. southern border. “The word ‘deportation’ is alive with meaning” in Bisbee, a local commentator explains. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like many arty contemporary documentaries, \u003cem>Bisbee ’17\u003c/em> is rather theatrical. But that’s reasonable in this case, since Greene organized a 2017 reenactment of the 1917 incident in collaboration with residents of the town (where his mother-in-law lives). The resulting film recalls both \u003cem>Spettacolo\u003c/em>, in which Italian villagers prepare an annual play about their own lives, and \u003cem>The Act of Killing\u003c/em>, in which participants in Indonesia’s 1965 massacres are encouraged to simulate their crimes. \u003c/p>\n\u003cp>Another example of historical pageantry is much closer to Bisbee. To mount the centennial production, the town imports actors from nearby Tombstone, which 100 years ago provided deputies for the roundup. Tombstone is well-supplied with performers, since today one of its principal businesses is entertaining tourists with restagings of the gunfight at the OK Corral. Both Tombstone and \u003cem>Bisbee ’17\u003c/em>, which was shot in widescreen format to emulate Hollywood epics, trade in Wild West imagery. \u003c/p>\n\u003cp>Now that most of the copper has been extracted, history is among the scarce remaining natural resources of southern Arizona. Bisbee itself doesn’t market cowboy lore, but it does offer hardhat tours of an abandoned mine. \u003c/p>\n\u003cp>Bisbee’s version of its past is less of a crowd-pleaser than Tombstone’s, but it does culminate in a sweeping crowd scene, complete with guns, banners, and a mock-up of one of the cattle-cars in which strikers were sent away. Yet the movie’s overall vibe is subdued and the principal song — there are a couple — turns “Solidarity Forever” into a mournful lament. \u003c/p>\n\u003cp>Several of the on-screen players have personal links to the proceedings. Two siblings play their ancestors, a striker and the brother who helped arrest and eject him from Bisbee. An even more evocative figure is a young man of Mexican descent, Fernando Serrano, whose life story is scarred by his mother’s deportation. Less successfully, Greene attempts to connect Bisbee’s past with the sort of ghost stories people like to tell about vintage buildings and venerable personages. These predictable yarns aren’t nearly so compelling as the movie’s essential story. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet the filmmakers do make effective use of Serrano’s ethereal presence, holding the camera on him as he walks through local sites both deserted and lively. If \u003cem>Bisbee ’17\u003c/em> is a ghost story, it’s haunted less by the events of 1917 than the way century-old conflicts play out today.\u003c/p>\n\n",
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"content": "\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 1774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium\" src=\"https://images-na.ssl-images-amazon.com/images/I/A1%2B3MQC3caL.jpg\" alt=\"Cover of 'Looking for Lorraine: The Radient and Radical Life of Lorraine Hansberry' by Imani Perry\" width=\"1774\" height=\"2560\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry’ by Imani Perry\u003c/figcaption>\u003c/figure>\n\u003cp>You think you’re accomplishing something in life until you realize that at age 29, playwright Lorraine Hansberry had a play produced on Broadway. Not only did she have a play, but her drama, \u003cem>A Raisin in the Sun\u003c/em>, beat out Tennessee Williams and Eugene O’Neill to win the prestigious New York Drama Critics’ Circle for the best play of the year. Let that sink in.\u003c/p>\n\u003cp>\u003cem>Raisin\u003c/em> made Hansberry famous almost overnight. And while it’s what most people remember about her, there was so much more, says Princeton professor Imani Perry. Perry’s new biography, \u003cem>Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry \u003c/em>paints a much fuller picture of the playwright’s life.\u003c/p>\n\u003cp>It begins with her childhood as part of the politically active black elite on Chicago’s South Side. Perry examines Hansberry’s relationship with mentors W.E.B. Du Bois, Paul Robeson and Langston Hughes, to name a few, and her rich and complicated personal life.\u003c/p>\n\u003cp>In many areas Hansberry was ahead of her time, says Perry. “She was a feminist before the feminist movement. She identified as a lesbian and thought about LGBT organizing before there was a gay rights movement. She was an anti-colonialist before independences had been won in Africa and the Caribbean.”\u003c/p>\n\u003cp>In other words, she was intersectional before intersectionality became a thing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And even though Hansberry’s fame put her in the company of some of the country’s most celebrated artists and intellectuals, Perry argues that she never lost grasp of her culture and people.\u003c/p>\n\u003ch2>Radiant race warrior\u003c/h2>\n\u003cp>“She reveled in her identity,” Perry explains, “even as she railed against injustice.” And Hansberry did it with perfect diction and aplomb.\u003c/p>\n\u003cp>The early 1960s was years after \u003cem>Brown v. Board\u003c/em> had been decided, but that didn’t mean separate-but-equal had been erased. (In fact, Hansberry’s father, a prosperous local businessman, made history when his lawsuit to break racial covenants in Chicago’s housing market went all the way to the Supreme Court. Carl Hansberry won, but the neighbors in the family’s new, formerly all-white neighborhood were about as welcoming as the white residents of Clybourne Park were in \u003cem>Raisin\u003c/em>. Memories of that time eventually inspired the play.)\u003c/p>\n\u003cp>So Negroes, as we were then called, were getting impatient with the abundance of segregation that remained. In New York, a group of protesters proposed blocking city streets to tie up traffic. Many New Yorkers were furious.\u003c/p>\n\u003cp>In a town hall meeting soon after, Hansberry tried to explain the thinking behind the protest (which actually became much smaller in scale because not all groups got behind it). “It isn’t as if we just got up today and said ‘What can we do to irritate America?’ ” Hansberry pointed out, to faint chuckles. “It’s because since 1619 Negroes have tried every method of communication, of transformation of their situation …” And white people, most of them, were still urging patience.\u003c/p>\n\u003cp>Hansberry was not just talking the talk, Imani Perry says. “She was willing to risk her fame and her recognition for her political convictions.”\u003c/p>\n\u003cp>In May 1963, she was invited to meet Robert F. Kennedy when the Attorney general had a glittering group of black activists and celebrities over to pat him on the back for the work the Kennedy administration had done in civil rights. Instead, Hansberry told him to get the lead out and do more. When Malcolm X chastised her publicly for having a white husband, she clapped back — and he later apologized. (He thought so much of her that when Hansberry died, Malcolm, then a convert to orthodox Islam, quietly came to her funeral, even though he was under a very public death threat from the Nation of Islam, and would in fact be assassinated three weeks after her service.)\u003c/p>\n\u003ch2>Close, complicated relationships\u003c/h2>\n\u003cp>Many people who knew Hansberry knew she had an interracial marriage at a time when, in some parts of the country, such unions were illegal. She and Robert Nemiroff met on a picket line, and married soon after. Perry says that by the time \u003cem>Raisin\u003c/em> debuted on Broadway, the two were no longer a romantic couple, “but he remained her best friend and closest confidant” until her death.\u003c/p>\n\u003cp>(She chose Nemiroff to safeguard the integrity of her literary work, and since his death, in 1991, his heirs have taken on the job.) They talked nearly every day, and saw each other often — which became a source of puzzlement and annoyance for her lesbian friends in her Greenwich Village neighborhood.\u003c/p>\n\u003cp>“She wasn’t out in the traditional sense,” Perry says. During Hansberry’s time, homosexuality was illegal in New York. Gay gathering spots were often raided, and the people in them arrested. “It would have been very difficult and dangerous for her to be out in multiple ways.”\u003c/p>\n\u003cp>Hansberry and James Baldwin were exceedingly close. “She was one of the few people he could turn to in every way,” Perry says. They wrote each other often, exchanging opinions about their works-in-progress, gossiping about the black intelligensia they knew.\u003c/p>\n\u003cp>“Usually they spoke in the language used by many educated black people in the last part of the last century,” Perry observes. She means their speech was very careful, perfectly articulated. But when it was just them, Hansberry and Baldwin relaxed into what Perry calls “down-home talk,” full of cultural short cuts and easy vernacular.\u003c/p>\n\u003cp>When Hansberry died at 34 on Jan. 12, 1965, of pancreatic cancer, the arts community mourned. At her funeral, the Church of the Master near Harlem’s Morningside Park was filled; some 700 mourners had assembled.\u003c/p>\n\u003cp>There was standing room only inside the church. Outside, people who couldn’t get in stood in the bitter sleet. Her old mentor Paul Robeson sang. So did her friend Nina Simone. Langston Hughes read a poem. Baldwin, home in France with the flu, sent a tribute.\u003c/p>\n\u003cp>Since then, many have fretted about what Hansberry’s early death had stolen from the rest of the world. Imani Perry says they are focusing on the wrong thing, and it irks her.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There’s been this constant theme for the past several decades,” she says: ” ‘Oh she died so young; what would she have produced had she lived longer?’ But the reality is she produced so much.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 \u003ca href=\"http://www.npr.org/\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 1774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium\" src=\"https://images-na.ssl-images-amazon.com/images/I/A1%2B3MQC3caL.jpg\" alt=\"Cover of 'Looking for Lorraine: The Radient and Radical Life of Lorraine Hansberry' by Imani Perry\" width=\"1774\" height=\"2560\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry’ by Imani Perry\u003c/figcaption>\u003c/figure>\n\u003cp>You think you’re accomplishing something in life until you realize that at age 29, playwright Lorraine Hansberry had a play produced on Broadway. Not only did she have a play, but her drama, \u003cem>A Raisin in the Sun\u003c/em>, beat out Tennessee Williams and Eugene O’Neill to win the prestigious New York Drama Critics’ Circle for the best play of the year. Let that sink in.\u003c/p>\n\u003cp>\u003cem>Raisin\u003c/em> made Hansberry famous almost overnight. And while it’s what most people remember about her, there was so much more, says Princeton professor Imani Perry. Perry’s new biography, \u003cem>Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry \u003c/em>paints a much fuller picture of the playwright’s life.\u003c/p>\n\u003cp>It begins with her childhood as part of the politically active black elite on Chicago’s South Side. Perry examines Hansberry’s relationship with mentors W.E.B. Du Bois, Paul Robeson and Langston Hughes, to name a few, and her rich and complicated personal life.\u003c/p>\n\u003cp>In many areas Hansberry was ahead of her time, says Perry. “She was a feminist before the feminist movement. She identified as a lesbian and thought about LGBT organizing before there was a gay rights movement. She was an anti-colonialist before independences had been won in Africa and the Caribbean.”\u003c/p>\n\u003cp>In other words, she was intersectional before intersectionality became a thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And even though Hansberry’s fame put her in the company of some of the country’s most celebrated artists and intellectuals, Perry argues that she never lost grasp of her culture and people.\u003c/p>\n\u003ch2>Radiant race warrior\u003c/h2>\n\u003cp>“She reveled in her identity,” Perry explains, “even as she railed against injustice.” And Hansberry did it with perfect diction and aplomb.\u003c/p>\n\u003cp>The early 1960s was years after \u003cem>Brown v. Board\u003c/em> had been decided, but that didn’t mean separate-but-equal had been erased. (In fact, Hansberry’s father, a prosperous local businessman, made history when his lawsuit to break racial covenants in Chicago’s housing market went all the way to the Supreme Court. Carl Hansberry won, but the neighbors in the family’s new, formerly all-white neighborhood were about as welcoming as the white residents of Clybourne Park were in \u003cem>Raisin\u003c/em>. Memories of that time eventually inspired the play.)\u003c/p>\n\u003cp>So Negroes, as we were then called, were getting impatient with the abundance of segregation that remained. In New York, a group of protesters proposed blocking city streets to tie up traffic. Many New Yorkers were furious.\u003c/p>\n\u003cp>In a town hall meeting soon after, Hansberry tried to explain the thinking behind the protest (which actually became much smaller in scale because not all groups got behind it). “It isn’t as if we just got up today and said ‘What can we do to irritate America?’ ” Hansberry pointed out, to faint chuckles. “It’s because since 1619 Negroes have tried every method of communication, of transformation of their situation …” And white people, most of them, were still urging patience.\u003c/p>\n\u003cp>Hansberry was not just talking the talk, Imani Perry says. “She was willing to risk her fame and her recognition for her political convictions.”\u003c/p>\n\u003cp>In May 1963, she was invited to meet Robert F. Kennedy when the Attorney general had a glittering group of black activists and celebrities over to pat him on the back for the work the Kennedy administration had done in civil rights. Instead, Hansberry told him to get the lead out and do more. When Malcolm X chastised her publicly for having a white husband, she clapped back — and he later apologized. (He thought so much of her that when Hansberry died, Malcolm, then a convert to orthodox Islam, quietly came to her funeral, even though he was under a very public death threat from the Nation of Islam, and would in fact be assassinated three weeks after her service.)\u003c/p>\n\u003ch2>Close, complicated relationships\u003c/h2>\n\u003cp>Many people who knew Hansberry knew she had an interracial marriage at a time when, in some parts of the country, such unions were illegal. She and Robert Nemiroff met on a picket line, and married soon after. Perry says that by the time \u003cem>Raisin\u003c/em> debuted on Broadway, the two were no longer a romantic couple, “but he remained her best friend and closest confidant” until her death.\u003c/p>\n\u003cp>(She chose Nemiroff to safeguard the integrity of her literary work, and since his death, in 1991, his heirs have taken on the job.) They talked nearly every day, and saw each other often — which became a source of puzzlement and annoyance for her lesbian friends in her Greenwich Village neighborhood.\u003c/p>\n\u003cp>“She wasn’t out in the traditional sense,” Perry says. During Hansberry’s time, homosexuality was illegal in New York. Gay gathering spots were often raided, and the people in them arrested. “It would have been very difficult and dangerous for her to be out in multiple ways.”\u003c/p>\n\u003cp>Hansberry and James Baldwin were exceedingly close. “She was one of the few people he could turn to in every way,” Perry says. They wrote each other often, exchanging opinions about their works-in-progress, gossiping about the black intelligensia they knew.\u003c/p>\n\u003cp>“Usually they spoke in the language used by many educated black people in the last part of the last century,” Perry observes. She means their speech was very careful, perfectly articulated. But when it was just them, Hansberry and Baldwin relaxed into what Perry calls “down-home talk,” full of cultural short cuts and easy vernacular.\u003c/p>\n\u003cp>When Hansberry died at 34 on Jan. 12, 1965, of pancreatic cancer, the arts community mourned. At her funeral, the Church of the Master near Harlem’s Morningside Park was filled; some 700 mourners had assembled.\u003c/p>\n\u003cp>There was standing room only inside the church. Outside, people who couldn’t get in stood in the bitter sleet. Her old mentor Paul Robeson sang. So did her friend Nina Simone. Langston Hughes read a poem. Baldwin, home in France with the flu, sent a tribute.\u003c/p>\n\u003cp>Since then, many have fretted about what Hansberry’s early death had stolen from the rest of the world. Imani Perry says they are focusing on the wrong thing, and it irks her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s been this constant theme for the past several decades,” she says: ” ‘Oh she died so young; what would she have produced had she lived longer?’ But the reality is she produced so much.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 \u003ca href=\"http://www.npr.org/\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Desperate Father Goes 'Searching' For His Missing Daughter In A Taut New Film",
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"content": "\u003cp>The ingeniously high-concept whodunit \u003cem>Searching\u003c/em> isn’t the first movie to turn the big screen into a computer screen, to make you feel as if you’re eavesdropping on online conversations and surfing the Internet alongside its characters. You might have seen the 2014 horror movie \u003cem>Unfriended\u003c/em>, where a group chat suddenly turns deadly — basically the Skype version of Agatha Christie’s \u003cem>And Then There Were None.\u003c/em>\u003c/p>\n\u003cp>As a thriller, \u003cem>Searching\u003c/em> is less violent, more compassionate and equally gripping. As a sustained technical exercise, it’s remarkable: It takes the mundane details of your average computer session — from video chats to browser windows — and spins them into a taut, surprising, sometimes uncomfortably voyeuristic crime drama.\u003c/p>\n\u003cp>https://youtu.be/3Ro9ebQxEOY\u003c/p>\n\u003cp>This may be the first feature written and directed by Aneesh Chaganty, a 27-year-old Bay Area native and former Google employee, but the intricacy of his visual design is matched by a talent for old-fashioned suspense filmmaking. Anyone who can wring tension simply from the pulsing colors of a screensaver clearly knows what he’s doing.\u003c/p>\n\u003cp>Everything we see unfolds through the eyes of David Kim, a Silicon Valley widower played by John Cho. Because we’re almost always looking at David’s screen, we see his face only when it shows up on his webcam, like when he’s FaceTiming with his 16-year-old daughter, Margot, played by Michelle La.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The actors have a lovely rapport, and Cho’s concerned-dad routine is at once funny, moving and completely dead-on. When David sends Margot a text message playfully chiding her for not taking out the trash, he makes sure to include a photo of the overflowing garbage can. Margot replies that she’ll empty it when she gets home that night. Except that she never comes home, and David finds himself living every parent’s worst nightmare.\u003c/p>\n\u003cp>The only clues to Margot’s whereabouts can be found on her laptop, and not long after reporting her missing to the police, David begins scouring his daughter’s hard drive for clues. At the advice of Detective Rosemary Vick, played by Debra Messing, he starts calling Margot’s Facebook contacts and asking when they last saw her. He pores over Margot’s calendar and Venmo account, and even raids her personal video diaries. As he watches them he realizes, to his shame, that he didn’t know his daughter as well as he thought. Nor did he see how profoundly lonely a person she had become.\u003c/p>\n\u003cp>Eventually, David has to confront the possibility that Margot ran away from home, though the fact that she called him three times the night of her disappearance would seem to contradict that theory. But much more will soon come to light — some of it involving Margot’s online contacts, and some of it involving David’s younger brother, played by Joseph Lee.\u003c/p>\n\u003cp>Most of the other computer-screen thrillers we’ve seen, like \u003cem>Unfriended\u003c/em> and the Elijah Wood shocker \u003cem>Open Windows\u003c/em>, played out in real time, with no cuts or breaks. Watching them could be exhausting, but they also left you feeling hard-wired into the user’s experience.\u003c/p>\n\u003cp>Because \u003cem>Searching\u003c/em> unfolds over the course of a week, Chaganty and his co-writer, Sev Ohanian, have to compress David’s investigation into byte-sized chunks. The result may breathe and flow a little better as storytelling, but without the real-time element, it’s also a less tense, less immersive experience. At key moments the movie cuts to online news footage of the ongoing police investigation, and the summary feels like a bit of a cop-out — a lazy way to maintain the movie’s gimmick.\u003c/p>\n\u003cp>The story’s second half is packed with all manner of fiendishly clever surprises and red herrings, and I’m not sure if the twists are rendered more or less convincing by the movie’s online-all-the-time interface.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What does linger in the end, all too plausibly, is Chaganty’s vision of an era in which every facet of life is increasingly mediated by technology, our relationships very much included. He leaves you with the possibility that in a world where everyone is connected, maybe no one is.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ingeniously high-concept whodunit \u003cem>Searching\u003c/em> isn’t the first movie to turn the big screen into a computer screen, to make you feel as if you’re eavesdropping on online conversations and surfing the Internet alongside its characters. You might have seen the 2014 horror movie \u003cem>Unfriended\u003c/em>, where a group chat suddenly turns deadly — basically the Skype version of Agatha Christie’s \u003cem>And Then There Were None.\u003c/em>\u003c/p>\n\u003cp>As a thriller, \u003cem>Searching\u003c/em> is less violent, more compassionate and equally gripping. As a sustained technical exercise, it’s remarkable: It takes the mundane details of your average computer session — from video chats to browser windows — and spins them into a taut, surprising, sometimes uncomfortably voyeuristic crime drama.\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/3Ro9ebQxEOY'\n title='//www.youtube.com/embed/3Ro9ebQxEOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This may be the first feature written and directed by Aneesh Chaganty, a 27-year-old Bay Area native and former Google employee, but the intricacy of his visual design is matched by a talent for old-fashioned suspense filmmaking. Anyone who can wring tension simply from the pulsing colors of a screensaver clearly knows what he’s doing.\u003c/p>\n\u003cp>Everything we see unfolds through the eyes of David Kim, a Silicon Valley widower played by John Cho. Because we’re almost always looking at David’s screen, we see his face only when it shows up on his webcam, like when he’s FaceTiming with his 16-year-old daughter, Margot, played by Michelle La.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The actors have a lovely rapport, and Cho’s concerned-dad routine is at once funny, moving and completely dead-on. When David sends Margot a text message playfully chiding her for not taking out the trash, he makes sure to include a photo of the overflowing garbage can. Margot replies that she’ll empty it when she gets home that night. Except that she never comes home, and David finds himself living every parent’s worst nightmare.\u003c/p>\n\u003cp>The only clues to Margot’s whereabouts can be found on her laptop, and not long after reporting her missing to the police, David begins scouring his daughter’s hard drive for clues. At the advice of Detective Rosemary Vick, played by Debra Messing, he starts calling Margot’s Facebook contacts and asking when they last saw her. He pores over Margot’s calendar and Venmo account, and even raids her personal video diaries. As he watches them he realizes, to his shame, that he didn’t know his daughter as well as he thought. Nor did he see how profoundly lonely a person she had become.\u003c/p>\n\u003cp>Eventually, David has to confront the possibility that Margot ran away from home, though the fact that she called him three times the night of her disappearance would seem to contradict that theory. But much more will soon come to light — some of it involving Margot’s online contacts, and some of it involving David’s younger brother, played by Joseph Lee.\u003c/p>\n\u003cp>Most of the other computer-screen thrillers we’ve seen, like \u003cem>Unfriended\u003c/em> and the Elijah Wood shocker \u003cem>Open Windows\u003c/em>, played out in real time, with no cuts or breaks. Watching them could be exhausting, but they also left you feeling hard-wired into the user’s experience.\u003c/p>\n\u003cp>Because \u003cem>Searching\u003c/em> unfolds over the course of a week, Chaganty and his co-writer, Sev Ohanian, have to compress David’s investigation into byte-sized chunks. The result may breathe and flow a little better as storytelling, but without the real-time element, it’s also a less tense, less immersive experience. At key moments the movie cuts to online news footage of the ongoing police investigation, and the summary feels like a bit of a cop-out — a lazy way to maintain the movie’s gimmick.\u003c/p>\n\u003cp>The story’s second half is packed with all manner of fiendishly clever surprises and red herrings, and I’m not sure if the twists are rendered more or less convincing by the movie’s online-all-the-time interface.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What does linger in the end, all too plausibly, is Chaganty’s vision of an era in which every facet of life is increasingly mediated by technology, our relationships very much included. He leaves you with the possibility that in a world where everyone is connected, maybe no one is.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticketmaster Has Its Own Secret 'Scalping Program,' Canadian Journalists Report",
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"content": "\u003cp>\u003cem>\u003cstrong>Updated 11:35 a.m. Sep. 20 \u003c/strong>with portions of a statement from Ticketmaster in response to the CBC and \u003c/em>Toronto Star\u003cem>‘s reporting.\u003c/em>\u003c/p>\n\u003cp>A team of Canadian journalists — from the Canadian Broadcasting Corporation (CBC), a public radio and television broadcaster, and the \u003cem>Toronto Star\u003c/em> newspaper — \u003ca href=\"https://www.cbc.ca/news/business/a-public-relations-nightmare-ticketmaster-recruits-pros-for-secret-scalper-program-1.4828535\">reported\u003c/a> on Wednesday that Ticketmaster, the live-event box office behemoth, has developed a secret tool called \u003ca href=\"https://tradedesk.ticketmaster.com/\">TradeDesk\u003c/a> that assists professional “scalpers” to resell tickets in ways that would seem to violate Ticketmaster’s own rules — and from which Ticketmaster would ostensibly benefit.\u003c/p>\n\u003cp>Two of the journalists went undercover with hidden cameras and posed as professional resellers to attend Ticket Summit 2018, a trade convention held in July at Caesars Palace in Las Vegas. A CBC journalist also obtained access to an online video conference demonstration of the TradeDesk platform back in March.\u003c/p>\n\u003cp>[contextly_sidebar id=”BuVGuCtbRdpVD00tgnEq1skdqKYTlv3L”]\u003c/p>\n\u003cp>In footage obtained by the journalists, a man purported to be a TradeDesk sales representative told them that the resellers he works with have “literally a couple of hundred” Ticketmaster.com accounts apiece — a violation of Ticketmaster’s own terms of use — through which they can buy huge swaths of tickets for resale, and that Ticketmaster’s “buyer abuse” division does not investigate at least some TradeDesk users.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the March video presentation, the CBC reports, a Ticketmaster employee said that 100 resellers across North America were using TradeDesk to each sell somewhere between a few thousand and several million tickets per year — “I think our biggest broker right now has probably grabbed around five million,” the representative is reported to have said.\u003c/p>\n\u003cp>The CBC has also made public a \u003ca href=\"https://www.documentcloud.org/documents/4901430-TMR-Professional-Reseller-Handbook-1-1.html\">document\u003c/a> which it says is Ticketmaster’s handbook for resellers. The handbook outlines a reward system for resellers. For example, the CBC writes, “As scalpers hit milestones such as $500,000 or $1 million in annual sales, Ticketmaster will knock a percentage point off its fees.”\u003c/p>\n\u003cfigure id=\"attachment_13841295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841295 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gettyimages-84749102-34fda82f91350120e44bd339ade6362ec392b837-e1537469703508.jpg\" alt=\"A 2009 Blockbuster sign advertising Live Nation's ticket sales, publicized shortly before the latter company's merger with Ticketmaste\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A 2009 Blockbuster sign advertising Live Nation’s ticket sales, publicized shortly before the latter company’s merger with Ticketmaste \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticketmaster is owned by Live Nation — the California-based company did not respond to NPR’s email for comment on the report.\u003c/p>\n\u003cp>The company declined to respond on the record to specific questions from the two Canadian media outlets, but offered a \u003ca href=\"https://www.documentcloud.org/documents/4891602-TICKETMASTER-S-STATEMENTS-to-CBC-NEWS-2FTORONTO.html\">statement\u003c/a> that reads, in part: “Ticketmaster is a technology platform that helps artists and teams connect with their fans. We do not own the tickets sold on our platform nor do we have any control over ticket pricing — either in the initial sale or the resale … As the world’s leading ticketing platform, representing thousands of teams, artists and venues, we believe it is our job to offer a marketplace that provides a safe and fair place for fans to shop, buy and sell tickets in both the primary and secondary markets.”\u003c/p>\n\u003cp>In a follow-up statement provided to NPR the morning of Sep. 20, Ticketmaster denies having a program that allows customers to buy large tranches of tickets, which was not at issue in the CBC/\u003cem>Star\u003c/em> report. The company continues by saying it does “not condone the statements made by the employee as the conduct described clearly violates our terms of service,” and that it will put “additional measures in place to proactively monitor for this type of inappropriate activity.”\u003c/p>\n\u003cp>Over the past decade, Live Nation has markedly changed course in its position on ticket resales. In 2009 — the year \u003ca href=\"https://www.nytimes.com/2010/04/25/business/25ticket.html\">before\u003c/a> Live Nation merged with Ticketmaster — Live Nation’s then-CEO, Irving Azoff, \u003ca href=\"https://www.theguardian.com/music/2009/feb/26/ticketmaster-secondary-market\">told\u003c/a> the Senate judiciary antitrust subcommittee that he believed “scalping and resale should be illegal.”\u003c/p>\n\u003cp>But in the\u003ca href=\"https://www.cbc.ca/news/business/ticketmaster-prices-scalpers-bruno-mars-1.4826914\"> first part\u003c/a> of the CBC/\u003cem>Toronto Star\u003c/em> investigation, published Tuesday, the journalists asserted that resold tickets are “particularly lucrative” for Ticketmaster, because the company reportedly profits from two separate sets of charges collected from the same ticket. “For example,” they write, “if Ticketmaster collects $25.75 on a $209.50 ticket on the initial sale, when the owner posts it for resale for $400 on the site, the company stands to collect an additional $76 on the same ticket.”\u003c/p>\n\u003cp>The Canadian report compounds some pressure on both Live Nation and Ticketmaster. According to reporting earlier this year \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">from \u003cem>The New York Times\u003c/em>\u003c/a>, the Justice Department is in the process of reviewing complaints that the concert giant “has used its control over concert tours to pressure venues into contracting with its subsidiary, Ticketmaster.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://insider.ticketmaster.com/ticketing-vertical-integration-and-the-nyts-recent-article/\">a blog post\u003c/a> responding to the \u003cem>Times\u003c/em>‘ allegations, Ticketmaster president Jared Smith wrote that the company’s success “is not the result of any unfair advantages resulting from being a part of Live Nation Entertainment,” but a result of its parent company’s investments into its products, alluding to the complaints as having been filed by AEG, its chief competition. “I would much rather talk about the things we are doing to ensure that consumers get fair access to tickets,” Smith continued, “but I guess none of that sells newspapers.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ticketmaster+Has+Its+Own+Secret+%27Scalping+Program%2C%27+Canadian+Journalists+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Updated 11:35 a.m. Sep. 20 \u003c/strong>with portions of a statement from Ticketmaster in response to the CBC and \u003c/em>Toronto Star\u003cem>‘s reporting.\u003c/em>\u003c/p>\n\u003cp>A team of Canadian journalists — from the Canadian Broadcasting Corporation (CBC), a public radio and television broadcaster, and the \u003cem>Toronto Star\u003c/em> newspaper — \u003ca href=\"https://www.cbc.ca/news/business/a-public-relations-nightmare-ticketmaster-recruits-pros-for-secret-scalper-program-1.4828535\">reported\u003c/a> on Wednesday that Ticketmaster, the live-event box office behemoth, has developed a secret tool called \u003ca href=\"https://tradedesk.ticketmaster.com/\">TradeDesk\u003c/a> that assists professional “scalpers” to resell tickets in ways that would seem to violate Ticketmaster’s own rules — and from which Ticketmaster would ostensibly benefit.\u003c/p>\n\u003cp>Two of the journalists went undercover with hidden cameras and posed as professional resellers to attend Ticket Summit 2018, a trade convention held in July at Caesars Palace in Las Vegas. A CBC journalist also obtained access to an online video conference demonstration of the TradeDesk platform back in March.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In footage obtained by the journalists, a man purported to be a TradeDesk sales representative told them that the resellers he works with have “literally a couple of hundred” Ticketmaster.com accounts apiece — a violation of Ticketmaster’s own terms of use — through which they can buy huge swaths of tickets for resale, and that Ticketmaster’s “buyer abuse” division does not investigate at least some TradeDesk users.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the March video presentation, the CBC reports, a Ticketmaster employee said that 100 resellers across North America were using TradeDesk to each sell somewhere between a few thousand and several million tickets per year — “I think our biggest broker right now has probably grabbed around five million,” the representative is reported to have said.\u003c/p>\n\u003cp>The CBC has also made public a \u003ca href=\"https://www.documentcloud.org/documents/4901430-TMR-Professional-Reseller-Handbook-1-1.html\">document\u003c/a> which it says is Ticketmaster’s handbook for resellers. The handbook outlines a reward system for resellers. For example, the CBC writes, “As scalpers hit milestones such as $500,000 or $1 million in annual sales, Ticketmaster will knock a percentage point off its fees.”\u003c/p>\n\u003cfigure id=\"attachment_13841295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841295 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gettyimages-84749102-34fda82f91350120e44bd339ade6362ec392b837-e1537469703508.jpg\" alt=\"A 2009 Blockbuster sign advertising Live Nation's ticket sales, publicized shortly before the latter company's merger with Ticketmaste\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A 2009 Blockbuster sign advertising Live Nation’s ticket sales, publicized shortly before the latter company’s merger with Ticketmaste \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticketmaster is owned by Live Nation — the California-based company did not respond to NPR’s email for comment on the report.\u003c/p>\n\u003cp>The company declined to respond on the record to specific questions from the two Canadian media outlets, but offered a \u003ca href=\"https://www.documentcloud.org/documents/4891602-TICKETMASTER-S-STATEMENTS-to-CBC-NEWS-2FTORONTO.html\">statement\u003c/a> that reads, in part: “Ticketmaster is a technology platform that helps artists and teams connect with their fans. We do not own the tickets sold on our platform nor do we have any control over ticket pricing — either in the initial sale or the resale … As the world’s leading ticketing platform, representing thousands of teams, artists and venues, we believe it is our job to offer a marketplace that provides a safe and fair place for fans to shop, buy and sell tickets in both the primary and secondary markets.”\u003c/p>\n\u003cp>In a follow-up statement provided to NPR the morning of Sep. 20, Ticketmaster denies having a program that allows customers to buy large tranches of tickets, which was not at issue in the CBC/\u003cem>Star\u003c/em> report. The company continues by saying it does “not condone the statements made by the employee as the conduct described clearly violates our terms of service,” and that it will put “additional measures in place to proactively monitor for this type of inappropriate activity.”\u003c/p>\n\u003cp>Over the past decade, Live Nation has markedly changed course in its position on ticket resales. In 2009 — the year \u003ca href=\"https://www.nytimes.com/2010/04/25/business/25ticket.html\">before\u003c/a> Live Nation merged with Ticketmaster — Live Nation’s then-CEO, Irving Azoff, \u003ca href=\"https://www.theguardian.com/music/2009/feb/26/ticketmaster-secondary-market\">told\u003c/a> the Senate judiciary antitrust subcommittee that he believed “scalping and resale should be illegal.”\u003c/p>\n\u003cp>But in the\u003ca href=\"https://www.cbc.ca/news/business/ticketmaster-prices-scalpers-bruno-mars-1.4826914\"> first part\u003c/a> of the CBC/\u003cem>Toronto Star\u003c/em> investigation, published Tuesday, the journalists asserted that resold tickets are “particularly lucrative” for Ticketmaster, because the company reportedly profits from two separate sets of charges collected from the same ticket. “For example,” they write, “if Ticketmaster collects $25.75 on a $209.50 ticket on the initial sale, when the owner posts it for resale for $400 on the site, the company stands to collect an additional $76 on the same ticket.”\u003c/p>\n\u003cp>The Canadian report compounds some pressure on both Live Nation and Ticketmaster. According to reporting earlier this year \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">from \u003cem>The New York Times\u003c/em>\u003c/a>, the Justice Department is in the process of reviewing complaints that the concert giant “has used its control over concert tours to pressure venues into contracting with its subsidiary, Ticketmaster.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://insider.ticketmaster.com/ticketing-vertical-integration-and-the-nyts-recent-article/\">a blog post\u003c/a> responding to the \u003cem>Times\u003c/em>‘ allegations, Ticketmaster president Jared Smith wrote that the company’s success “is not the result of any unfair advantages resulting from being a part of Live Nation Entertainment,” but a result of its parent company’s investments into its products, alluding to the complaints as having been filed by AEG, its chief competition. “I would much rather talk about the things we are doing to ensure that consumers get fair access to tickets,” Smith continued, “but I guess none of that sells newspapers.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ticketmaster+Has+Its+Own+Secret+%27Scalping+Program%2C%27+Canadian+Journalists+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>We the Animals\u003c/em>, Jeremiah Zagar’s fever-dream of a movie, gets underway on a hot summer afternoon in upstate New York, with three shirtless, preteen boys running wild, the way kids do.\u003c/p>\n\u003cp>The youngest, Jonah (Evan Rosado), reads from a secret journal he scribbles at night, about wanting more: more noise, more muscles, more time with brothers Manny (Isaiah Kristian) and Joel (Josiah Gabriel).\u003c/p>\n\u003cp>The three boys are so inseparable they seem almost a single organism, bouncing off the walls, tearing across a field, baying at the moon, turning every flat object in the house into a drum … and when all of that gets old, huddling under a sheet, whispering.\u003c/p>\n\u003cp>Childhood is a magical time for these three, if also—when the discovery of that journal leads to unintended revelations—a fraught time. \u003c/p>\n\u003cp>https://youtu.be/jTRZsrj28C4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Based on Justin Torres’ 2011, autobiographical debut novel, \u003cem>We the Animals \u003c/em>seemed an unlikely candidate for film adaptation. The book is impressionistic, fragmented, deeply felt but nearly non-narrative as it tells of a working-class family’s turbulent home life. Somehow, though, Zagar has found a way to let the film’s scenes surface and recede the way memories do.\u003c/p>\n\u003cp>Scenes about breakfasts and truck rides, dancing, cuddling, and roughhousing in the care of a mixed-race couple who’ve moved upstate looking for a good life that hasn’t materialized. Paps (Raul Castillo), a night watchman, is Puerto Rican; Ma (Sheila Vand), who works in a bottling plant, is white. They met when she was underage, and a dozen years later are still crazy in love. \u003c/p>\n\u003cp>But dead-end-jobs and struggling-to-make-ends-meet was never the plan, so sometimes they’re not just lovers, but also fighters—she protective of the kids, he rough and tumble (or just rough)—which means the boys need to figure out what’s happening when, say, Paps packs his things and takes off after one fight that leaves Ma bruised, and in the words of her sons, “purple … crazy … tore-up.” That rates a note \u003cem>and\u003c/em> an illustration in Jonah’s journal, animated with Mark Samsonovich’s scratchy pen drawings for the film.\u003c/p>\n\u003cp>That fight also leaves Ma too depressed to leave her bed for a week or so, which gives the kids a chance to eat themselves out of house and home, and then go foraging at a convenience store, in the woods, and on a farm, where a gruff but kind-hearted farmer gives them a hot meal, while glimpses of his striking blond grandson give Jonah feelings he doesn’t quite know what to do with. \u003c/p>\n\u003cp>Filmmaker Zagar is a documentarian, making his first fiction feature here, working with youngsters who’d never acted before, and creating a dreamlike narrative where Jonah’s carousing merges with his fantasies about adulthood, and his confusion over things his parents say and do—Paps loving and leaving; Ma loving and clinging.\u003c/p>\n\u003cp>“I remember your heart inside me,” she whispers to Jonah as she hugs him close, “tickin’ like a bomb.”\u003c/p>\n\u003cp>That’s quite the image, and applies equally to Jonah at age nine—ticking like a bomb with explosive sensual feelings, and the realization that there are ways in which he is not like his brothers. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We the Animals\u003c/em> catches its characters as they are right on the cusp of the growth spurt that will propel them into their teens—into the years when they’ll finally grow out of the feral joys of childhood. Grow, in the case of journal-keeping Jonah, perhaps to be a writer who’ll try to capture in words this summer of wanting more—this summer when things began to change—and make it intense, scary and ecstatically lyrical.\u003c/p>\n\n",
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"content": "\u003cp>Actor Burt Reynolds, who played good ol’ boys and rugged action heroes in an acting career that spanned seven decades, has died. Reynolds died Thursday morning at a Florida hospital following a heart attack. He was 82.\u003c/p>\n\u003cp>Reynolds came to stardom in \u003cem>Deliverance\u003c/em> and \u003cem>Smokey and the Bandit\u003c/em> in the 1970s, and was still making movies more than 40 years later. In 1977’s \u003cem>Smokey and the Bandit\u003c/em>, Jackie Gleason was Smokey the sheriff, Burt Reynolds was Bandit, and the plot hinged on whether Bandit and a truck-driving pal could blow through Smokey’s roadblocks and make the run in 28 hours. The smile, the mustache, the twinkle in his eye … without them, would anyone have buckled up for that bootlegging run from Texarkana to Atlanta?\u003c/p>\n\u003cp>\u003cem>Smokey and the Bandit\u003c/em> opened the same year \u003cem>Star Wars\u003c/em> hit theaters. Reynolds had been offered the part of Han Solo, actually, and turned it down, just as he’d turned down the role of James Bond, and would later turn down \u003cem>Pretty Woman\u003c/em>. No one ever accused him of being smart about choosing film roles.\u003c/p>\n\u003cp>But smart in the films? No question.\u003c/p>\n\u003cp>\u003cem>Deliverance\u003c/em> was the one that made him famous. Years of bit parts on TV hadn’t prepared audiences for his scarily ripped outdoorsman, who led Jon Voight, Ronny Cox and Ned Beatty on what would end up being a harrowing canoe trip in the Georgia backwoods. There were dueling banjos, hillbilly rapists, and Reynolds using a bow and arrow to spear fish, and to meet nature on its own terms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After \u003cem>Deliverance\u003c/em> put him on the map, Reynolds more or less owned the rest of that decade. He played football players in \u003cem>The Longest Yard\u003c/em> and \u003cem>Semi-Tough\u003c/em> — not a huge stretch for him, since he’d attended college on a football scholarship. The bootlegger thing kept coming back in \u003cem>White Lightning\u003c/em> and \u003cem>Lucky Lady\u003c/em>. And off-screen, he also cultivated an outlaw vibe — including \u003ca href=\"https://www.cosmopolitan.com/entertainment/news/a48108/burt-reynolds-cosmo-classic/\">posing nude\u003c/a> on a bearskin rug for \u003cem>Cosmopolitan.\u003c/em>\u003c/p>\n\u003cp>Perhaps unsurprisingly, his marriages didn’t last. Nor did a relationship with sometime co-star Sally Field, whom he later called the love of his life — to her evident surprise.\u003c/p>\n\u003cp>His mistakes on screen included singing in the musical comedy \u003cem>The Best Little Whorehouse in Texas\u003c/em>. “I can sing,” he admitted to interviewers, “as well as Fred Astaire can act.”\u003c/p>\n\u003cp>He had no quips to offer for his business acumen. Reynolds briefly owned a football team, a nightclub and a chain of restaurants before declaring bankruptcy. He also took 22 years to pay a divorce settlement to Loni Anderson.\u003c/p>\n\u003cp>And somehow, he kept coming back — most famously, perhaps, in the 1997 award winner \u003cem>Boogie Nights\u003c/em>, where he played a porn director who had dreams of making movies that were more than (just) porn. “This is the film I want them to remember me by,” his character says — and they did, with an Oscar nomination for best supporting actor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost 20 years (and 60 roles) later, he \u003ca href=\"http://www.wbur.org/hereandnow/2016/10/17/memoir-burt-reynolds\">published a memoir\u003c/a> called \u003cem>But Enough About Me\u003c/em> — a jokey title for a bestseller that proved beyond a doubt, that audiences still weren’t tired of hearing about Burt Reynolds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Burt+Reynolds%2C+Swaggering+Star+Actor%2C+Has+Died+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> is everything. Yes, I’m using a meme-ably meaningless phrase to describe the most fascinating artist to reign during my lifetime, but it’s nearly factual for the Purple One: the intense reconsideration so many listeners have given his work since his death in April 2016 continues to reveal new facets of his genius and his work’s cultural importance. And yes, I’m using the present tense, because though we will never be again blessed with the dynamism of his physical presence, Prince left behind riches that at this point seem bottomless. With Prince, as with only a few popular artists, offerings from the vault – even demos of well-known tracks, or rehearsal material – illuminate and excite. That’s because Prince’s music is all about process: the absorption of so many elements into his signature sounds, and the fleshing out of his music’s central themes of joy in the body and the soul’s loneliness.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/493333311″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>The song “17 Days” perfectly expresses the eternal expansiveness of Prince’s audio-vision. Now, fans can hear it in one of its earliest forms, with just Prince and his piano setting down the blueprint for what would become an epic tender jam. This cut is from a new album to be released Sep. 21 by the Prince estate and Warner Bros. Records. \u003cem>Piano & A Microphone 1983\u003c/em> is just what the title says: a 35-minute home studio recording of the Great One at his keyboard, playing songs including “Purple Rain,” “International Lover,” Joni Mitchell’s “A Case of You,” the version of the gospel chestnut “Mary Don’t You Weep” that recently was featured in Spike Lee’s \u003cem>BlacKKKlansman\u003c/em> – and this widely acknowledged yet still relatively unknown classic.\u003c/p>\n\u003cp>[contextly_sidebar id=”6LDp5OL9qXWD314mcciCSVNBFnskJMA4″]\u003c/p>\n\u003cp>One of the artist’s most beloved B-Sides (many fans call it one of his best songs, period), “17 Days” had a strange inception. Prince wrote it inspired by Vanity 6, the girl group that was one of the earliest embodiments of his sense of the feminine. But his muse and the group’s lead singer, Vanity, left before the trio could record it (an early version was recorded, apparently, with member Brenda Bennett singing lead) and some say that the song was never really intended for her anyway – though it may be \u003cem>about \u003c/em>her. Prince held on to the song for his own use, and, remade with his band the Revolution, it became the B-side to his landmark single “When Doves Cry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the guitarist Vernon Reid once said when discussing his band Living Colour’s cover version, “17 Days” is a composition that grows differently in the hands of anyone who touches it, but which always retains the “sad little simplicity” that also characterized the music of Prince’s idol, Miles Davis. That quality blossoms in Prince’s solo version in various ways. It’s there in his lively piano lines, redolent of gospel music and then turning toward jazz, and in his soul-soaked vocal. It grows more complex as he sings his own background vocal parts, mapping out how the song would sound with women’s voices in the mix. And it’s in the echoes of the Beatles’ “Rain” that humidify the chorus: the gentlest hint of psychedelic grandeur.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All that in a solo track recorded in Prince’s home studio? Of course. After all, Prince is everything.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hear+Prince%27s+Intimate+Home+Recording+Of+The+Song+%2717+Days%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> is everything. Yes, I’m using a meme-ably meaningless phrase to describe the most fascinating artist to reign during my lifetime, but it’s nearly factual for the Purple One: the intense reconsideration so many listeners have given his work since his death in April 2016 continues to reveal new facets of his genius and his work’s cultural importance. And yes, I’m using the present tense, because though we will never be again blessed with the dynamism of his physical presence, Prince left behind riches that at this point seem bottomless. With Prince, as with only a few popular artists, offerings from the vault – even demos of well-known tracks, or rehearsal material – illuminate and excite. That’s because Prince’s music is all about process: the absorption of so many elements into his signature sounds, and the fleshing out of his music’s central themes of joy in the body and the soul’s loneliness.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/493333311″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/493333311″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The song “17 Days” perfectly expresses the eternal expansiveness of Prince’s audio-vision. Now, fans can hear it in one of its earliest forms, with just Prince and his piano setting down the blueprint for what would become an epic tender jam. This cut is from a new album to be released Sep. 21 by the Prince estate and Warner Bros. Records. \u003cem>Piano & A Microphone 1983\u003c/em> is just what the title says: a 35-minute home studio recording of the Great One at his keyboard, playing songs including “Purple Rain,” “International Lover,” Joni Mitchell’s “A Case of You,” the version of the gospel chestnut “Mary Don’t You Weep” that recently was featured in Spike Lee’s \u003cem>BlacKKKlansman\u003c/em> – and this widely acknowledged yet still relatively unknown classic.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>One of the artist’s most beloved B-Sides (many fans call it one of his best songs, period), “17 Days” had a strange inception. Prince wrote it inspired by Vanity 6, the girl group that was one of the earliest embodiments of his sense of the feminine. But his muse and the group’s lead singer, Vanity, left before the trio could record it (an early version was recorded, apparently, with member Brenda Bennett singing lead) and some say that the song was never really intended for her anyway – though it may be \u003cem>about \u003c/em>her. Prince held on to the song for his own use, and, remade with his band the Revolution, it became the B-side to his landmark single “When Doves Cry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the guitarist Vernon Reid once said when discussing his band Living Colour’s cover version, “17 Days” is a composition that grows differently in the hands of anyone who touches it, but which always retains the “sad little simplicity” that also characterized the music of Prince’s idol, Miles Davis. That quality blossoms in Prince’s solo version in various ways. It’s there in his lively piano lines, redolent of gospel music and then turning toward jazz, and in his soul-soaked vocal. It grows more complex as he sings his own background vocal parts, mapping out how the song would sound with women’s voices in the mix. And it’s in the echoes of the Beatles’ “Rain” that humidify the chorus: the gentlest hint of psychedelic grandeur.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All that in a solo track recorded in Prince’s home studio? Of course. After all, Prince is everything.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hear+Prince%27s+Intimate+Home+Recording+Of+The+Song+%2717+Days%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Complex Life Of Leonard Bernstein, A Once-In-A-Century Talent",
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"content": "\u003cp>Aug. 25, 2018 marks \u003ca href=\"https://leonardbernstein.com/\">the centennial\u003c/a> of \u003ca href=\"https://www.npr.org/artists/15234027/leonard-bernstein\">Leonard Bernstein\u003c/a>‘s birth. He was a singular American talent and one of the great orchestra conductors of his generation. He was also a composer of symphonies, ballets and hit musicals, a teacher, a television personality and a complicated man with a complicated personal life.\u003c/p>\n\u003cp>If there was one moment when Leonard Bernstein became Leonard Bernstein, at least to the general public, it was at a concert by the New York Philharmonic on \u003ca href=\"https://leonardbernstein.com/about/conductor/historic-concerts/the-debut-concert-1943\">Nov. 14, 1943 at Carnegie Hall\u003c/a> in Manhattan. The conductor, Bruno Walter, called in sick. The 25-year-old Bernstein stepped in with only a few hours’ notice and without a single rehearsal.\u003c/p>\n\u003cp>“When my father climbed up on that podium in Carnegie Hall and conducted the New York Philharmonic on a national radio broadcast that Sunday afternoon, that was why it was front page news the next day. Like, ‘Local boy makes good,'” says Jamie Bernstein, the late conductor’s daughter.\u003c/p>\n\u003cp>In just the following year alone, Bernstein premiered his first symphony, \u003cem>Jeremiah\u003c/em>, his first ballet, \u003cem>Fancy Free\u003c/em> and his first Broadway musical, \u003cem>On the Town\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13839683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-800x599.jpg\" alt=\""Sometimes when you watch Bernstein conduct ... it's his own involvement and enthusiasm at that moment, his own kind of oneness with the work," archivist Barbara Haws says.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13839683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sometimes when you watch Bernstein conduct … it’s his own involvement and enthusiasm at that moment, his own kind of oneness with the work,” archivist Barbara Haws says.\u003cbr> \u003ccite>(Paul de Hueck/Courtesy of The Leonard Bernstein Office, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bernstein grew up outside of Boston, born to Russian immigrant parents. His father, Sam, had every expectation that his son would follow him into the hair and beauty products business, to the point that he wouldn’t pay for young Leonard’s piano lessons. Nevertheless, Bernstein studied at Harvard and the Curtis Institute of Music, and spent summers at Tanglewood, the \u003ca href=\"https://www.bso.org/Home\">Boston Symphony Orchestra\u003c/a>‘s seasonal home in the Berkshires. It was there that Bernstein came under the influence of conductor Serge Koussevitzky and composer \u003ca href=\"https://www.npr.org/artists/15404219/aaron-copland\">Aaron Copland\u003c/a>. The two of them had grand plans for their protégé, says Nigel Simeone, who edited a volume of Bernstein’s letters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“‘\u003cem>I don’t know whether they think of me as a conductor or a composer, you know. Maybe they want me to be a conductor so that I can play their music and they don’t want me to be a composer so that I’m not kind of competition for them\u003c/em>,'” Simeone says, reading from one of Bernstein’s letters. “I don’t think Copland saw it that way, at all. But I think he did see in Bernstein somebody who could be, you know, a really stunning advocate of his music and of other people’s music.”\u003c/p>\n\u003cp>Whether to be a conductor or a composer was one of the big conflicts of Bernstein’s life. Yet he was good at expressing those feelings in the music to his orchestras, according to New York Philharmonic archivist Barbara Haws.\u003c/p>\n\u003cp>“Sometimes when you watch Bernstein conduct, and he’s so involved and he’s so into it — you know, it’s his own expression,” Haws says. “It’s not even trying to communicate something specific to the orchestra. It’s his own involvement and enthusiasm at that moment, his own kind of oneness with the work.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rxwWlQNGeKE\u003c/p>\n\u003cp>And communicating that enthusiasm to audiences led to, perhaps, one of Leonard Bernstein’s greatest contributions. His nationally televised Young People’s Concerts not only helped introduce classical music to children, but also popularized it with their parents.\u003c/p>\n\u003cp>Some of those TV scripts were worked out at home with his kids, Jamie Bernstein says. But she notes that her father had to turn off that public persona to compose. “A composer is solitary and contemplative and turned inward,” she says. “They have to work all by themselves, which was not a thing my father liked to do. He hated being all alone.”\u003c/p>\n\u003cp>This may explain why, for many, some of Bernstein’s greatest compositions were for either the ballet or the theater, where he was able to collaborate in the same room with artists such as choreographer Jerome Robbins or lyricist \u003ca href=\"https://www.npr.org/artists/15871266/stephen-sondheim\">Stephen Sondheim\u003c/a>, as they did for \u003cem>West Side Story\u003c/em> in 1957. Jazz pianist Bill Charlap says Bernstein’s music for the theater was as serious as his music for the concert hall. “It’s real through-composed music, all the way from the bottom to the top,” he says.\u003c/p>\n\u003cp>Bernstein’s personal life was complex as well. As a young man, he had many gay affairs, but he married Felicia Montealegre, a Chilean-born actress, and raised a family. And while their family life was loving, Jamie Bernstein has revealed some less savory aspects of her father’s behavior in her recently published memoir, \u003cem>Famous Father Girl: A Memoir of Growing Up Bernstein. \u003c/em>She recalls\u003cem> \u003c/em>unwanted kissing of men and women, and of herself.\u003c/p>\n\u003cp>“He prided himself on being governed by his whims, in a way in a way that’s just not really adult,” says Anne Midgette, the \u003cem>Washington Post\u003c/em> music critic who has written about the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo movement\u003c/a> in classical music and about Bernstein. “For a long time, our society has embraced this view of artists as people who were to be indulged. Bernstein kind of epitomizes that. And I feel like we, as a society, are moving past that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Midgette sees Bernstein as a crucial figure in classical music, as does Barbara Haws. “We’re still trying to find the next Leonard Bernstein,” Haws says. “He set that bar so high that it’s very difficult for symphony orchestras to kind of recover and move on, because you only have one of those, probably, once in a century, if you’re lucky.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Complex+Life+Of+Leonard+Bernstein%2C+A+Once-In-A-Century+Talent&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aug. 25, 2018 marks \u003ca href=\"https://leonardbernstein.com/\">the centennial\u003c/a> of \u003ca href=\"https://www.npr.org/artists/15234027/leonard-bernstein\">Leonard Bernstein\u003c/a>‘s birth. He was a singular American talent and one of the great orchestra conductors of his generation. He was also a composer of symphonies, ballets and hit musicals, a teacher, a television personality and a complicated man with a complicated personal life.\u003c/p>\n\u003cp>If there was one moment when Leonard Bernstein became Leonard Bernstein, at least to the general public, it was at a concert by the New York Philharmonic on \u003ca href=\"https://leonardbernstein.com/about/conductor/historic-concerts/the-debut-concert-1943\">Nov. 14, 1943 at Carnegie Hall\u003c/a> in Manhattan. The conductor, Bruno Walter, called in sick. The 25-year-old Bernstein stepped in with only a few hours’ notice and without a single rehearsal.\u003c/p>\n\u003cp>“When my father climbed up on that podium in Carnegie Hall and conducted the New York Philharmonic on a national radio broadcast that Sunday afternoon, that was why it was front page news the next day. Like, ‘Local boy makes good,'” says Jamie Bernstein, the late conductor’s daughter.\u003c/p>\n\u003cp>In just the following year alone, Bernstein premiered his first symphony, \u003cem>Jeremiah\u003c/em>, his first ballet, \u003cem>Fancy Free\u003c/em> and his first Broadway musical, \u003cem>On the Town\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13839683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-800x599.jpg\" alt=\""Sometimes when you watch Bernstein conduct ... it's his own involvement and enthusiasm at that moment, his own kind of oneness with the work," archivist Barbara Haws says.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13839683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/leonard-bernstein-by-paul-de-hueck-courtesy-of-the-leonard-bernstein-office-2efecf93a7d1cd5f71cf9ce80af349cabab66bd8-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sometimes when you watch Bernstein conduct … it’s his own involvement and enthusiasm at that moment, his own kind of oneness with the work,” archivist Barbara Haws says.\u003cbr> \u003ccite>(Paul de Hueck/Courtesy of The Leonard Bernstein Office, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bernstein grew up outside of Boston, born to Russian immigrant parents. His father, Sam, had every expectation that his son would follow him into the hair and beauty products business, to the point that he wouldn’t pay for young Leonard’s piano lessons. Nevertheless, Bernstein studied at Harvard and the Curtis Institute of Music, and spent summers at Tanglewood, the \u003ca href=\"https://www.bso.org/Home\">Boston Symphony Orchestra\u003c/a>‘s seasonal home in the Berkshires. It was there that Bernstein came under the influence of conductor Serge Koussevitzky and composer \u003ca href=\"https://www.npr.org/artists/15404219/aaron-copland\">Aaron Copland\u003c/a>. The two of them had grand plans for their protégé, says Nigel Simeone, who edited a volume of Bernstein’s letters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“‘\u003cem>I don’t know whether they think of me as a conductor or a composer, you know. Maybe they want me to be a conductor so that I can play their music and they don’t want me to be a composer so that I’m not kind of competition for them\u003c/em>,'” Simeone says, reading from one of Bernstein’s letters. “I don’t think Copland saw it that way, at all. But I think he did see in Bernstein somebody who could be, you know, a really stunning advocate of his music and of other people’s music.”\u003c/p>\n\u003cp>Whether to be a conductor or a composer was one of the big conflicts of Bernstein’s life. Yet he was good at expressing those feelings in the music to his orchestras, according to New York Philharmonic archivist Barbara Haws.\u003c/p>\n\u003cp>“Sometimes when you watch Bernstein conduct, and he’s so involved and he’s so into it — you know, it’s his own expression,” Haws says. “It’s not even trying to communicate something specific to the orchestra. It’s his own involvement and enthusiasm at that moment, his own kind of oneness with the work.”\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/rxwWlQNGeKE'\n title='//www.youtube.com/embed/rxwWlQNGeKE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And communicating that enthusiasm to audiences led to, perhaps, one of Leonard Bernstein’s greatest contributions. His nationally televised Young People’s Concerts not only helped introduce classical music to children, but also popularized it with their parents.\u003c/p>\n\u003cp>Some of those TV scripts were worked out at home with his kids, Jamie Bernstein says. But she notes that her father had to turn off that public persona to compose. “A composer is solitary and contemplative and turned inward,” she says. “They have to work all by themselves, which was not a thing my father liked to do. He hated being all alone.”\u003c/p>\n\u003cp>This may explain why, for many, some of Bernstein’s greatest compositions were for either the ballet or the theater, where he was able to collaborate in the same room with artists such as choreographer Jerome Robbins or lyricist \u003ca href=\"https://www.npr.org/artists/15871266/stephen-sondheim\">Stephen Sondheim\u003c/a>, as they did for \u003cem>West Side Story\u003c/em> in 1957. Jazz pianist Bill Charlap says Bernstein’s music for the theater was as serious as his music for the concert hall. “It’s real through-composed music, all the way from the bottom to the top,” he says.\u003c/p>\n\u003cp>Bernstein’s personal life was complex as well. As a young man, he had many gay affairs, but he married Felicia Montealegre, a Chilean-born actress, and raised a family. And while their family life was loving, Jamie Bernstein has revealed some less savory aspects of her father’s behavior in her recently published memoir, \u003cem>Famous Father Girl: A Memoir of Growing Up Bernstein. \u003c/em>She recalls\u003cem> \u003c/em>unwanted kissing of men and women, and of herself.\u003c/p>\n\u003cp>“He prided himself on being governed by his whims, in a way in a way that’s just not really adult,” says Anne Midgette, the \u003cem>Washington Post\u003c/em> music critic who has written about the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo movement\u003c/a> in classical music and about Bernstein. “For a long time, our society has embraced this view of artists as people who were to be indulged. Bernstein kind of epitomizes that. And I feel like we, as a society, are moving past that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Midgette sees Bernstein as a crucial figure in classical music, as does Barbara Haws. “We’re still trying to find the next Leonard Bernstein,” Haws says. “He set that bar so high that it’s very difficult for symphony orchestras to kind of recover and move on, because you only have one of those, probably, once in a century, if you’re lucky.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Complex+Life+Of+Leonard+Bernstein%2C+A+Once-In-A-Century+Talent&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is this moment, about a minute and a half into the music video for \u003ca href=\"https://www.npr.org/artists/90029878/robyn\">Robyn\u003c/a>’s flawless 2010 single “Call Your Girlfriend,” that gives us a quintessential glimpse, something just shy of a thesis, of the Swedish pop star. In it, she’s doing a highly aerobic choreographed dance in an empty warehouse, performing to the camera, which is capturing it in a single, continuous shot; the song she’s singing is premised largely on passing caring and hard-won advice about getting over a break-up to a woman through the man she is seemingly stealing from her. The song foregrounds the feelings of the two women; the romance with the new dude is somewhere in the backseat.\u003c/p>\n\u003cp>As Robyn is laying this drama, she’s meeting our gaze by staring intently back at us through the camera; she’s pacing through stuttering rhythmic moves, her severe silvery-white bowlcut motionless throughout. She’s fully clothed in a long-sleeve sweater, leggings and candy pink platform oxfords. She prances backwards and with a rough somersault, unfurls herself, cheek to the floor. She humps the ground in a way that recalls both Prince and a cartoon caterpillar while intoning the line “Tell her that I give you something you never even knew you missed.” The camera does not zoom in on her body; it does not grant the reassurance a close-up of Robyn’s smiling or seductive face would provide. Robyn then rolls away on the floor in her Muppet-y sweater. She’s not here to seduce us in all the hackneyed ways that are so familiar. She’s here to give us something we never even knew we missed.\u003c/p>\n\u003cp>[contextly_sidebar id=”zzH3Ft2NdlbDDmL2shNGslcptsm7MnKF”]\u003c/p>\n\u003cp>Since early on in her two-decade-plus career as a pop artist, the popular line has always been that even though Robyn has the perfect voice and songs that fit seamlessly amid the bland and the bold of the American pop Top 40, she’s never quite broken through, because something is \u003cem>off\u003c/em>. She’s \u003cem>too\u003c/em> Euro, \u003cem>too\u003c/em> cool, \u003cem>too\u003c/em> weird—but that insistent “too” reveals the unspoken rules: We demand pop star girls to be less; to be vessels for our desire, not confidently expressing the complexity of their own; malleable, not showing up with an auteur’s vision. They are supposed to be writhing, glistening tits-up on the floor, not log-rolling away in a sweater. She sings on 2005’s “Who’s That Girl:”\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Who’s that girl that you dream of?\u003cbr>Who’s that girl that you think you love?\u003cbr>Who’s that girl, well I’m nothing like her\u003cbr>I know there’s no such girl\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>In blunting the fantasy-girl with the real, it’s not that Robyn isn’t (fill in the blank) enough, but rather, \u003cem>she’s\u003c/em> \u003cem>everything.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The reductive reasoning about Robyn also misses the way her image and music has been so instructive for both her fans and the artists who came in her wake. She’s an artist in control of her work, a soft-butch cool-girl who served us a dreamy possibility beyond the rigid binaries, who adapted pop’s dance floor language into something that served her own dreams. Her complexity is a kind of permission; leaving the major label climate after a decade of nursing stardom to start her own label (Konichiwa Records) and make the music she wanted to make, taking long multi-year stretches between releasing her albums, being a constant collaborator (\u003ca href=\"https://www.npr.org/artists/154570682/neneh-cherry\">Neneh Cherry\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15793896/the-knife\">The Knife\u003c/a>, Röyksopp), making EPs and mini-albums as is her wont. She has conducted her career with continual centering on independence, on what makes sense and suits her, rather than any sort of industry convention or pacing. She’s a teen pop star who has only gotten more interesting and assertive with age, an artist who is not ducking out, now, at 39. She’s served as an icon for weird girls, queer artists and non-binary folks who are the innovators behind some of the best pop music (and its boldest experiments) of the last few years: \u003ca href=\"https://www.npr.org/artists/227790178/lorde\">Lorde\u003c/a>, \u003ca href=\"https://www.npr.org/artists/167801992/perfume-genius\">Perfume Genius\u003c/a>, \u003ca href=\"https://www.npr.org/artists/160542455/carly-rae-jepsen\">Carly Rae Jepsen\u003c/a>, Alma, SSION and \u003ca href=\"https://www.npr.org/artists/370400904/charli-xcx\">Charli XCX\u003c/a> chief among them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While her image and her independence continue to matter, her songs are what have gained salience in recent years. While thematic echoes of “Dancing on My Own,” show up in Lorde’s “Green Light” (the young singer performed with a framed portrait of Robyn on \u003cem>Saturday Night Live\u003c/em> last year)—the spiritual endowment of, particularly, Robyn’s post-2005 work feels especially prescient. The songs of \u003cem>Robyn\u003c/em> and the three-part \u003cem>Body Talk\u003c/em> endure musically, and the emotional range in them still feels revelatory—a relief even. She created dance floor anthems that stack hooks with anger (“Don’t F*cking Tell Me What To Do,” “Dancing On My Own”), alienation (“None of Dem”) resistance (“Fembot”) and sorrow (“Missing U”) and cynicism (“Love Kills”) as much as they broach romance. Historically, the dance floor has been a safe space, a night-long utopia of lust and freedom and carefree self-expression. In 2018, it’s all the more necessary. But the reality is that we need music that brings—and allows for—so much more: for songs that assure us that yes, music is the place where we can come in our frightened loneliness. Even in the darkness of our mourning, our confusion and sadness, Robyn assures, again and again, that the disco ball will still shine on us.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Robyn+Is+The+21st+Century%27s+Pop+Oracle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is this moment, about a minute and a half into the music video for \u003ca href=\"https://www.npr.org/artists/90029878/robyn\">Robyn\u003c/a>’s flawless 2010 single “Call Your Girlfriend,” that gives us a quintessential glimpse, something just shy of a thesis, of the Swedish pop star. In it, she’s doing a highly aerobic choreographed dance in an empty warehouse, performing to the camera, which is capturing it in a single, continuous shot; the song she’s singing is premised largely on passing caring and hard-won advice about getting over a break-up to a woman through the man she is seemingly stealing from her. The song foregrounds the feelings of the two women; the romance with the new dude is somewhere in the backseat.\u003c/p>\n\u003cp>As Robyn is laying this drama, she’s meeting our gaze by staring intently back at us through the camera; she’s pacing through stuttering rhythmic moves, her severe silvery-white bowlcut motionless throughout. She’s fully clothed in a long-sleeve sweater, leggings and candy pink platform oxfords. She prances backwards and with a rough somersault, unfurls herself, cheek to the floor. She humps the ground in a way that recalls both Prince and a cartoon caterpillar while intoning the line “Tell her that I give you something you never even knew you missed.” The camera does not zoom in on her body; it does not grant the reassurance a close-up of Robyn’s smiling or seductive face would provide. Robyn then rolls away on the floor in her Muppet-y sweater. She’s not here to seduce us in all the hackneyed ways that are so familiar. She’s here to give us something we never even knew we missed.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Since early on in her two-decade-plus career as a pop artist, the popular line has always been that even though Robyn has the perfect voice and songs that fit seamlessly amid the bland and the bold of the American pop Top 40, she’s never quite broken through, because something is \u003cem>off\u003c/em>. She’s \u003cem>too\u003c/em> Euro, \u003cem>too\u003c/em> cool, \u003cem>too\u003c/em> weird—but that insistent “too” reveals the unspoken rules: We demand pop star girls to be less; to be vessels for our desire, not confidently expressing the complexity of their own; malleable, not showing up with an auteur’s vision. They are supposed to be writhing, glistening tits-up on the floor, not log-rolling away in a sweater. She sings on 2005’s “Who’s That Girl:”\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Who’s that girl that you dream of?\u003cbr>Who’s that girl that you think you love?\u003cbr>Who’s that girl, well I’m nothing like her\u003cbr>I know there’s no such girl\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>In blunting the fantasy-girl with the real, it’s not that Robyn isn’t (fill in the blank) enough, but rather, \u003cem>she’s\u003c/em> \u003cem>everything.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The reductive reasoning about Robyn also misses the way her image and music has been so instructive for both her fans and the artists who came in her wake. She’s an artist in control of her work, a soft-butch cool-girl who served us a dreamy possibility beyond the rigid binaries, who adapted pop’s dance floor language into something that served her own dreams. Her complexity is a kind of permission; leaving the major label climate after a decade of nursing stardom to start her own label (Konichiwa Records) and make the music she wanted to make, taking long multi-year stretches between releasing her albums, being a constant collaborator (\u003ca href=\"https://www.npr.org/artists/154570682/neneh-cherry\">Neneh Cherry\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15793896/the-knife\">The Knife\u003c/a>, Röyksopp), making EPs and mini-albums as is her wont. She has conducted her career with continual centering on independence, on what makes sense and suits her, rather than any sort of industry convention or pacing. She’s a teen pop star who has only gotten more interesting and assertive with age, an artist who is not ducking out, now, at 39. She’s served as an icon for weird girls, queer artists and non-binary folks who are the innovators behind some of the best pop music (and its boldest experiments) of the last few years: \u003ca href=\"https://www.npr.org/artists/227790178/lorde\">Lorde\u003c/a>, \u003ca href=\"https://www.npr.org/artists/167801992/perfume-genius\">Perfume Genius\u003c/a>, \u003ca href=\"https://www.npr.org/artists/160542455/carly-rae-jepsen\">Carly Rae Jepsen\u003c/a>, Alma, SSION and \u003ca href=\"https://www.npr.org/artists/370400904/charli-xcx\">Charli XCX\u003c/a> chief among them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While her image and her independence continue to matter, her songs are what have gained salience in recent years. While thematic echoes of “Dancing on My Own,” show up in Lorde’s “Green Light” (the young singer performed with a framed portrait of Robyn on \u003cem>Saturday Night Live\u003c/em> last year)—the spiritual endowment of, particularly, Robyn’s post-2005 work feels especially prescient. The songs of \u003cem>Robyn\u003c/em> and the three-part \u003cem>Body Talk\u003c/em> endure musically, and the emotional range in them still feels revelatory—a relief even. She created dance floor anthems that stack hooks with anger (“Don’t F*cking Tell Me What To Do,” “Dancing On My Own”), alienation (“None of Dem”) resistance (“Fembot”) and sorrow (“Missing U”) and cynicism (“Love Kills”) as much as they broach romance. Historically, the dance floor has been a safe space, a night-long utopia of lust and freedom and carefree self-expression. In 2018, it’s all the more necessary. But the reality is that we need music that brings—and allows for—so much more: for songs that assure us that yes, music is the place where we can come in our frightened loneliness. Even in the darkness of our mourning, our confusion and sadness, Robyn assures, again and again, that the disco ball will still shine on us.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Robyn+Is+The+21st+Century%27s+Pop+Oracle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Madeline's Madeline': In This Acting Class, Dreams, Darkness and Dance Come Together",
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"content": "\u003cp>One of the first things actors learn is how to become highly suggestible: Take a cue from a director, a script, a parent, a memory or a dream, and use it to become someone else. Acting classes instruct on the fine art of removing that layer of yourself that says, “No, I shouldn’t do this, it isn’t me.” Fail to break down those walls, and you aren’t much of a performer; knock too many down, and you may lose yourself. \u003c/p>\n\u003cp>\u003cem>Madeline’s Madeline\u003c/em>, the third feature from writer-director Josephine Decker, follows a teenaged girl in one of these acting classes. But the film is also teaching us what it means to be a performer who is not yet a fully realized person — someone trying to learn suggestibility and independence at the same time. Those with knowledge of these spaces will find instant recognition in the empty stage’s unreality — a place where anyone can scream out a suggestion, and force everyone else to fall in line. \u003c/p>\n\u003cp>In this world, despite her youth, Madeline is the star pupil: a gifted actor, particularly when she gets to inhabit nonhuman roles like cats and turtles. But the trouble starts when she has to play herself, and that unreality doesn’t stay safely on the stage. Madeline has mental illness, and may or may not have had some psychotic episodes in her past, with her emotional triggers almost always delivered by her needy, quivering mother. Her acting teacher starts picking up on some of this unresolved tension, and ropes Madeline’s mother into the troupe’s upcoming experimental performance, determined to unlock the reservoirs of rage and uncertainty that lie underneath this girl’s scrawny, frizzy-haired frame.\u003c/p>\n\u003cp>The film is anchored at every turn by newcomer Helena Howard’s big, brash and brilliant lead performance. Born out of improv exercises between Howard and Decker, Madeline is front-and-center of every frame, both assured and volatile, quick to lash out and yet also easily manipulated. Her showdowns with her mother (played with brittle unease by Miranda July, the last person on Earth you’d expect to see as a humorless working mom) are stacked with unresolved tension; early on, Madeline sprints into her mom’s car straight from a theater game, ducking her head down and yelling at her mom to drive. It’s an invite of sorts to play along, but mom takes things way too seriously, panicking that someone is really after them, and you get a perfect feel for how stifling life in that household must be for someone of Madeline’s talents and temperament. \u003c/p>\n\u003cp>This tension manifests itself in violent dreams, or at least you hope they’re only dreams. Madeline discloses one, where she takes an iron to her mom’s hand, to her beloved instructor Evangeline (Molly Parker). But actors are not psychologists, and so when Evangeline looks at this private moment she sees only an opportunity to improve her art, consequences be damned. Suddenly the entire production recenters around Madeline’s relationship with her mother, and the other actors start wearing her floral sweaters and imitating her motions. What is performance, and what is just … well, unhealthy? How about when Madeline, whose black father remains unseen, goes to dinner at Evangeline’s house and discovers her instructor has a black husband, and what that might mean about her own lofty perch in the class? There’s nothing like running away from one adult who’s trying to shape you, only to find yourself being used by another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Given that \u003cem>Madeline’s Madeline\u003c/em> comes out of a very precise, self-sustaining corner of the indie film world (Decker has been in Joe Swanberg’s circle of collaborators for years, and co-lead July is one of our most prized hipster auteurs), there’s a temptation to write it off as unserious, something meant only to speak to a small orbit of those in the know. But that would be a mistake. Like Decker’s earlier two works \u003cem>Butter on the Latch\u003c/em> and \u003cem>Thou Wast Mild and Lovely\u003c/em>, the film finds new ways of exploring female desires and insecurities by detaching itself from linear storytelling and easy rationales. Madeline’s growing self-awareness isn’t always easy to make sense of, from moment to moment, and cinematographer Ashley Connor often doesn’t seem to be capturing her actions and reactions so much as her brainwaves. That’s OK. The film tracks the inside of its heroine’s head more successfully than most.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If Decker and her actors really were making up most of this film as they went along, the way it sometimes feels, it speaks to the fruitfulness of their collaboration that the finished work feels fresh and invigorating without wasting our time. And anyway, there’s at least one perfectly planned setpiece: The final sequence is a thrilling bit of mask-play and interpretative dance that doesn’t have to be anything except what it is. It casts us into full make-believe alongside Madeline, who’s fielding her latest acting cues from her own demons, and seems to finally find a home where they can all live in harmony.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the first things actors learn is how to become highly suggestible: Take a cue from a director, a script, a parent, a memory or a dream, and use it to become someone else. Acting classes instruct on the fine art of removing that layer of yourself that says, “No, I shouldn’t do this, it isn’t me.” Fail to break down those walls, and you aren’t much of a performer; knock too many down, and you may lose yourself. \u003c/p>\n\u003cp>\u003cem>Madeline’s Madeline\u003c/em>, the third feature from writer-director Josephine Decker, follows a teenaged girl in one of these acting classes. But the film is also teaching us what it means to be a performer who is not yet a fully realized person — someone trying to learn suggestibility and independence at the same time. Those with knowledge of these spaces will find instant recognition in the empty stage’s unreality — a place where anyone can scream out a suggestion, and force everyone else to fall in line. \u003c/p>\n\u003cp>In this world, despite her youth, Madeline is the star pupil: a gifted actor, particularly when she gets to inhabit nonhuman roles like cats and turtles. But the trouble starts when she has to play herself, and that unreality doesn’t stay safely on the stage. Madeline has mental illness, and may or may not have had some psychotic episodes in her past, with her emotional triggers almost always delivered by her needy, quivering mother. Her acting teacher starts picking up on some of this unresolved tension, and ropes Madeline’s mother into the troupe’s upcoming experimental performance, determined to unlock the reservoirs of rage and uncertainty that lie underneath this girl’s scrawny, frizzy-haired frame.\u003c/p>\n\u003cp>The film is anchored at every turn by newcomer Helena Howard’s big, brash and brilliant lead performance. Born out of improv exercises between Howard and Decker, Madeline is front-and-center of every frame, both assured and volatile, quick to lash out and yet also easily manipulated. Her showdowns with her mother (played with brittle unease by Miranda July, the last person on Earth you’d expect to see as a humorless working mom) are stacked with unresolved tension; early on, Madeline sprints into her mom’s car straight from a theater game, ducking her head down and yelling at her mom to drive. It’s an invite of sorts to play along, but mom takes things way too seriously, panicking that someone is really after them, and you get a perfect feel for how stifling life in that household must be for someone of Madeline’s talents and temperament. \u003c/p>\n\u003cp>This tension manifests itself in violent dreams, or at least you hope they’re only dreams. Madeline discloses one, where she takes an iron to her mom’s hand, to her beloved instructor Evangeline (Molly Parker). But actors are not psychologists, and so when Evangeline looks at this private moment she sees only an opportunity to improve her art, consequences be damned. Suddenly the entire production recenters around Madeline’s relationship with her mother, and the other actors start wearing her floral sweaters and imitating her motions. What is performance, and what is just … well, unhealthy? How about when Madeline, whose black father remains unseen, goes to dinner at Evangeline’s house and discovers her instructor has a black husband, and what that might mean about her own lofty perch in the class? There’s nothing like running away from one adult who’s trying to shape you, only to find yourself being used by another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given that \u003cem>Madeline’s Madeline\u003c/em> comes out of a very precise, self-sustaining corner of the indie film world (Decker has been in Joe Swanberg’s circle of collaborators for years, and co-lead July is one of our most prized hipster auteurs), there’s a temptation to write it off as unserious, something meant only to speak to a small orbit of those in the know. But that would be a mistake. Like Decker’s earlier two works \u003cem>Butter on the Latch\u003c/em> and \u003cem>Thou Wast Mild and Lovely\u003c/em>, the film finds new ways of exploring female desires and insecurities by detaching itself from linear storytelling and easy rationales. Madeline’s growing self-awareness isn’t always easy to make sense of, from moment to moment, and cinematographer Ashley Connor often doesn’t seem to be capturing her actions and reactions so much as her brainwaves. That’s OK. The film tracks the inside of its heroine’s head more successfully than most.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If Decker and her actors really were making up most of this film as they went along, the way it sometimes feels, it speaks to the fruitfulness of their collaboration that the finished work feels fresh and invigorating without wasting our time. And anyway, there’s at least one perfectly planned setpiece: The final sequence is a thrilling bit of mask-play and interpretative dance that doesn’t have to be anything except what it is. It casts us into full make-believe alongside Madeline, who’s fielding her latest acting cues from her own demons, and seems to finally find a home where they can all live in harmony.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I’ll be your mirror,” intoned Nico in 1966, singing one of the many tunes given her by a lover. In retrospect, the line neatly captures the model-actress-singer’s ’60s persona: a thin, icily beautiful, dyed-blonde blankness, to be defined by Federico Fellini and Andy Warhol, Lou Reed (who wrote “I’ll Be Your Mirror”) and Bob Dylan. \u003c/p>\n\u003cp>By 1986, when \u003cem>Nico, 1988\u003c/em> opens, the singer has banished all that: she’s become brunette, and cantankerous, and she’s gained some weight. She still sings under the name Nico, but her performances are staged mostly to subsidize her true vocation, heroin user. And she insists that acquaintances use her real name, Christa. \u003c/p>\n\u003cp>https://youtu.be/AWvUNABT8sg\u003c/p>\n\u003cp>Italian writer-director Susanna Nicchiarelli’s scrappy biopic is billed as a somewhat fictionalized “true story.” The script jibes with some accounts of the singer’s final years, and any unreliability is partly the responsibility of its subject, who often lied about her life. \u003c/p>\n\u003cp>The truth of the film, though, is mostly in Trine Dyrholm’s performance. The Danish actress (best known for \u003cem>The Commune\u003c/em>) plays Nico as perplexing and intriguing, ethereal yet earthy. She manages to make the viewer understand why some people wanted to be around the singer, even though she was demanding, exasperating and untrustworthy—in short, a junkie. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dyrholm handles the vocals, persuasively singing several of Nico’s compositions: slo-mo dirges that combined Germanic hymns, French chansons, and the minor-key epics of the Doors (Jim Morrison was another of Nico’s lovers) and the Velvet Underground. Dyrholm also handles a few of the more tuneful numbers Nico recorded, including Jackson Browne’s “These Days” (him, too) and “My Funny Valentine.” \u003c/p>\n\u003cp>The story is book-ended by incidents from the beginning and end of Nico’s life. In the first, a little girl watches beautiful light in the distance, which her mother explains that Berlin is ablaze. In the second, Nico tells her son that she’s going on a bike ride. She won’t return. \u003c/p>\n\u003cp>In between, Nico lives in grim Manchester and undertakes tours arranged by her manager, Richard (John Gordon Sinclair, all grown up 35 years after \u003cem>Gregory’s Girl\u003c/em>). The singer and a ragged band visit Italy and wiggle past the Iron Curtain, notably for an illegal show in Prague. The musicians slink through the dark, and cinematographer Crystel Fournier films them as if she’d time-traveled through a portal to the last days of the Warsaw Pact. \u003c/p>\n\u003cp>The movie’s Nico focuses mostly on self-preservation. She doesn’t give much thought to anyone else, save her teenage addict son, Ari (Sandor Funtek). The child of actor Alain Delon, who never acknowledged him, Ari has ended up in an asylum. Nico wants to get him released and take him on tour, which turns out not to be such a good idea. \u003c/p>\n\u003cp>\u003cem>Nico, 1988\u003c/em> includes a few clips of low-def archival film from the ’60s, glimpses of the young woman’s glamorous persona and famous associates. Aside from those inserts, Nicchiarelli focuses tightly on her subject and the few people around her, the better to emphasize Nico’s isolation and self-absorption. The director jettisons the larger context and several interesting figures important to the singer’s 1986-88 period. \u003c/p>\n\u003cp>The most curious omission is keyboardist James Young, who not only performed with Nico for most of the ’80s but also wrote a very funny memoir about his experiences, published in the U.S. as \u003cem>Nico: The End\u003c/em>. Young’s outlook is very different from Nicchiarelli’s, and the director’s response was to excise him utterly: In her telling, Nico’s band doesn’t even have a keyboard player. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps Young’s book will someday be the source for a different sort of Nico biopic. For now, the story belongs to Nicchiarelli and especially Dyrholm. Later, Nico can be some other canny filmmakers’ mirror. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’ll be your mirror,” intoned Nico in 1966, singing one of the many tunes given her by a lover. In retrospect, the line neatly captures the model-actress-singer’s ’60s persona: a thin, icily beautiful, dyed-blonde blankness, to be defined by Federico Fellini and Andy Warhol, Lou Reed (who wrote “I’ll Be Your Mirror”) and Bob Dylan. \u003c/p>\n\u003cp>By 1986, when \u003cem>Nico, 1988\u003c/em> opens, the singer has banished all that: she’s become brunette, and cantankerous, and she’s gained some weight. She still sings under the name Nico, but her performances are staged mostly to subsidize her true vocation, heroin user. And she insists that acquaintances use her real name, Christa. \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/AWvUNABT8sg'\n title='//www.youtube.com/embed/AWvUNABT8sg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Italian writer-director Susanna Nicchiarelli’s scrappy biopic is billed as a somewhat fictionalized “true story.” The script jibes with some accounts of the singer’s final years, and any unreliability is partly the responsibility of its subject, who often lied about her life. \u003c/p>\n\u003cp>The truth of the film, though, is mostly in Trine Dyrholm’s performance. The Danish actress (best known for \u003cem>The Commune\u003c/em>) plays Nico as perplexing and intriguing, ethereal yet earthy. She manages to make the viewer understand why some people wanted to be around the singer, even though she was demanding, exasperating and untrustworthy—in short, a junkie. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dyrholm handles the vocals, persuasively singing several of Nico’s compositions: slo-mo dirges that combined Germanic hymns, French chansons, and the minor-key epics of the Doors (Jim Morrison was another of Nico’s lovers) and the Velvet Underground. Dyrholm also handles a few of the more tuneful numbers Nico recorded, including Jackson Browne’s “These Days” (him, too) and “My Funny Valentine.” \u003c/p>\n\u003cp>The story is book-ended by incidents from the beginning and end of Nico’s life. In the first, a little girl watches beautiful light in the distance, which her mother explains that Berlin is ablaze. In the second, Nico tells her son that she’s going on a bike ride. She won’t return. \u003c/p>\n\u003cp>In between, Nico lives in grim Manchester and undertakes tours arranged by her manager, Richard (John Gordon Sinclair, all grown up 35 years after \u003cem>Gregory’s Girl\u003c/em>). The singer and a ragged band visit Italy and wiggle past the Iron Curtain, notably for an illegal show in Prague. The musicians slink through the dark, and cinematographer Crystel Fournier films them as if she’d time-traveled through a portal to the last days of the Warsaw Pact. \u003c/p>\n\u003cp>The movie’s Nico focuses mostly on self-preservation. She doesn’t give much thought to anyone else, save her teenage addict son, Ari (Sandor Funtek). The child of actor Alain Delon, who never acknowledged him, Ari has ended up in an asylum. Nico wants to get him released and take him on tour, which turns out not to be such a good idea. \u003c/p>\n\u003cp>\u003cem>Nico, 1988\u003c/em> includes a few clips of low-def archival film from the ’60s, glimpses of the young woman’s glamorous persona and famous associates. Aside from those inserts, Nicchiarelli focuses tightly on her subject and the few people around her, the better to emphasize Nico’s isolation and self-absorption. The director jettisons the larger context and several interesting figures important to the singer’s 1986-88 period. \u003c/p>\n\u003cp>The most curious omission is keyboardist James Young, who not only performed with Nico for most of the ’80s but also wrote a very funny memoir about his experiences, published in the U.S. as \u003cem>Nico: The End\u003c/em>. Young’s outlook is very different from Nicchiarelli’s, and the director’s response was to excise him utterly: In her telling, Nico’s band doesn’t even have a keyboard player. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps Young’s book will someday be the source for a different sort of Nico biopic. For now, the story belongs to Nicchiarelli and especially Dyrholm. Later, Nico can be some other canny filmmakers’ mirror. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>HGTV is the winning bidder for the Studio City, Calif., house featured in the sitcom \u003cem>The Brady Bunch\u003c/em>, with the cable network’s parent company promising to “restore the home to its 1970s glory.”\u003c/p>\n\u003cp>The CEO of Discovery Inc., which recently completed acquisition of HGTV, announced the news on a corporate earnings call.\u003c/p>\n\u003cp>“One of our projects for HGTV will speak to those Brady Bunch fans on the call,” David Zaslav said, according to \u003ca href=\"http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-brady-bunch-house-hgtv-20180807-story.html\">The Los Angeles Times.\u003c/a>\u003c/p>\n\u003cp>“You may have heard that the house from the iconic series was recently on the market in California. I’m excited to share that HGTV is the winning bidder and will restore the Brady Bunch home to its 1970s glory as only HGTV can,” he said. “More detail to come over the next few months, but we’ll bring all the resources to bear to tell safe, fun stories about this beloved piece of American TV history.”\u003c/p>\n\u003cp>The purchase price was not immediately available, but it had been listed at $1.85 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The home and garden network reportedly beat out a handful of other interested parties, including Lance Bass, the former ‘N Sync member. Bass announced excitedly on Twitter last week that he had the winning bid, only to be told later by an agent representing the estate that “another corporate buyer” wanted the house “at any cost.”\u003c/p>\n\u003cp>https://twitter.com/LanceBass/status/1025971593397166081\u003c/p>\n\u003cp>“While we appreciate Mr. Bass and his interest in the Dilling Street property, tremendous interest in the house required a sealed, best and final bid,” said a spokesman for Douglas Elliman, the agency selling the property, according to \u003ca href=\"https://www.marketwatch.com/story/lance-bass-lost-a-bidding-war-on-the-brady-bunch-househow-home-buyers-can-avoid-a-similar-fate-2018-08-07\">MarketWatch.\u003c/a> “Our fiduciary obligation is to the seller, who decided to go with the highest, most qualified bid. We wish Mr. Bass the best of luck in future real-estate endeavors.”\u003c/p>\n\u003cp>Douglas Elliman listing agent Ernie Carswell told the \u003cem>Times\u003c/em> on Saturday “that the sale to Bass was not a done deal and that the seller had not made a final decision at the time,” according to the newspaper.\u003c/p>\n\u003cp>After initially chaffing at the reversal, Bass seemed content in defeat, tweeting, “HGTV??! Aw man. I’d be pretty upset if it were anyone else, but how can you be mad at HGTV?? My television is stuck on that channel. Kudos HGTV, I know you will do the right thing with the house. That was always my biggest worry. I can smile again.”\u003c/p>\n\u003cp>As MarketWatch notes, “The chances of making a winning bid are lower when the buyer is competing against someone making an all-cash offer, as was the case for Bass.”\u003c/p>\n\u003cp>In July, the nearly 2,500-square foot house, which sits on a 12,500-square-foot lot, went on the market for the first time in 50 years. It previously sold in 1973 — a year before \u003cem>The Brady Bunch\u003c/em> series wrapped — for $61,000.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/2018/07/19/630482147/expect-a-bunch-of-attention-for-this-house-listing\">we wrote last month,\u003c/a> “Megafans may be disappointed to know that inside, the house looks very different from the sitcom set with its large open staircase. The show was filmed in a Los Angeles studio.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Brady+Bunch%27+House+Winner+Revealed%3A+HGTV+Outbid+Lance+Bass&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>HGTV is the winning bidder for the Studio City, Calif., house featured in the sitcom \u003cem>The Brady Bunch\u003c/em>, with the cable network’s parent company promising to “restore the home to its 1970s glory.”\u003c/p>\n\u003cp>The CEO of Discovery Inc., which recently completed acquisition of HGTV, announced the news on a corporate earnings call.\u003c/p>\n\u003cp>“One of our projects for HGTV will speak to those Brady Bunch fans on the call,” David Zaslav said, according to \u003ca href=\"http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-brady-bunch-house-hgtv-20180807-story.html\">The Los Angeles Times.\u003c/a>\u003c/p>\n\u003cp>“You may have heard that the house from the iconic series was recently on the market in California. I’m excited to share that HGTV is the winning bidder and will restore the Brady Bunch home to its 1970s glory as only HGTV can,” he said. “More detail to come over the next few months, but we’ll bring all the resources to bear to tell safe, fun stories about this beloved piece of American TV history.”\u003c/p>\n\u003cp>The purchase price was not immediately available, but it had been listed at $1.85 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The home and garden network reportedly beat out a handful of other interested parties, including Lance Bass, the former ‘N Sync member. Bass announced excitedly on Twitter last week that he had the winning bid, only to be told later by an agent representing the estate that “another corporate buyer” wanted the house “at any cost.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“While we appreciate Mr. Bass and his interest in the Dilling Street property, tremendous interest in the house required a sealed, best and final bid,” said a spokesman for Douglas Elliman, the agency selling the property, according to \u003ca href=\"https://www.marketwatch.com/story/lance-bass-lost-a-bidding-war-on-the-brady-bunch-househow-home-buyers-can-avoid-a-similar-fate-2018-08-07\">MarketWatch.\u003c/a> “Our fiduciary obligation is to the seller, who decided to go with the highest, most qualified bid. We wish Mr. Bass the best of luck in future real-estate endeavors.”\u003c/p>\n\u003cp>Douglas Elliman listing agent Ernie Carswell told the \u003cem>Times\u003c/em> on Saturday “that the sale to Bass was not a done deal and that the seller had not made a final decision at the time,” according to the newspaper.\u003c/p>\n\u003cp>After initially chaffing at the reversal, Bass seemed content in defeat, tweeting, “HGTV??! Aw man. I’d be pretty upset if it were anyone else, but how can you be mad at HGTV?? My television is stuck on that channel. Kudos HGTV, I know you will do the right thing with the house. That was always my biggest worry. I can smile again.”\u003c/p>\n\u003cp>As MarketWatch notes, “The chances of making a winning bid are lower when the buyer is competing against someone making an all-cash offer, as was the case for Bass.”\u003c/p>\n\u003cp>In July, the nearly 2,500-square foot house, which sits on a 12,500-square-foot lot, went on the market for the first time in 50 years. It previously sold in 1973 — a year before \u003cem>The Brady Bunch\u003c/em> series wrapped — for $61,000.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/2018/07/19/630482147/expect-a-bunch-of-attention-for-this-house-listing\">we wrote last month,\u003c/a> “Megafans may be disappointed to know that inside, the house looks very different from the sitcom set with its large open staircase. The show was filmed in a Los Angeles studio.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Brady+Bunch%27+House+Winner+Revealed%3A+HGTV+Outbid+Lance+Bass&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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