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"title": "He Called Himself 'One Lucky Bastard': Sir Roger Moore Dies at 89",
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"content": "\u003cp>The actor Sir Roger Moore has died at 89 after “a short but brave battle with cancer,” according to his family and his agent.\u003c/p>\n\u003cp>Moore played the role of James Bond from 1973 to 1985 and was knighted in his home country of England in 2003.\u003c/p>\n\u003cp>He was the third of six actors who have played James Bond in the official silver screen franchise, beginning with 1973’s \u003cem>Live and Let Die\u003c/em>. He starred in a total of seven Bond films over 12 years, ending with \u003cem>A View to a Kill\u003c/em> in 1985.\u003c/p>\n\u003cp>Moore embraced the Bond legend for decades afterward; none of the other Bonds burnished the legend as lovingly as he did. He published four books about his time as Agent 007, all of them with a sense of humor — especially about stepping into the shoes that Sean Connery made famous.\u003c/p>\n\u003cp>Some Bond fans thought early on that Moore was far too pretty for the role. In his 2008 memoir, \u003cem>My Word is My Bond\u003c/em>, he calls the character “a lover and a giggler,” and he told NPR’s Scott Simon in 2014 that his Bond looked “as though I’d squeeze them to death with love and lust.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bond certainly wasn’t Moore’s first role as a man of action. He got practice in making secret break-ins and daring escapes over seven seasons on the 1960s British TV series \u003cem>The Saint\u003c/em>. He played Simon Templar, a criminal mastermind who steals from the evil and the corrupt.\u003c/p>\n\u003cp>Roger Moore was born on Oct. 14, 1927, in London and raised by two working-class parents, to whom he was very close. He was an only child — he would joke that his parents attained perfection on their first try. Throughout his long life, Moore appeared to lead a charmed existence — he even titled a memoir \u003cem>One Lucky Bastard\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13290815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-800x663.jpg\" alt=\"A photograph of Roger Moore is seen at the "Heroes & Villains" book launch party and exhibition preview for photojournalist David Steen's book and show, back in 2005. \" width=\"800\" height=\"663\" class=\"size-medium wp-image-13290815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-800x663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-1020x846.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-1180x978.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-960x796.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-240x199.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-375x311.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-520x431.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of Roger Moore is seen at the “Heroes & Villains” book launch party and exhibition preview for photojournalist David Steen’s book and show, back in 2005. \u003ccite>(Photo: Chris Jackson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was married four times and lived abroad for decades as a tax exile. He met just about everyone — from Frank Sinatra to crowned heads across Europe. He partied with Richard Burton, Peter O’Toole, Richard Harris and Peter Finch. He was knighted in 2003 for his humanitarian work with UNICEF.\u003c/p>\n\u003cp>In an early and never-filmed movie script, Moore read a line that stayed with him the rest of his life. “My attitude about death is, going into the next room, and it’s a room the rest of us can’t go into because we don’t have the key, but when we do get the key, we’ll go in there and we’ll see one another again.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Roger Moore is survived by his wife, Kristina Tholstrup, and three children. He died Tuesday in Switzerland, according to his children. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=He+Called+Himself+%27One+Lucky+Bastard%27%3A+Sir+Roger+Moore+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The actor Sir Roger Moore has died at 89 after “a short but brave battle with cancer,” according to his family and his agent.\u003c/p>\n\u003cp>Moore played the role of James Bond from 1973 to 1985 and was knighted in his home country of England in 2003.\u003c/p>\n\u003cp>He was the third of six actors who have played James Bond in the official silver screen franchise, beginning with 1973’s \u003cem>Live and Let Die\u003c/em>. He starred in a total of seven Bond films over 12 years, ending with \u003cem>A View to a Kill\u003c/em> in 1985.\u003c/p>\n\u003cp>Moore embraced the Bond legend for decades afterward; none of the other Bonds burnished the legend as lovingly as he did. He published four books about his time as Agent 007, all of them with a sense of humor — especially about stepping into the shoes that Sean Connery made famous.\u003c/p>\n\u003cp>Some Bond fans thought early on that Moore was far too pretty for the role. In his 2008 memoir, \u003cem>My Word is My Bond\u003c/em>, he calls the character “a lover and a giggler,” and he told NPR’s Scott Simon in 2014 that his Bond looked “as though I’d squeeze them to death with love and lust.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bond certainly wasn’t Moore’s first role as a man of action. He got practice in making secret break-ins and daring escapes over seven seasons on the 1960s British TV series \u003cem>The Saint\u003c/em>. He played Simon Templar, a criminal mastermind who steals from the evil and the corrupt.\u003c/p>\n\u003cp>Roger Moore was born on Oct. 14, 1927, in London and raised by two working-class parents, to whom he was very close. He was an only child — he would joke that his parents attained perfection on their first try. Throughout his long life, Moore appeared to lead a charmed existence — he even titled a memoir \u003cem>One Lucky Bastard\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13290815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-800x663.jpg\" alt=\"A photograph of Roger Moore is seen at the "Heroes & Villains" book launch party and exhibition preview for photojournalist David Steen's book and show, back in 2005. \" width=\"800\" height=\"663\" class=\"size-medium wp-image-13290815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-800x663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-1020x846.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-1180x978.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-960x796.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-240x199.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-375x311.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-520x431.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of Roger Moore is seen at the “Heroes & Villains” book launch party and exhibition preview for photojournalist David Steen’s book and show, back in 2005. \u003ccite>(Photo: Chris Jackson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was married four times and lived abroad for decades as a tax exile. He met just about everyone — from Frank Sinatra to crowned heads across Europe. He partied with Richard Burton, Peter O’Toole, Richard Harris and Peter Finch. He was knighted in 2003 for his humanitarian work with UNICEF.\u003c/p>\n\u003cp>In an early and never-filmed movie script, Moore read a line that stayed with him the rest of his life. “My attitude about death is, going into the next room, and it’s a room the rest of us can’t go into because we don’t have the key, but when we do get the key, we’ll go in there and we’ll see one another again.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Roger Moore is survived by his wife, Kristina Tholstrup, and three children. He died Tuesday in Switzerland, according to his children. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=He+Called+Himself+%27One+Lucky+Bastard%27%3A+Sir+Roger+Moore+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Police Confirm 22 People Dead After Explosion At Manchester Arena [UPDATED]",
"headTitle": "Police Confirm 22 People Dead After Explosion At Manchester Arena [UPDATED] | KQED",
"content": "\u003cp>\u003cb>Updated May 23, 2017, at 1pm:\u003c/b>\u003c/p>\n\u003cp>The Manchester Arena was packed on Monday night with pop fans eager to hear Ariana Grande perform. Her songs are bubblegum pop, so picture the crowd: kids and their parents, teenagers with their friends, fans looking for a cheerful night out.\u003c/p>\n\u003cp>At the end of the concert, an explosion struck near the arena. The blast killed at least 22 people and injured more than 50.\u003c/p>\n\u003cp>Young women — including very young girls — are Grande’s core fan base. And authorities confirmed that children were among the dead, which was quickly apparent as friends, family and schools began reporting the names of some of those victims.\u003c/p>\n\u003cp>The first to be named was an 18-year-old woman. The second, an 8-year-old girl.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saffie Rose Roussos, the 8-year-old, was attending the concert with her mother and sister, \u003cem>The Guardian\u003c/em> \u003ca href=\"https://www.theguardian.com/uk-news/2017/may/23/parents-in-desperate-search-for-missing-children-after-manchester-attack\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>Saffie was initially identified as missing after the attack. Her photo was circulated online by friends of the family who knew that Saffie’s mother and sister had been hospitalized, but couldn’t find Saffie, according to Metro.\u003c/p>\n\u003cp>Now her death has been confirmed by the headmaster of her school, Chris Upton, who told the Guardian Saffie was “simply a beautiful little girl in every aspect of the word. She was loved by everyone and her warmth and kindness will be remembered fondly.”\u003c/p>\n\u003cp>An 18-year-old college student, Georgina Callander, was also named as a victim.\u003c/p>\n\u003cp>Callander was studying health and social care at Runshaw College, which \u003ca href=\"https://www.facebook.com/153080444733762/posts/1566034293438363\" target=\"_blank\" rel=\"noopener\">confirmed her death on Facebook\u003c/a>.\u003c/p>\n\u003cp>Callander had a buoyant social media presence, celebrating the singers, actors and shows that she followed passionately, and rejoicing over school achievements like finishing a long paper.\u003c/p>\n\u003cp>She often sought photos with celebrities — in fact, took a picture with Ariana Grande two years ago. Her caption read in part, “I HUGGED HER SO TIGHT AND SHE SAID SHE LOVED MY BOW.”\u003c/p>\n\u003cp>On Sunday, she tweeted at Grande, “SO EXCITED TO SEE YOU TOMORROW.”\u003c/p>\n\u003cp>A third victim has been identified as John Atkinson, according to the Manchester Evening News. His age has been reported as 26 and 28.\u003c/p>\n\u003cp>Friends called him “a beautiful soul” and “an amazing young man,” the newspaper reports.\u003c/p>\n\u003cp>Many of the people injured in the attack were still receiving treatment at area hospitals.\u003c/p>\n\u003cp>A dozen children were among those who were hospitalized, a director of an ambulance service tells The Guardian.\u003c/p>\n\u003cp>\u003cb>Original Story:\u003c/b>\u003c/p>\n\u003cp>Police in Manchester, England, confirm 19 people dead at Manchester Arena following an apparent explosion after a concert by Ariana Grande. About 50 people have been injured.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/gmpolice\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> says police will treat the incident as a terrorist attack until they know otherwise.\u003c/p>\n\u003cp>Authorities also say they conducted a “\u003ca href=\"https://twitter.com/gmpolice/status/866816910612103169\" target=\"_blank\" rel=\"noopener\">precautionary controlled explosion,\u003c/a>” and the thing they had been concerned about turned out to be abandoned clothing and not a suspicious item.\u003c/p>\n\u003cp>The management of the Manchester Arena issued \u003ca href=\"https://twitter.com/ManchesterArena/status/866808098798927873/photo/1\">a statement\u003c/a>, saying the incident happened outside the facility.\u003c/p>\n\u003cfigure id=\"attachment_13286091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-800x450.jpg\" alt=\"Emergency services arrive close to the Manchester Arena on Monday after reports of explosions following an Ariana Grande concert.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13286091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emergency services arrive close to the Manchester Arena on Monday after reports of explosions following an Ariana Grande concert. \u003ccite>(Dave Thompson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://www.bbc.com/news/uk-england-manchester-40007886\" target=\"_blank\" rel=\"noopener\">BBC reports\u003c/a> witnesses heard an explosion, which was followed by a chaotic scene with audience members running for the exits.\u003c/p>\n\u003cp>\u003ca href=\"http://www.reuters.com/article/us-britain-security-manchester-idUSKBN18I2OP?il=0\" target=\"_blank\" rel=\"noopener\">Reuters\u003c/a> reports that emergency services are responding to the reports of “a serious incident.” Greater Manchester Police are advising people to “avoid the area.”\u003c/p>\n\u003cp>A spokesman for the pop singer said that she was “okay,” according to Reuters.\\\u003c/p>\n\u003cfigure id=\"attachment_13286092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-800x450.jpg\" alt=\"A street close to England's Manchester Arena is cordoned off Monday, as police confirm fatalities after a concert there by Ariana Grande. Media quote witnesses as saying there was an explosion and the audience ran for the exits.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13286092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A street close to England’s Manchester Arena is cordoned off Monday, as police confirm fatalities after a concert there by Ariana Grande. Media quote witnesses as saying there was an explosion and the audience ran for the exits. \u003ccite>(Dave Thompson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One witness, Josh Elliott, told the BBC Radio 5 Live that “A bang went off and everyone stopped and screamed. … We basically hit the deck,” he said. “It was bedlam … it was horrific. We got up when we thought it was safe and got out as quickly as possible. People were just crying and in tears. … Police cars were everywhere.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. Some things that get reported by the media will later turn out to be wrong. We will focus on reports from police officials and other authorities, credible news outlets and reporters who are at the scene. We will update as the situation develops.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=British+Police+Confirm+19+People+Dead+After+Reported+Explosion+At+Manchester+Arena&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Updated May 23, 2017, at 1pm:\u003c/b>\u003c/p>\n\u003cp>The Manchester Arena was packed on Monday night with pop fans eager to hear Ariana Grande perform. Her songs are bubblegum pop, so picture the crowd: kids and their parents, teenagers with their friends, fans looking for a cheerful night out.\u003c/p>\n\u003cp>At the end of the concert, an explosion struck near the arena. The blast killed at least 22 people and injured more than 50.\u003c/p>\n\u003cp>Young women — including very young girls — are Grande’s core fan base. And authorities confirmed that children were among the dead, which was quickly apparent as friends, family and schools began reporting the names of some of those victims.\u003c/p>\n\u003cp>The first to be named was an 18-year-old woman. The second, an 8-year-old girl.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saffie Rose Roussos, the 8-year-old, was attending the concert with her mother and sister, \u003cem>The Guardian\u003c/em> \u003ca href=\"https://www.theguardian.com/uk-news/2017/may/23/parents-in-desperate-search-for-missing-children-after-manchester-attack\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>Saffie was initially identified as missing after the attack. Her photo was circulated online by friends of the family who knew that Saffie’s mother and sister had been hospitalized, but couldn’t find Saffie, according to Metro.\u003c/p>\n\u003cp>Now her death has been confirmed by the headmaster of her school, Chris Upton, who told the Guardian Saffie was “simply a beautiful little girl in every aspect of the word. She was loved by everyone and her warmth and kindness will be remembered fondly.”\u003c/p>\n\u003cp>An 18-year-old college student, Georgina Callander, was also named as a victim.\u003c/p>\n\u003cp>Callander was studying health and social care at Runshaw College, which \u003ca href=\"https://www.facebook.com/153080444733762/posts/1566034293438363\" target=\"_blank\" rel=\"noopener\">confirmed her death on Facebook\u003c/a>.\u003c/p>\n\u003cp>Callander had a buoyant social media presence, celebrating the singers, actors and shows that she followed passionately, and rejoicing over school achievements like finishing a long paper.\u003c/p>\n\u003cp>She often sought photos with celebrities — in fact, took a picture with Ariana Grande two years ago. Her caption read in part, “I HUGGED HER SO TIGHT AND SHE SAID SHE LOVED MY BOW.”\u003c/p>\n\u003cp>On Sunday, she tweeted at Grande, “SO EXCITED TO SEE YOU TOMORROW.”\u003c/p>\n\u003cp>A third victim has been identified as John Atkinson, according to the Manchester Evening News. His age has been reported as 26 and 28.\u003c/p>\n\u003cp>Friends called him “a beautiful soul” and “an amazing young man,” the newspaper reports.\u003c/p>\n\u003cp>Many of the people injured in the attack were still receiving treatment at area hospitals.\u003c/p>\n\u003cp>A dozen children were among those who were hospitalized, a director of an ambulance service tells The Guardian.\u003c/p>\n\u003cp>\u003cb>Original Story:\u003c/b>\u003c/p>\n\u003cp>Police in Manchester, England, confirm 19 people dead at Manchester Arena following an apparent explosion after a concert by Ariana Grande. About 50 people have been injured.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/gmpolice\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> says police will treat the incident as a terrorist attack until they know otherwise.\u003c/p>\n\u003cp>Authorities also say they conducted a “\u003ca href=\"https://twitter.com/gmpolice/status/866816910612103169\" target=\"_blank\" rel=\"noopener\">precautionary controlled explosion,\u003c/a>” and the thing they had been concerned about turned out to be abandoned clothing and not a suspicious item.\u003c/p>\n\u003cp>The management of the Manchester Arena issued \u003ca href=\"https://twitter.com/ManchesterArena/status/866808098798927873/photo/1\">a statement\u003c/a>, saying the incident happened outside the facility.\u003c/p>\n\u003cfigure id=\"attachment_13286091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-800x450.jpg\" alt=\"Emergency services arrive close to the Manchester Arena on Monday after reports of explosions following an Ariana Grande concert.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13286091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emergency services arrive close to the Manchester Arena on Monday after reports of explosions following an Ariana Grande concert. \u003ccite>(Dave Thompson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://www.bbc.com/news/uk-england-manchester-40007886\" target=\"_blank\" rel=\"noopener\">BBC reports\u003c/a> witnesses heard an explosion, which was followed by a chaotic scene with audience members running for the exits.\u003c/p>\n\u003cp>\u003ca href=\"http://www.reuters.com/article/us-britain-security-manchester-idUSKBN18I2OP?il=0\" target=\"_blank\" rel=\"noopener\">Reuters\u003c/a> reports that emergency services are responding to the reports of “a serious incident.” Greater Manchester Police are advising people to “avoid the area.”\u003c/p>\n\u003cp>A spokesman for the pop singer said that she was “okay,” according to Reuters.\\\u003c/p>\n\u003cfigure id=\"attachment_13286092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-800x450.jpg\" alt=\"A street close to England's Manchester Arena is cordoned off Monday, as police confirm fatalities after a concert there by Ariana Grande. Media quote witnesses as saying there was an explosion and the audience ran for the exits.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13286092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A street close to England’s Manchester Arena is cordoned off Monday, as police confirm fatalities after a concert there by Ariana Grande. Media quote witnesses as saying there was an explosion and the audience ran for the exits. \u003ccite>(Dave Thompson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One witness, Josh Elliott, told the BBC Radio 5 Live that “A bang went off and everyone stopped and screamed. … We basically hit the deck,” he said. “It was bedlam … it was horrific. We got up when we thought it was safe and got out as quickly as possible. People were just crying and in tears. … Police cars were everywhere.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. Some things that get reported by the media will later turn out to be wrong. We will focus on reports from police officials and other authorities, credible news outlets and reporters who are at the scene. We will update as the situation develops.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=British+Police+Confirm+19+People+Dead+After+Reported+Explosion+At+Manchester+Arena&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In November 1969, Richard Oakes and dozens of his fellow Native American activists came ashore at Alcatraz. The little island in San Francisco Bay had lain dormant since 1963, when its infamous federal prison had been shut down, and the group Oakes led set out to claim the land as its own.\u003c/p>\n\u003cp>The Indians of All Tribes had a century-old legal basis: \u003ca href=\"http://www.pbs.org/weta/thewest/resources/archives/four/ftlaram.htm\" target=\"_blank\" rel=\"noopener\">the 1868 Fort Laramie Treaty\u003c/a> between the U.S. and the Sioux and Lakota, which they said returned defunct federal lands to native people. They announced that, by the terms of this treaty, Alcatraz could be legally claimed as theirs.\u003c/p>\n\u003cp>And so Oakes and his compatriots stayed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7QNfUE7hBUc\u003c/p>\n\u003cp>That day commenced a 19-month occupation of the island that attracted national attention to native rights and catapulted Oakes into wider notoriety and acclaim — such acclaim, in fact, that nearly five decades later, Google is celebrating his birthday with a \u003ca href=\"https://www.google.com/doodles/richard-oakes-75th-birthday\" target=\"_blank\" rel=\"noopener\">doodle in his honor\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The aim was not only to set up a community, complete with a university, museum and cultural center, but also for the government to acknowledge the rights of American Indians to claim the out-of-use federal land as their own,” the tech giant writes in a blog post. “Although Richard didn’t succeed in gaining the deeds to Alcatraz for his people, he brought their issues into the media spotlight and made a substantial impact on the treatment of American Indians in the US.”\u003c/p>\n\u003cp>“There’s just a dual sense of justice in this country,” Oakes said in \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187780\" target=\"_blank\" rel=\"noopener\">an interview just days after the occupation began\u003c/a>. “We’d like an end to this. And I think this — manning the island of Alcatraz — is a positive step in that direction. If they’re going to treat us separately, then we’ll remain separately.”\u003c/p>\n\u003cp>Within half a year, though, the occupation began to splinter and weaken as many of the original occupiers returned to their daily lives and were replaced with others, some of whom rejected the Mohawk activist’s leadership and pursued different aims.\u003c/p>\n\u003cp>“The final blow to the organized leadership occurred on January 5, 1970, when Oakes’s 13 year old stepdaughter fell three floors down a stairwell to her death,” \u003ca href=\"https://www.nps.gov/alca/learn/historyculture/we-hold-the-rock.htm\" target=\"_blank\" rel=\"noopener\">the National Park Service writes\u003c/a>. “Following Yvonne’s death, Oakes left the island and the two competing groups maneuvered back and forth for leadership on the island.”\u003c/p>\n\u003cp>It would be another year and a half before federal law enforcement stormed Alcatraz and removed the few remaining occupiers.\u003c/p>\n\u003cp>And while the overt aims of the occupation were never realized, the Park Service explains that something else was achieved with Oakes’ efforts:\u003c/p>\n\u003cblockquote>\n\u003cp>“The success or failure of the occupation should not be judged by whether the demands of the occupiers were realized. The underlying goals of the Indians on Alcatraz were to awaken the American public to the reality of the plight of the first Americans and to assert the need for Indian self-determination. As a result of the occupation, either directly or indirectly, the official government policy of termination of Indian tribes was ended and a policy of Indian self-determination became the official US government policy.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Before that occupation even ended, Oakes was on to his next fight, taking part in the Pit River Indians’ attempts to reclaim tribal land in Northern California. And once more he had little difficulty grabbing national headlines, joining the tribe in resisting not only Pacific Gas & Electric — the company that had laid claim to the land — but \u003ca href=\"https://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=DS19700605.2.15\">U.S. law enforcement, too\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He was killed in 1972 under murky circumstances, after a confrontation with a white man turned violent. Though Oakes was unarmed, the man who shot him dead was acquitted of manslaughter on grounds of self-defense. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Richard+Oakes%2C+Who+Occupied+Alcatraz+For+Native+Rights%2C+Gets+A+Birthday+Honor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The late activist and Google doodle honoree stormed the island with dozens of other activists in 1969, citing a century-old treaty in claiming it for Native Americans. He would have been 75 on Monday.",
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"title": "Richard Oakes, Who Occupied Alcatraz For Native Rights, Gets a Birthday Honor | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In November 1969, Richard Oakes and dozens of his fellow Native American activists came ashore at Alcatraz. The little island in San Francisco Bay had lain dormant since 1963, when its infamous federal prison had been shut down, and the group Oakes led set out to claim the land as its own.\u003c/p>\n\u003cp>The Indians of All Tribes had a century-old legal basis: \u003ca href=\"http://www.pbs.org/weta/thewest/resources/archives/four/ftlaram.htm\" target=\"_blank\" rel=\"noopener\">the 1868 Fort Laramie Treaty\u003c/a> between the U.S. and the Sioux and Lakota, which they said returned defunct federal lands to native people. They announced that, by the terms of this treaty, Alcatraz could be legally claimed as theirs.\u003c/p>\n\u003cp>And so Oakes and his compatriots stayed.\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/7QNfUE7hBUc'\n title='//www.youtube.com/embed/7QNfUE7hBUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That day commenced a 19-month occupation of the island that attracted national attention to native rights and catapulted Oakes into wider notoriety and acclaim — such acclaim, in fact, that nearly five decades later, Google is celebrating his birthday with a \u003ca href=\"https://www.google.com/doodles/richard-oakes-75th-birthday\" target=\"_blank\" rel=\"noopener\">doodle in his honor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The aim was not only to set up a community, complete with a university, museum and cultural center, but also for the government to acknowledge the rights of American Indians to claim the out-of-use federal land as their own,” the tech giant writes in a blog post. “Although Richard didn’t succeed in gaining the deeds to Alcatraz for his people, he brought their issues into the media spotlight and made a substantial impact on the treatment of American Indians in the US.”\u003c/p>\n\u003cp>“There’s just a dual sense of justice in this country,” Oakes said in \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187780\" target=\"_blank\" rel=\"noopener\">an interview just days after the occupation began\u003c/a>. “We’d like an end to this. And I think this — manning the island of Alcatraz — is a positive step in that direction. If they’re going to treat us separately, then we’ll remain separately.”\u003c/p>\n\u003cp>Within half a year, though, the occupation began to splinter and weaken as many of the original occupiers returned to their daily lives and were replaced with others, some of whom rejected the Mohawk activist’s leadership and pursued different aims.\u003c/p>\n\u003cp>“The final blow to the organized leadership occurred on January 5, 1970, when Oakes’s 13 year old stepdaughter fell three floors down a stairwell to her death,” \u003ca href=\"https://www.nps.gov/alca/learn/historyculture/we-hold-the-rock.htm\" target=\"_blank\" rel=\"noopener\">the National Park Service writes\u003c/a>. “Following Yvonne’s death, Oakes left the island and the two competing groups maneuvered back and forth for leadership on the island.”\u003c/p>\n\u003cp>It would be another year and a half before federal law enforcement stormed Alcatraz and removed the few remaining occupiers.\u003c/p>\n\u003cp>And while the overt aims of the occupation were never realized, the Park Service explains that something else was achieved with Oakes’ efforts:\u003c/p>\n\u003cblockquote>\n\u003cp>“The success or failure of the occupation should not be judged by whether the demands of the occupiers were realized. The underlying goals of the Indians on Alcatraz were to awaken the American public to the reality of the plight of the first Americans and to assert the need for Indian self-determination. As a result of the occupation, either directly or indirectly, the official government policy of termination of Indian tribes was ended and a policy of Indian self-determination became the official US government policy.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Before that occupation even ended, Oakes was on to his next fight, taking part in the Pit River Indians’ attempts to reclaim tribal land in Northern California. And once more he had little difficulty grabbing national headlines, joining the tribe in resisting not only Pacific Gas & Electric — the company that had laid claim to the land — but \u003ca href=\"https://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=DS19700605.2.15\">U.S. law enforcement, too\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He was killed in 1972 under murky circumstances, after a confrontation with a white man turned violent. Though Oakes was unarmed, the man who shot him dead was acquitted of manslaughter on grounds of self-defense. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Richard+Oakes%2C+Who+Occupied+Alcatraz+For+Native+Rights%2C+Gets+A+Birthday+Honor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "After a Detour, Land Of Talk's Elizabeth Powell Finds a New Way Home",
"headTitle": "After a Detour, Land Of Talk’s Elizabeth Powell Finds a New Way Home | KQED",
"content": "\u003cp>Seven years ago, Elizabeth Powell lost her joy. As the singer and guitarist for indie rock group Land of Talk, Powell had seen her share of success: Between 2006 and 2010, the band released two EPs and two albums and toured with bands like The Decemberists and Broken Social Scene. But setbacks weren’t far off. Powell had to contend with Land of Talk’s frequent lineup changes, a vocal polyp that nearly robbed her of her ability to sing and an exhausting cycle of writing, recording and touring.\u003c/p>\n\u003cp>After the release of 2010’s \u003cem>Cloak and Cipher\u003c/em>, Powell says, she started doubting her career path. “I think that because I had been a performer for so long, and I’ve been writing music since teenagehood, that I stopped listening,” she says. “I think that I stopped being the music fan.” So Powell decided to take some time off and retreat to her bucolic Canadian hometown, unsure when — or if — Land of Talk would return.\u003c/p>\n\u003cp>But music had a way of pulling her back. A series of intense events — both fortunate and unfortunate — rekindled Powell’s focus and sparked a new chapter for Land of Talk. The result is \u003cem>Life After Youth\u003c/em>, the band’s impressive third album, out Friday. \u003cem>Life After Youth \u003c/em>is full of songs Powell has been writing, in one way or another, over the last seven years. The time off seems to have added a centripetal force to her smart, dense indie rock; \u003cem>Life After Youth\u003c/em> feels more grounded or centered than the band’s earlier work. The album radiates a commitment to its own existence but takes pleasure in uncertainty; it’s deeply rooted in partnership but pulled together by Powell’s newfound sense of perspective.\u003c/p>\n\u003cp>Ahead of the album’s release, Powell spoke on the phone with NPR Music about the value of distance, the benefits of collaboration and the power of lost CDs from the Salvation Army.\u003c/p>\n\u003cp>\u003cstrong>Marissa Lorusso: It’s been several years since you last put out a record. Could you tell me a little bit about what went on in those years?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Powell:\u003c/strong> I ended up feeling the need to retreat a bit after touring \u003cem>Cloak and Cipher\u003c/em>, which we had released in 2010. Memory is a tricky thing, so I don’t want to romanticize; I don’t think it was any kind of grand move that I was planning on making. I think I was just thinking, “Here’s the most time off I have in the foreseeable future.” I knew I had a couple months where I could just be on my own and go out to my granny’s cottage [in Orillia, Ontario], which is where I had written a lot of my songs. And I immediately started working on music, demoing what I thought might become maybe a solo record. We had toured three records and I was feeling like it might have been just a natural evolution. You know, a lot of artists do that: They have their band and then they do their solo thing sometimes. So I was recording music, probably loosely kind of aiming at that, and then my laptop crashed. [\u003cem>Laughs.\u003c/em>] I lost all of what I had recorded.\u003c/p>\n\u003cp>So I kind of just threw my hands up and I left music; I kind of put music away for a while. And then, unfortunately, my dad suffered a major stroke, which had him in the hospital for a good six months rehabbing. I found that one of the most powerful tools, along with all of his other therapy, was music. And I realized it was also helping me deal with an event as traumatic as that. My dad and I are really close, so it was hard: It was like watching not only my dad suffer through something major and traumatic, but it was also like watching my friend. But music just really got through to him in a way where no one else was getting through to him. After I got home from the hospital after his stroke, I just wrote this chord progression which ended up becoming “This Time.” And I played it for him and he just got a glint in his eye, he got a really cool faraway look in his eye, and he smiled. And then he’s like, “This is beautiful; make this, make other people feel this way.” You know, he was using his own words, but he was just saying, “Please, keep making music again.” And I thought that was sweet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0ScgvyuJHMo\u003c/p>\n\u003cp>So there was that one really unfortunate thing, and then there was a series of really fortunate things that happened. Bucky [Wheaton], my original drummer, came through Toronto, and he just happened to be subbing for the Besnard Lakes’ drummer. And the Besnard Lakes is who we make our records with so it was like, too perfect — basically my old musical family came all the way up to Toronto. We had a great night, and Bucky just said, “Let’s make the record that we never made. Let’s make the record that we haven’t had the chance to make, because now is our chance.” And I just said, “Of course, absolutely.” And I started sending him demos of stuff that had just been brewing and stuff that had been marinating.\u003c/p>\n\u003cp>I guess this whole time I had just been collecting music, like I always do, and I had just been filing it away for later. And it all ended up kind of coming out probably better than the solo record would have become! So it was nice that I had those couple years to not even think about creating any semblance of an actual song structure.\u003c/p>\n\u003cp>\u003cstrong>Do you think taking the pressure off yourself — just kind of playing around and not knowing if you were going to do anything with these songs in that time — ended up changing the way that you wrote, or the songs that ended up coming out of that process?\u003c/strong>\u003c/p>\n\u003cp>Totally. Because I didn’t even really reach for my guitar after a while. There’s this Mahalia Jackson CD, this live CD, that I got at a Salvation Army. And now it’s gone, I’ve lost it. But the one song that I was obsessed with is an old traditional called “Closer To Him.” The organ parts were really getting to me, like I was really getting obsessed with them, and her voice is obviously just \u003cem>sublime\u003c/em>. And there’s this John Lee Hooker song — he does a cover of “I Cover the Waterfront” with Van Morrison, and again there’s these organ parts and I was really interested by them. So I started to just play keys a lot.\u003c/p>\n\u003cp>I probably would have just immediately gone for the guitar had I been more in Land of Talk mode. But just waking up in the morning and sitting a keyboard is so different. From that stemmed also more of an open mind about song structure, or lack thereof. I don’t even know technical terms of it; it’s not as intuitive, it’s not as textbook, or orthodox, but it seems to me like it just has a feel to it. Like even “This Time” is not as straightforward. To me, it seems like you want to float or sway to it; it has more levity to it. I wanted there to be more of an airiness and more of a flexibility, you know?\u003c/p>\n\u003cp>\u003cstrong>I feel like on this record, too, you can hear your lyrics more clearly. I know that you had vocal issues a couple years ago, and had to re-learn how to sing — I wondered if it was maybe related to that?\u003c/strong>\u003c/p>\n\u003cp>Maybe it was that. Again, it was probably a couple factors. I used to really grate on my vocal chords, and I used to smoke cigarettes, and it was always this very hoarse affair. And, unbeknownst to me at the time, I was probably developing those vocal nodes, which would eventually became a hemorrhagic vocal polyp. Leading up to that, I was probably just pushing harder and harder to get sound out. When you’re yelling, you’re not enunciating as much, but you’re putting a lot of \u003cem>feeling \u003c/em>into it — So that I think changes the whole lyrical and vocal effects, you know? But then maybe because of the way that I was approaching this record, and maybe having lived in nature — just kind of living on the lake and hearing the birds chirping, maybe that was kind of informing what kind of sounds I was wanting to hear. And then also maybe I was searching for more clarity in my life, and so I wanted to offer more clarity in my voice. Those are all possible. And also — oh God — being introduced to Kurt Vile for the first time, and Courtney Barnett. Those were game changers for me. Game changers!\u003c/p>\n\u003cp>\u003cstrong>How so?\u003c/strong>\u003c/p>\n\u003cp>They made me realize that those musing kinds of conversations you have with yourself, that internal dialogue — I want to hear that! I just wanted to hear more of it from them, so I was like, “Oh, maybe that’s okay if I let people in — if I don’t cloak stuff and try to obfuscate. What if I just give a little more? And be a little clearer?”\u003c/p>\n\u003cp>\u003cstrong>Did you feel like you were able to be more clear with the lyrics on this album?\u003c/strong> \u003cstrong>Or be more straightforward?\u003c/strong>\u003c/p>\n\u003cp>Yeah, like that’s the thing — I feel like I am being clear! But in a way, it’s almost like, I’ve just made my voice sound clearer. You know what I mean? I’m halfway there!\u003c/p>\n\u003cp>Like the mantra thing of like, [sings] “I don’t want to waste it this time” — I just wanted to sing that over and over again. I was just happy to repeat and repeat and repeat, ad nauseam, but it wasn’t until just calling on Sharon, my friend Sharon van Etten — she, like a champ, came by the studio when we were in New Jersey, and she just kind of picked my brain, and picked my heart. I just feel like I don’t have to explain much to her; she could kind of glean the rest of what I was saying. She was guessing and prompting and just sort of coaxing these words and these lyrics out, to just finish off and flesh out these ideas. So she helped out a lot with “This Time, “Heartcore” and “Loving” — songs that I would have been happy kind of leaving in this nice mantra area. She scratched through my surface and got to more of the root of things, whereas sometimes it seems like I’m trying to just make it abstract to keep the root hidden.\u003c/p>\n\u003cp>\u003cstrong>Had you used that kind of collaborative process to write lyrics before? \u003c/strong>\u003c/p>\n\u003cp>Never — oh my god! Never. Never. I would never. I think something like came with the time away was understanding my strengths and my weaknesses. And also understanding and appreciating just how supportive and how trustworthy my musician friends are. I think I had just been so cagey. I think I spent the first couple years of Land of Talk — well, since I was 13 or 14, playing open mics — trying to make my own voice, create my own guitar style. I think I had just been trying to forge ahead creatively in such a way, and a huge part of that was self-preservation. You’re just trying so hard to protect yourself against a lot of stuff.\u003c/p>\n\u003cp>\u003cstrong>How do you mean — emotionally? Financially? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>I think that creatively, too — I feel like I had a lot to prove. And maybe it was especially being a woman in the industry, too. I just felt like I had a lot to prove: I have to write my own songs to be taken seriously. And that was a huge point of pride, that I write my own songs: I’m the composer, I’m not just a pretty face. [Laughs.] Not even that I was, but I’m just saying, like, “I’m more than you expect of me.” Because I feel like women are underestimated, like, f****** constantly.\u003c/p>\n\u003cp>\u003cstrong>You have to be twice as good to be taken seriously.\u003c/strong>\u003c/p>\n\u003cp>I felt like I had a lot to prove. So I maybe would not have even been open to it, or have even considered it, had I not just had that time away to grow and to get perspective on things. And I’m coming back now to an industry where I feel so well-represented. What a time to come back to the music industry! But I just can’t stress enough how it wasn’t like that back then. It’s amazing now to be going on tour and to be just like seeing women everywhere — and I’m not talking about gender in a binary way, I just mean, like, people who aren’t…\u003c/p>\n\u003cp>\u003cstrong>Who aren’t cis dudes\u003c/strong>.\u003c/p>\n\u003cp>Right? So I think it’s so exciting, and I’m so excited to see where it’s going. Because it seems like it’s only getting more and more and more fair.\u003c/p>\n\u003cp>\u003cstrong>I’m curious about the fact that you were hoping to make a solo record, because I feel like the lineup of your band has changed so much — it kind of seems like you’re the one constant in the band. \u003c/strong>\u003cstrong>Why do you think you were interested in doing that seven years ago?\u003c/strong>\u003c/p>\n\u003cp>I think maybe I was getting disillusioned. I started to think: I don’t know if I just want to be Land of Talk. I don’t know if I want to be in a rock and roll town like Montreal, releasing a record every year. I felt like I was maybe becoming too careerist. And it’s not that I had a problem with making money from my music. It’s just that sometimes, you get plugged into an industry track; I felt like if I didn’t watch it, maybe I would be feeling emptier and emptier. So maybe I was trying to get off the track, and see if I could focus more on the art instead of the career aspect of it. I felt like the art was becoming the footnote or the sidenote or the afterthought. And so I guess I was starting to feel like a natural gravitation to wanting to isolate — which is also where I do my best creating! I also find that when you’re at your emptiest is when you resonate the most. I was lost, aimless, feeling a bit like I needed to center myself. So maybe that’s why the record sounds like it’s me trying to center myself. There, there you go! I can’t believe it took that long just to figure out the obvious. \u003cem>[Laughs.]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Are you nervous about the future? Because of how you felt pulled off track?\u003c/strong>\u003c/p>\n\u003cp>No. Because I feel like I went through it, and realized that I’m going to be nervous about the future anyways — and I would rather be doing my favorite thing. That’s the other thing, too: that I want to feel useful. I was starting to feel like maybe being an artist and being a songwriter was just serving myself, like it was selfish and it was egotistical and it was maybe not healthy because it’s, “Look at me, look at me.” It’s narcissistic.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But the last six years has definitely proven me wrong. Now I’m returning to music, and that’s a good place to be if you want to keep the joy going and keep connected. Because it keeps me connected to people, and those people happen to be music lovers, and I happen to be making music that they might be loving, and then I feel like “OK, I’m useful. OK, it’s a two-way street now, it’s helping me and it seems to be helping other people.” Like, wow. Yes. I’m here to stay, and that doesn’t make me nervous. I find that really reassuring. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=After+A+Detour%2C+Land+Of+Talk%27s+Elizabeth+Powell+Finds+A+New+Way+Home&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Before Elizabeth Powell of the indie rock band Land Of Talk could make the band's third album, \u003cem>Life After Youth\u003c/em>, she had to deal with family illness, losing her voice and a crisis of confidence.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Seven years ago, Elizabeth Powell lost her joy. As the singer and guitarist for indie rock group Land of Talk, Powell had seen her share of success: Between 2006 and 2010, the band released two EPs and two albums and toured with bands like The Decemberists and Broken Social Scene. But setbacks weren’t far off. Powell had to contend with Land of Talk’s frequent lineup changes, a vocal polyp that nearly robbed her of her ability to sing and an exhausting cycle of writing, recording and touring.\u003c/p>\n\u003cp>After the release of 2010’s \u003cem>Cloak and Cipher\u003c/em>, Powell says, she started doubting her career path. “I think that because I had been a performer for so long, and I’ve been writing music since teenagehood, that I stopped listening,” she says. “I think that I stopped being the music fan.” So Powell decided to take some time off and retreat to her bucolic Canadian hometown, unsure when — or if — Land of Talk would return.\u003c/p>\n\u003cp>But music had a way of pulling her back. A series of intense events — both fortunate and unfortunate — rekindled Powell’s focus and sparked a new chapter for Land of Talk. The result is \u003cem>Life After Youth\u003c/em>, the band’s impressive third album, out Friday. \u003cem>Life After Youth \u003c/em>is full of songs Powell has been writing, in one way or another, over the last seven years. The time off seems to have added a centripetal force to her smart, dense indie rock; \u003cem>Life After Youth\u003c/em> feels more grounded or centered than the band’s earlier work. The album radiates a commitment to its own existence but takes pleasure in uncertainty; it’s deeply rooted in partnership but pulled together by Powell’s newfound sense of perspective.\u003c/p>\n\u003cp>Ahead of the album’s release, Powell spoke on the phone with NPR Music about the value of distance, the benefits of collaboration and the power of lost CDs from the Salvation Army.\u003c/p>\n\u003cp>\u003cstrong>Marissa Lorusso: It’s been several years since you last put out a record. Could you tell me a little bit about what went on in those years?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Powell:\u003c/strong> I ended up feeling the need to retreat a bit after touring \u003cem>Cloak and Cipher\u003c/em>, which we had released in 2010. Memory is a tricky thing, so I don’t want to romanticize; I don’t think it was any kind of grand move that I was planning on making. I think I was just thinking, “Here’s the most time off I have in the foreseeable future.” I knew I had a couple months where I could just be on my own and go out to my granny’s cottage [in Orillia, Ontario], which is where I had written a lot of my songs. And I immediately started working on music, demoing what I thought might become maybe a solo record. We had toured three records and I was feeling like it might have been just a natural evolution. You know, a lot of artists do that: They have their band and then they do their solo thing sometimes. So I was recording music, probably loosely kind of aiming at that, and then my laptop crashed. [\u003cem>Laughs.\u003c/em>] I lost all of what I had recorded.\u003c/p>\n\u003cp>So I kind of just threw my hands up and I left music; I kind of put music away for a while. And then, unfortunately, my dad suffered a major stroke, which had him in the hospital for a good six months rehabbing. I found that one of the most powerful tools, along with all of his other therapy, was music. And I realized it was also helping me deal with an event as traumatic as that. My dad and I are really close, so it was hard: It was like watching not only my dad suffer through something major and traumatic, but it was also like watching my friend. But music just really got through to him in a way where no one else was getting through to him. After I got home from the hospital after his stroke, I just wrote this chord progression which ended up becoming “This Time.” And I played it for him and he just got a glint in his eye, he got a really cool faraway look in his eye, and he smiled. And then he’s like, “This is beautiful; make this, make other people feel this way.” You know, he was using his own words, but he was just saying, “Please, keep making music again.” And I thought that was sweet.\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/0ScgvyuJHMo'\n title='//www.youtube.com/embed/0ScgvyuJHMo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So there was that one really unfortunate thing, and then there was a series of really fortunate things that happened. Bucky [Wheaton], my original drummer, came through Toronto, and he just happened to be subbing for the Besnard Lakes’ drummer. And the Besnard Lakes is who we make our records with so it was like, too perfect — basically my old musical family came all the way up to Toronto. We had a great night, and Bucky just said, “Let’s make the record that we never made. Let’s make the record that we haven’t had the chance to make, because now is our chance.” And I just said, “Of course, absolutely.” And I started sending him demos of stuff that had just been brewing and stuff that had been marinating.\u003c/p>\n\u003cp>I guess this whole time I had just been collecting music, like I always do, and I had just been filing it away for later. And it all ended up kind of coming out probably better than the solo record would have become! So it was nice that I had those couple years to not even think about creating any semblance of an actual song structure.\u003c/p>\n\u003cp>\u003cstrong>Do you think taking the pressure off yourself — just kind of playing around and not knowing if you were going to do anything with these songs in that time — ended up changing the way that you wrote, or the songs that ended up coming out of that process?\u003c/strong>\u003c/p>\n\u003cp>Totally. Because I didn’t even really reach for my guitar after a while. There’s this Mahalia Jackson CD, this live CD, that I got at a Salvation Army. And now it’s gone, I’ve lost it. But the one song that I was obsessed with is an old traditional called “Closer To Him.” The organ parts were really getting to me, like I was really getting obsessed with them, and her voice is obviously just \u003cem>sublime\u003c/em>. And there’s this John Lee Hooker song — he does a cover of “I Cover the Waterfront” with Van Morrison, and again there’s these organ parts and I was really interested by them. So I started to just play keys a lot.\u003c/p>\n\u003cp>I probably would have just immediately gone for the guitar had I been more in Land of Talk mode. But just waking up in the morning and sitting a keyboard is so different. From that stemmed also more of an open mind about song structure, or lack thereof. I don’t even know technical terms of it; it’s not as intuitive, it’s not as textbook, or orthodox, but it seems to me like it just has a feel to it. Like even “This Time” is not as straightforward. To me, it seems like you want to float or sway to it; it has more levity to it. I wanted there to be more of an airiness and more of a flexibility, you know?\u003c/p>\n\u003cp>\u003cstrong>I feel like on this record, too, you can hear your lyrics more clearly. I know that you had vocal issues a couple years ago, and had to re-learn how to sing — I wondered if it was maybe related to that?\u003c/strong>\u003c/p>\n\u003cp>Maybe it was that. Again, it was probably a couple factors. I used to really grate on my vocal chords, and I used to smoke cigarettes, and it was always this very hoarse affair. And, unbeknownst to me at the time, I was probably developing those vocal nodes, which would eventually became a hemorrhagic vocal polyp. Leading up to that, I was probably just pushing harder and harder to get sound out. When you’re yelling, you’re not enunciating as much, but you’re putting a lot of \u003cem>feeling \u003c/em>into it — So that I think changes the whole lyrical and vocal effects, you know? But then maybe because of the way that I was approaching this record, and maybe having lived in nature — just kind of living on the lake and hearing the birds chirping, maybe that was kind of informing what kind of sounds I was wanting to hear. And then also maybe I was searching for more clarity in my life, and so I wanted to offer more clarity in my voice. Those are all possible. And also — oh God — being introduced to Kurt Vile for the first time, and Courtney Barnett. Those were game changers for me. Game changers!\u003c/p>\n\u003cp>\u003cstrong>How so?\u003c/strong>\u003c/p>\n\u003cp>They made me realize that those musing kinds of conversations you have with yourself, that internal dialogue — I want to hear that! I just wanted to hear more of it from them, so I was like, “Oh, maybe that’s okay if I let people in — if I don’t cloak stuff and try to obfuscate. What if I just give a little more? And be a little clearer?”\u003c/p>\n\u003cp>\u003cstrong>Did you feel like you were able to be more clear with the lyrics on this album?\u003c/strong> \u003cstrong>Or be more straightforward?\u003c/strong>\u003c/p>\n\u003cp>Yeah, like that’s the thing — I feel like I am being clear! But in a way, it’s almost like, I’ve just made my voice sound clearer. You know what I mean? I’m halfway there!\u003c/p>\n\u003cp>Like the mantra thing of like, [sings] “I don’t want to waste it this time” — I just wanted to sing that over and over again. I was just happy to repeat and repeat and repeat, ad nauseam, but it wasn’t until just calling on Sharon, my friend Sharon van Etten — she, like a champ, came by the studio when we were in New Jersey, and she just kind of picked my brain, and picked my heart. I just feel like I don’t have to explain much to her; she could kind of glean the rest of what I was saying. She was guessing and prompting and just sort of coaxing these words and these lyrics out, to just finish off and flesh out these ideas. So she helped out a lot with “This Time, “Heartcore” and “Loving” — songs that I would have been happy kind of leaving in this nice mantra area. She scratched through my surface and got to more of the root of things, whereas sometimes it seems like I’m trying to just make it abstract to keep the root hidden.\u003c/p>\n\u003cp>\u003cstrong>Had you used that kind of collaborative process to write lyrics before? \u003c/strong>\u003c/p>\n\u003cp>Never — oh my god! Never. Never. I would never. I think something like came with the time away was understanding my strengths and my weaknesses. And also understanding and appreciating just how supportive and how trustworthy my musician friends are. I think I had just been so cagey. I think I spent the first couple years of Land of Talk — well, since I was 13 or 14, playing open mics — trying to make my own voice, create my own guitar style. I think I had just been trying to forge ahead creatively in such a way, and a huge part of that was self-preservation. You’re just trying so hard to protect yourself against a lot of stuff.\u003c/p>\n\u003cp>\u003cstrong>How do you mean — emotionally? Financially? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>I think that creatively, too — I feel like I had a lot to prove. And maybe it was especially being a woman in the industry, too. I just felt like I had a lot to prove: I have to write my own songs to be taken seriously. And that was a huge point of pride, that I write my own songs: I’m the composer, I’m not just a pretty face. [Laughs.] Not even that I was, but I’m just saying, like, “I’m more than you expect of me.” Because I feel like women are underestimated, like, f****** constantly.\u003c/p>\n\u003cp>\u003cstrong>You have to be twice as good to be taken seriously.\u003c/strong>\u003c/p>\n\u003cp>I felt like I had a lot to prove. So I maybe would not have even been open to it, or have even considered it, had I not just had that time away to grow and to get perspective on things. And I’m coming back now to an industry where I feel so well-represented. What a time to come back to the music industry! But I just can’t stress enough how it wasn’t like that back then. It’s amazing now to be going on tour and to be just like seeing women everywhere — and I’m not talking about gender in a binary way, I just mean, like, people who aren’t…\u003c/p>\n\u003cp>\u003cstrong>Who aren’t cis dudes\u003c/strong>.\u003c/p>\n\u003cp>Right? So I think it’s so exciting, and I’m so excited to see where it’s going. Because it seems like it’s only getting more and more and more fair.\u003c/p>\n\u003cp>\u003cstrong>I’m curious about the fact that you were hoping to make a solo record, because I feel like the lineup of your band has changed so much — it kind of seems like you’re the one constant in the band. \u003c/strong>\u003cstrong>Why do you think you were interested in doing that seven years ago?\u003c/strong>\u003c/p>\n\u003cp>I think maybe I was getting disillusioned. I started to think: I don’t know if I just want to be Land of Talk. I don’t know if I want to be in a rock and roll town like Montreal, releasing a record every year. I felt like I was maybe becoming too careerist. And it’s not that I had a problem with making money from my music. It’s just that sometimes, you get plugged into an industry track; I felt like if I didn’t watch it, maybe I would be feeling emptier and emptier. So maybe I was trying to get off the track, and see if I could focus more on the art instead of the career aspect of it. I felt like the art was becoming the footnote or the sidenote or the afterthought. And so I guess I was starting to feel like a natural gravitation to wanting to isolate — which is also where I do my best creating! I also find that when you’re at your emptiest is when you resonate the most. I was lost, aimless, feeling a bit like I needed to center myself. So maybe that’s why the record sounds like it’s me trying to center myself. There, there you go! I can’t believe it took that long just to figure out the obvious. \u003cem>[Laughs.]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Are you nervous about the future? Because of how you felt pulled off track?\u003c/strong>\u003c/p>\n\u003cp>No. Because I feel like I went through it, and realized that I’m going to be nervous about the future anyways — and I would rather be doing my favorite thing. That’s the other thing, too: that I want to feel useful. I was starting to feel like maybe being an artist and being a songwriter was just serving myself, like it was selfish and it was egotistical and it was maybe not healthy because it’s, “Look at me, look at me.” It’s narcissistic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the last six years has definitely proven me wrong. Now I’m returning to music, and that’s a good place to be if you want to keep the joy going and keep connected. Because it keeps me connected to people, and those people happen to be music lovers, and I happen to be making music that they might be loving, and then I feel like “OK, I’m useful. OK, it’s a two-way street now, it’s helping me and it seems to be helping other people.” Like, wow. Yes. I’m here to stay, and that doesn’t make me nervous. I find that really reassuring. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=After+A+Detour%2C+Land+Of+Talk%27s+Elizabeth+Powell+Finds+A+New+Way+Home&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "PWR BTTM Issues New Statement Addressing Allegations of Sexual Misconduct",
"headTitle": "PWR BTTM Issues New Statement Addressing Allegations of Sexual Misconduct | KQED",
"content": "\u003cp>PWR BTTM has responded at length and in detail to allegations of sexual misconduct directed towards Ben Hopkins, a member of the Brooklyn-based duo. In a statement released Thursday afternoon, Hopkins acknowledges a sexual relationship with a woman who accused the musician of rape in an anonymous interview posted on \u003cem>Jezebel \u003c/em>last week, but reports a different version of events. “[T]he statements made about me by the anonymous source did not line up with any sexual experience I have ever had,” Hopkins writes in the statement.\u003c/p>\n\u003cp>“We met the night before a show in March of 2016,” Hopkins writes. “After the show, she invited me back to her house and we eventually engaged in sex. Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual.”\u003c/p>\n\u003cp>It’s been just over a week since the allegations, which began circulating in social media posts and were further detailed in an anonymous interview, began getting reported widely. Within days, the band’s music had been pulled from streaming services — including a brand-new record, \u003cem>Pageant\u003c/em>, released last Friday. Bands scheduled to accompany PWR BTTM on a tour promoting \u003cem>Pageant \u003c/em>pulled out of those performances. The group was dropped by its management and at least one festival had removed it from the lineup.\u003c/p>\n\u003cp>As the story was breaking, PWR BTTM issued \u003ca href=\"https://www.facebook.com/PWRBTTM666/posts/793308764171998\">an initial statement\u003c/a> saying the group was surprised by the allegations and that Hopkins had never been “contacted by any survivor(s) of abuse.” But last Friday, after the band’s statement had been released, \u003cem>Jezebel\u003c/em> published \u003ca href=\"http://jezebel.com/member-of-queer-punk-band-pwr-bttm-accused-of-sexual-as-1795132781\" target=\"_blank\" rel=\"noopener\">an article\u003c/a> in which an anonymous woman said that Hopkins had sex with her without her permission and while she was intoxicated, following a PWR BTTM show in the spring of 2016. She is quoted in the piece as saying Hopkins assaulted her for the second time a month after the first, and that she came to the realization she had been the victim of sexual assault some time later, after talking over the experience with friends.\u003c/p>\n\u003cp>The new statement is split into three parts — one from Hopkins, one from Bruce and one from the band as a whole. PWR BTTM attempts to explain the discrepancies created by its first public address of the controversy, to address the allegations against Hopkins and to retract the band’s much-criticized attempt at mediation presented in its initial statement. (The full statement can be found at the bottom of this article.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hopkins’ statement offers a different perspective of the events. “Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual,” Hopkins writes.\u003c/p>\n\u003cp>“That being said,” the statement continues, “in keeping with my commitment to my principles, I believe it is my responsibility to be accountable to this individual’s perspective and to honor it accordingly.”\u003c/p>\n\u003cp>The account in \u003cem>Jezebel\u003c/em>‘s article conflicted with band’s earlier statement of having been surprised by the accusations; the accuser told \u003cem>Jezebel\u003c/em> that she had contacted Hopkins’ bandmate Liv Bruce earlier this year. In the new statement, Bruce acknowledges contacting Hopkins’ accuser in February, and of keeping the conversation from Hopkins until last Friday.\u003c/p>\n\u003cp>NPR Music has covered or partnered with PWR BTTM on several occasions. It premiered \u003cem>Pageant\u003c/em> on May 4 as part of its First Listen series; invited the band to play a Tiny Desk Concert in 2016; Hopkins was a judge in the 2017 Tiny Desk Contest; and PWR BTTM performed at NPR Music’s 2017 SXSW showcase.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>RAINN, an organization which provides confidential support to survivors of sexual assault, \u003ca href=\"https://www.rainn.org/\">can be reached at its website\u003c/a> (where they offer \u003ca href=\"https://hotline.rainn.org/online/terms-of-service.jsp\">privacy-focused online chat\u003c/a> to victims) or by phone at 1-800-656-4673.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>PWR BTTM’s full statement:\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cstrong>\u003cem>From Ben [Hopkins]:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>What has transpired over the past several days has been emotionally overwhelming and difficult to comprehend. Last Thursday, I learned that an anonymous individual had made an allegation of sexual assault against me. This allegation was devastating to me as it is contrary to the intentional way I seek to interact with those around me. As I digested the allegations, I tried to figure out who the individual might be so that I could try to reconcile what I had read with my memory of any particular sexual interaction. I’ve waited to respond to the Jezebel article because the statements made about me by the anonymous source did not line up with any sexual experience I have ever had.\u003c/p>\n\u003cp>Over the past several days, I was able to figure out who the individual was based on what I was reading and my subsequent conversations with Liv. I am not going to breach the anonymity of the person interviewed in the Jezebel article, but given the serious nature of what was published and its impact, I have to unpack the claims and provide perspective on the details within. We met the night before a show in March of 2016 and spent most of the following day together. After the show, she invited me back to her house and we eventually engaged in sex. Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual. We stayed in touch over the course of several weeks by exchanging texts and pictures. Later, she asked if she could stay with me at my home, where we had sex several more times over the course of those days. Again, I understood these interactions to be fully consensual, especially since our ongoing communications continued to be mutual, positive and reciprocal in nature. We did not see each other much after that but when we did it was entirely pleasant and we continued to exchange texts, including as recently as March of this year. I had no indication before last week that she had any concerns about our interaction.\u003c/p>\n\u003cp>Last week I learned that, in February of this year, this person had expressed concerns to others about what had transpired between us. I fully embrace and respect this individual’s right to speak out in any manner or forum they choose, including in a Facebook post or anonymously to a Jezebel reporter. It does not diminish that person’s experience or perception. After the initial shock of learning about her concerns, I have tried to understand her experience of our interactions. It would be antithetical to my values to attack, blame, or shame someone who is using the power of call-out culture to name their experience and hold others accountable, even when – or especially if – the individual they seek to hold accountable is me. I fully appreciate that someone’s views about the dynamics of intimate interactions can change and are not always apparent in the moment. While I am open to understanding this person’s perspective, I strongly contest the account put forth in Jezebel. I am firmly committed to consent, to communication, and to mutual expression of sexual interest. The accusations in Jezebel directly conflict with my experience, as it is not my practice to engage in sexual contact without protection, without discussing the issue with my partner, or to engage in the other conduct alleged in the Jezebel article. That being said, in keeping with my commitment to my principles, I believe it is my responsibility to be accountable to this individual’s perspective and to honor it accordingly.\u003c/p>\n\u003cp>One more thing. I have seen posts about people raising concerns about having their boundaries crossed when I have greeted our fans after our shows, something Liv and I do after every performance, taking selfies and thanking folks for coming. This is, again, incredibly shocking news to me, as the safety and well-being of PWR BTTM fans is the most paramount concern I have as a member of this band on and\u003c/p>\n\u003cp>off stage. If my physical contact has made anyone feel uncomfortable, I sincerely apologize and will work hard to have an increased awareness of boundaries moving forward consistent with our commitment to our fans.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>From Liv [Bruce]:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>In February, I made contact with the anonymous individual interviewed by Jezebel, someone I knew casually, after hearing that she had made inflammatory accusations about Ben in a private online forum. My intent in reaching out was to learn more and to make myself available in the event that I could be of any help. Our conversation was friendly, but it ended without a plan for any specific next steps. Based upon our discussion, my understanding was that she did not want me to share her identity with Ben unless I had her explicit permission to do so, and I assured her that I would not do so.\u003c/p>\n\u003cp>After our conversation, I wanted to discuss with Ben the issues she had raised but I quickly realized that doing so would inevitably reveal her identity. I did not know how to proceed nor did I know where to seek advice about how to move forward.\u003c/p>\n\u003cp>After Ben ascertained the individual’s identity on Friday I decided that my withholding information was no longer protecting her privacy and I told Ben about the conversation she and I had.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>From PWR BTTM:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>As some of you know, we set up a separate email address back in mid-May so that anyone with information relevant to the situation that was then unfolding could privately share what they knew. At the time we thought it was the right thing to do. We now see that we were putting the onus on others to do something that only works if it is what they want. We have concluded that there is no viable way to do what we were trying to accomplish, with the result that we are going to shut that email address down (we have not and will not look at any emails that may have been sent there to date).\u003c/p>\n\u003cp>Finally, to our fans, our friends, our family and those who have supported us unfailingly and who continue to support us unfailingly: thank you from the bottom of our hearts. Having enjoyed the enthusiastic support of so many incredible people throughout our music careers has been a blessing. We love playing music, we love sharing music with others and we want nothing more than to be back performing together soon.\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=PWR+BTTM+Issues+New+Statement+Addressing+Allegations+Of+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>PWR BTTM has responded at length and in detail to allegations of sexual misconduct directed towards Ben Hopkins, a member of the Brooklyn-based duo. In a statement released Thursday afternoon, Hopkins acknowledges a sexual relationship with a woman who accused the musician of rape in an anonymous interview posted on \u003cem>Jezebel \u003c/em>last week, but reports a different version of events. “[T]he statements made about me by the anonymous source did not line up with any sexual experience I have ever had,” Hopkins writes in the statement.\u003c/p>\n\u003cp>“We met the night before a show in March of 2016,” Hopkins writes. “After the show, she invited me back to her house and we eventually engaged in sex. Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual.”\u003c/p>\n\u003cp>It’s been just over a week since the allegations, which began circulating in social media posts and were further detailed in an anonymous interview, began getting reported widely. Within days, the band’s music had been pulled from streaming services — including a brand-new record, \u003cem>Pageant\u003c/em>, released last Friday. Bands scheduled to accompany PWR BTTM on a tour promoting \u003cem>Pageant \u003c/em>pulled out of those performances. The group was dropped by its management and at least one festival had removed it from the lineup.\u003c/p>\n\u003cp>As the story was breaking, PWR BTTM issued \u003ca href=\"https://www.facebook.com/PWRBTTM666/posts/793308764171998\">an initial statement\u003c/a> saying the group was surprised by the allegations and that Hopkins had never been “contacted by any survivor(s) of abuse.” But last Friday, after the band’s statement had been released, \u003cem>Jezebel\u003c/em> published \u003ca href=\"http://jezebel.com/member-of-queer-punk-band-pwr-bttm-accused-of-sexual-as-1795132781\" target=\"_blank\" rel=\"noopener\">an article\u003c/a> in which an anonymous woman said that Hopkins had sex with her without her permission and while she was intoxicated, following a PWR BTTM show in the spring of 2016. She is quoted in the piece as saying Hopkins assaulted her for the second time a month after the first, and that she came to the realization she had been the victim of sexual assault some time later, after talking over the experience with friends.\u003c/p>\n\u003cp>The new statement is split into three parts — one from Hopkins, one from Bruce and one from the band as a whole. PWR BTTM attempts to explain the discrepancies created by its first public address of the controversy, to address the allegations against Hopkins and to retract the band’s much-criticized attempt at mediation presented in its initial statement. (The full statement can be found at the bottom of this article.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hopkins’ statement offers a different perspective of the events. “Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual,” Hopkins writes.\u003c/p>\n\u003cp>“That being said,” the statement continues, “in keeping with my commitment to my principles, I believe it is my responsibility to be accountable to this individual’s perspective and to honor it accordingly.”\u003c/p>\n\u003cp>The account in \u003cem>Jezebel\u003c/em>‘s article conflicted with band’s earlier statement of having been surprised by the accusations; the accuser told \u003cem>Jezebel\u003c/em> that she had contacted Hopkins’ bandmate Liv Bruce earlier this year. In the new statement, Bruce acknowledges contacting Hopkins’ accuser in February, and of keeping the conversation from Hopkins until last Friday.\u003c/p>\n\u003cp>NPR Music has covered or partnered with PWR BTTM on several occasions. It premiered \u003cem>Pageant\u003c/em> on May 4 as part of its First Listen series; invited the band to play a Tiny Desk Concert in 2016; Hopkins was a judge in the 2017 Tiny Desk Contest; and PWR BTTM performed at NPR Music’s 2017 SXSW showcase.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>RAINN, an organization which provides confidential support to survivors of sexual assault, \u003ca href=\"https://www.rainn.org/\">can be reached at its website\u003c/a> (where they offer \u003ca href=\"https://hotline.rainn.org/online/terms-of-service.jsp\">privacy-focused online chat\u003c/a> to victims) or by phone at 1-800-656-4673.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>PWR BTTM’s full statement:\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cstrong>\u003cem>From Ben [Hopkins]:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>What has transpired over the past several days has been emotionally overwhelming and difficult to comprehend. Last Thursday, I learned that an anonymous individual had made an allegation of sexual assault against me. This allegation was devastating to me as it is contrary to the intentional way I seek to interact with those around me. As I digested the allegations, I tried to figure out who the individual might be so that I could try to reconcile what I had read with my memory of any particular sexual interaction. I’ve waited to respond to the Jezebel article because the statements made about me by the anonymous source did not line up with any sexual experience I have ever had.\u003c/p>\n\u003cp>Over the past several days, I was able to figure out who the individual was based on what I was reading and my subsequent conversations with Liv. I am not going to breach the anonymity of the person interviewed in the Jezebel article, but given the serious nature of what was published and its impact, I have to unpack the claims and provide perspective on the details within. We met the night before a show in March of 2016 and spent most of the following day together. After the show, she invited me back to her house and we eventually engaged in sex. Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual. We stayed in touch over the course of several weeks by exchanging texts and pictures. Later, she asked if she could stay with me at my home, where we had sex several more times over the course of those days. Again, I understood these interactions to be fully consensual, especially since our ongoing communications continued to be mutual, positive and reciprocal in nature. We did not see each other much after that but when we did it was entirely pleasant and we continued to exchange texts, including as recently as March of this year. I had no indication before last week that she had any concerns about our interaction.\u003c/p>\n\u003cp>Last week I learned that, in February of this year, this person had expressed concerns to others about what had transpired between us. I fully embrace and respect this individual’s right to speak out in any manner or forum they choose, including in a Facebook post or anonymously to a Jezebel reporter. It does not diminish that person’s experience or perception. After the initial shock of learning about her concerns, I have tried to understand her experience of our interactions. It would be antithetical to my values to attack, blame, or shame someone who is using the power of call-out culture to name their experience and hold others accountable, even when – or especially if – the individual they seek to hold accountable is me. I fully appreciate that someone’s views about the dynamics of intimate interactions can change and are not always apparent in the moment. While I am open to understanding this person’s perspective, I strongly contest the account put forth in Jezebel. I am firmly committed to consent, to communication, and to mutual expression of sexual interest. The accusations in Jezebel directly conflict with my experience, as it is not my practice to engage in sexual contact without protection, without discussing the issue with my partner, or to engage in the other conduct alleged in the Jezebel article. That being said, in keeping with my commitment to my principles, I believe it is my responsibility to be accountable to this individual’s perspective and to honor it accordingly.\u003c/p>\n\u003cp>One more thing. I have seen posts about people raising concerns about having their boundaries crossed when I have greeted our fans after our shows, something Liv and I do after every performance, taking selfies and thanking folks for coming. This is, again, incredibly shocking news to me, as the safety and well-being of PWR BTTM fans is the most paramount concern I have as a member of this band on and\u003c/p>\n\u003cp>off stage. If my physical contact has made anyone feel uncomfortable, I sincerely apologize and will work hard to have an increased awareness of boundaries moving forward consistent with our commitment to our fans.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>From Liv [Bruce]:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>In February, I made contact with the anonymous individual interviewed by Jezebel, someone I knew casually, after hearing that she had made inflammatory accusations about Ben in a private online forum. My intent in reaching out was to learn more and to make myself available in the event that I could be of any help. Our conversation was friendly, but it ended without a plan for any specific next steps. Based upon our discussion, my understanding was that she did not want me to share her identity with Ben unless I had her explicit permission to do so, and I assured her that I would not do so.\u003c/p>\n\u003cp>After our conversation, I wanted to discuss with Ben the issues she had raised but I quickly realized that doing so would inevitably reveal her identity. I did not know how to proceed nor did I know where to seek advice about how to move forward.\u003c/p>\n\u003cp>After Ben ascertained the individual’s identity on Friday I decided that my withholding information was no longer protecting her privacy and I told Ben about the conversation she and I had.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>From PWR BTTM:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>As some of you know, we set up a separate email address back in mid-May so that anyone with information relevant to the situation that was then unfolding could privately share what they knew. At the time we thought it was the right thing to do. We now see that we were putting the onus on others to do something that only works if it is what they want. We have concluded that there is no viable way to do what we were trying to accomplish, with the result that we are going to shut that email address down (we have not and will not look at any emails that may have been sent there to date).\u003c/p>\n\u003cp>Finally, to our fans, our friends, our family and those who have supported us unfailingly and who continue to support us unfailingly: thank you from the bottom of our hearts. Having enjoyed the enthusiastic support of so many incredible people throughout our music careers has been a blessing. We love playing music, we love sharing music with others and we want nothing more than to be back performing together soon.\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=PWR+BTTM+Issues+New+Statement+Addressing+Allegations+Of+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Basquiat Painting Becomes Priciest Work Ever Sold by a U.S. Artist",
"headTitle": "Basquiat Painting Becomes Priciest Work Ever Sold by a U.S. Artist | KQED",
"content": "\u003cp>Jean-Michel Basquiat joined “joined the pantheon of great, great artists” Thursday night, when the late painter’s 1982 work \u003cem>Untitled\u003c/em> sold for a record-breaking $110.5 million at auction — the highest sum ever paid at auction for a U.S.-produced artwork.\u003c/p>\n\u003cp>That breathless assessment was offered after the sale by Oliver Barker, chairman of Sotheby’s Europe. So you can imagine just how thrilled the buyer must have been.\u003c/p>\n\u003cp>“I am happy to announce that I just won this masterpiece,” Japanese billionaire Yusaku Maezawa said in an Instagram post revealing his identity as the buyer. “When I first encountered this painting, I was struck with so much excitement and gratitude for my love of art. I want to share that experience with as many people as possible.”\u003c/p>\n\u003cp>The purchase price elicited gasps in the room as it sailed past expectations during the 10-minute bidding war at the Sotheby’s auction, \u003ca href=\"http://www.artnews.com/2017/05/18/record-breaking-110-5-m-basquiat-shocks-attendees-at-sothebys-319-2-m-postwar-and-contemporary-evening-sale/\">according to ARTNews magazine\u003c/a>. In fact, the publication notes, the painting nearly doubled the previous sales record for a Basquiat work, which was set last year — also with Maezawa as buyer.\u003c/p>\n\u003cp>The 41-year-old tech tycoon, rock musician, fashion entrepreneur — and, well, we can let CNN \u003ca href=\"http://money.cnn.com/2017/05/19/technology/yusaku-maezawa-music-fashion-art-basquiat/index.html?sr=twcnni051917yusaku-maezawa-music-fashion-art-basquiat1122AMVODtopLink&linkId=37781557\" target=\"_blank\" rel=\"noopener\">take it from here\u003c/a> — says he intends to place both Basquiat paintings for a museum he’s planning in his hometown, Chiba.\u003c/p>\n\u003cdiv id=\"res529100199\" class=\"bucketwrap statichtml\">\n\u003cblockquote class=\"instagram-media\" data-instgrm-version=\"7\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:50% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">\u003ca href=\"https://www.instagram.com/p/BUQQMOFDStN/\" style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;\" target=\"_blank\" rel=\"noopener\">A post shared by Yusaku Maezawa (@yusaku2020)\u003c/a> on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2017-05-19T00:33:27+00:00\">May 18, 2017 at 5:33pm PDT\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp> \u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\n \u003c/p>\u003c/div>\n\u003cp>“But before then, I wish to loan this piece — which has been unseen by the public for more than 30 years — to institutions and exhibitions around the world,” he said in a statement \u003ca href=\"https://www.nytimes.com/2017/05/18/arts/jean-michel-basquiat-painting-is-sold-for-110-million-at-auction.html\" target=\"_blank\" rel=\"noopener\">quoted by The New York Times\u003c/a>. “I hope it brings as much joy to others as it does to me and that this masterpiece by the 21-year-old Basquiat inspires our future generations.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Basquiat died several years after creating the work that sold Thursday, overdosing on heroin in 1988 at age 27. The New York native, son of a Puerto Rican mother and Haitian-American father, began in street art and assumed mythic stature after his death — influencing a generation of artists with his visceral, politically inclined works.\u003c/p>\n\u003cp>With Thursday’s sale, \u003cem>ARTNews\u003c/em> reports that \u003cem>Untitled\u003c/em> broke the American record held by Basquiat’s friend Andy Warhol and became the sixth-most expensive work ever auctioned in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here’s a closer look at Basquiat’s \u003cem>Untitled\u003c/em>: \u003c/p>\n\u003cfigure id=\"attachment_13263485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-800x849.jpg\" alt=\"Jean-Michel Basquiat's 'Untitled' was produced in 1982. The <a href="http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html">Los Angeles Times says</a> that until shortly before Thursday's auction, it hadn't been shown in public since a private collector bought it for $19,000 in 1984\" width=\"800\" height=\"849\" class=\"size-medium wp-image-13263485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-768x815.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-240x255.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-375x398.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-520x552.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat’s ‘Untitled’ was produced in 1982. The \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html\">Los Angeles Times says\u003c/a> that until shortly before Thursday’s auction, it hadn’t been shown in public since a private collector bought it for $19,000 in 1984 \u003ccite>(Courtesy of NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=At+%24110.5+Million%2C+Basquiat+Painting+Becomes+Priciest+Work+Ever+Sold+By+A+U.S.+Artist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "With the sale Thursday night in New York City, the late Jean-Michel Basquiat's 1982 untitled painting is also said to be the sixth-most expensive work sold in world history.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jean-Michel Basquiat joined “joined the pantheon of great, great artists” Thursday night, when the late painter’s 1982 work \u003cem>Untitled\u003c/em> sold for a record-breaking $110.5 million at auction — the highest sum ever paid at auction for a U.S.-produced artwork.\u003c/p>\n\u003cp>That breathless assessment was offered after the sale by Oliver Barker, chairman of Sotheby’s Europe. So you can imagine just how thrilled the buyer must have been.\u003c/p>\n\u003cp>“I am happy to announce that I just won this masterpiece,” Japanese billionaire Yusaku Maezawa said in an Instagram post revealing his identity as the buyer. “When I first encountered this painting, I was struck with so much excitement and gratitude for my love of art. I want to share that experience with as many people as possible.”\u003c/p>\n\u003cp>The purchase price elicited gasps in the room as it sailed past expectations during the 10-minute bidding war at the Sotheby’s auction, \u003ca href=\"http://www.artnews.com/2017/05/18/record-breaking-110-5-m-basquiat-shocks-attendees-at-sothebys-319-2-m-postwar-and-contemporary-evening-sale/\">according to ARTNews magazine\u003c/a>. In fact, the publication notes, the painting nearly doubled the previous sales record for a Basquiat work, which was set last year — also with Maezawa as buyer.\u003c/p>\n\u003cp>The 41-year-old tech tycoon, rock musician, fashion entrepreneur — and, well, we can let CNN \u003ca href=\"http://money.cnn.com/2017/05/19/technology/yusaku-maezawa-music-fashion-art-basquiat/index.html?sr=twcnni051917yusaku-maezawa-music-fashion-art-basquiat1122AMVODtopLink&linkId=37781557\" target=\"_blank\" rel=\"noopener\">take it from here\u003c/a> — says he intends to place both Basquiat paintings for a museum he’s planning in his hometown, Chiba.\u003c/p>\n\u003cdiv id=\"res529100199\" class=\"bucketwrap statichtml\">\n\u003cblockquote class=\"instagram-media\" data-instgrm-version=\"7\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:50% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">\u003ca href=\"https://www.instagram.com/p/BUQQMOFDStN/\" style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;\" target=\"_blank\" rel=\"noopener\">A post shared by Yusaku Maezawa (@yusaku2020)\u003c/a> on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2017-05-19T00:33:27+00:00\">May 18, 2017 at 5:33pm PDT\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp> \u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\n \u003c/p>\u003c/div>\n\u003cp>“But before then, I wish to loan this piece — which has been unseen by the public for more than 30 years — to institutions and exhibitions around the world,” he said in a statement \u003ca href=\"https://www.nytimes.com/2017/05/18/arts/jean-michel-basquiat-painting-is-sold-for-110-million-at-auction.html\" target=\"_blank\" rel=\"noopener\">quoted by The New York Times\u003c/a>. “I hope it brings as much joy to others as it does to me and that this masterpiece by the 21-year-old Basquiat inspires our future generations.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Basquiat died several years after creating the work that sold Thursday, overdosing on heroin in 1988 at age 27. The New York native, son of a Puerto Rican mother and Haitian-American father, began in street art and assumed mythic stature after his death — influencing a generation of artists with his visceral, politically inclined works.\u003c/p>\n\u003cp>With Thursday’s sale, \u003cem>ARTNews\u003c/em> reports that \u003cem>Untitled\u003c/em> broke the American record held by Basquiat’s friend Andy Warhol and became the sixth-most expensive work ever auctioned in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here’s a closer look at Basquiat’s \u003cem>Untitled\u003c/em>: \u003c/p>\n\u003cfigure id=\"attachment_13263485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-800x849.jpg\" alt=\"Jean-Michel Basquiat's 'Untitled' was produced in 1982. The <a href="http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html">Los Angeles Times says</a> that until shortly before Thursday's auction, it hadn't been shown in public since a private collector bought it for $19,000 in 1984\" width=\"800\" height=\"849\" class=\"size-medium wp-image-13263485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-768x815.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-240x255.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-375x398.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-520x552.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat’s ‘Untitled’ was produced in 1982. The \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html\">Los Angeles Times says\u003c/a> that until shortly before Thursday’s auction, it hadn’t been shown in public since a private collector bought it for $19,000 in 1984 \u003ccite>(Courtesy of NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=At+%24110.5+Million%2C+Basquiat+Painting+Becomes+Priciest+Work+Ever+Sold+By+A+U.S.+Artist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Alien: Covenant' Continues to Mine Old Ground",
"headTitle": "‘Alien: Covenant’ Continues to Mine Old Ground | KQED",
"content": "\u003cp>Almost 40 years ago, \u003cem>Alien\u003c/em> was a B-movie with A+ production values and performances, and \u003ca href=\"http://www.npr.org/sections/monkeysee/2014/05/13/312139053/thanks-to-h-r-giger-for-all-the-sleepless-nights\" target=\"_blank\" rel=\"noopener\">the scariest monster the movies ever gave us\u003c/a>. The new \u003cem>Alien: Covenant\u003c/em> is a shamelessly high-minded, Byron-and-Shelley-quoting existential inquiry into the origin of three species and the nature of belief that goes slumming in genre territory just enough to get itself greenlit.\u003c/p>\n\u003cp>Guess which one is going to last? My money’s on the one that already has.\u003c/p>\n\u003cp>At least \u003cem>Covenant\u003c/em> is an artistic upgrade to \u003cem>Prometheus\u003c/em>, the \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/06/08/154572020/hello-again-my-gooey-friends-on-loving-alien-and-seeing-prometheus\" target=\"_blank\" rel=\"noopener\">frustrating 2012 preamble\u003c/a> to which it is a direct sequel. In that film, septuagenarian director Ridley Scott returned to the \u003cem>Alien\u003c/em>-iverse he created and then left to others. Specifically, others who’ve had careers as celebrated and far more consistent than his own: James Cameron, David Fincher, Jean-Pierre Jeunet. Their follow-ups varied in quality and ambition (and yes, \u003cem>Aliens\u003c/em> is \u003ca href=\"http://www.npr.org/2016/07/18/486507610/aliens-turns-30-celebrating-the-iconic-sci-fi-sequel\" target=\"_blank\" rel=\"noopener\">a masterpiece in its own right\u003c/a>), but none addressed where their nightmare beasts came from, or who the long-dead, inhuman “space jockey” seen briefly in \u003cem>Alien\u003c/em> was. To Scott, this apparently amounted to artistic negligence. Because after 35 years away from the chest-bursting game, the thrice-Oscar-nominated director of the wretched \u003cem>Silence of the Lambs\u003c/em> sequel \u003cem>Hannibal\u003c/em>, among too many other films, opted to answer these questions… in the most ponderous, deflating way possible.\u003c/p>\n\u003cp>https://youtu.be/svnAD0TApb8\u003c/p>\n\u003cp>\u003cem>Prometheus\u003c/em> left enough of us — and \u003ca href=\"https://chrisklimek.com/2012/10/18/making-of-documentary-the-furious-gods-reveals-the-people-who-actually-made-prometheus-had-no-idea-wtf-either/\" target=\"_blank\" rel=\"noopener\">some members of its own creative team\u003c/a> — confounded that Sir Ridley has been forced to make a few concessions this time: Putting the word \u003cem>Alien\u003c/em> in the movie’s name, using the opening title cards from his 1979 landmark, and reprising elements of Jerry Goldsmith’s haunting \u003cem>Alien\u003c/em> score. These remedies all come from the latter-day “legacyquel” playbook that helped the likes of \u003cem>Jurassic World\u003c/em> and \u003cem>Creed\u003c/em> and \u003cem>Mad Max: Fury Road\u003c/em> and \u003cem>Star Wars: The Force Awakens\u003c/em> give their long-running franchises a second or third generation of fans. For \u003cem>Covenant\u003c/em>‘s CGI-slathered, perfunctory-feeling all-action finale, Scott even revives the classic H.R. Giger-designed “xenomorph” incarnation of the species, despite having publicly opined for years that too much acid-blood had been wrung from that particular stone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As in \u003cem>Prometheus\u003c/em>, a religious subtext is introduced and then immediately abandoned. The mostly doomed space travelers this time around are 22nd-century pilgrims, ferrying a couple of thousand or so hibernating humans (and unborn human embryos) to their new lives on the off-world colonies. (The distance between these movies and \u003cem>Blade Runner\u003c/em>, Scott’s other landmark sci-fi movie, grows narrower still.) After an exciting series of in-flight catastrophes, the Starship Covenant’s shaky new captain (a superb Billy Crudup) redirects the ship to a previously undetected planet—one suspiciously suitable for human habitation. Katherine Waterston steps into Sigourney Weaver’s sweaty old flight-suit to challenge this decision. She does an admirable job as the movie’s surrogate Ripley, the skeptical problem-solver who is clearly smarter and more reliable than the dude (always a dude) above her in the chain of command. Comedian Danny McBride plays Tennessee, a pilot whose enthusiasm for 20th century country music becomes one of \u003cem>Covenant\u003c/em>‘s weirder plot points. There are a lot of other crew members, but they don’t make an impression the way the crew of the Nostromo or the squad of Marines aboard the Sulaco did. (I did not have to look up the names of these spacecraft, people.)\u003c/p>\n\u003cp>But even more than \u003cem>Prometheus\u003c/em> did, \u003cem>Covenant\u003c/em> belongs to Michael Fassbender. As David — the megalomaniacal, \u003cem>Lawrence of Arabia\u003c/em>-loving android whose betrayal of his human creators is the sustained chord between these two 21st century \u003cem>Alien\u003c/em> flicks — he is the only character in whom Scott seems truly interested. Fassbender occupies two roles in \u003cem>Covenant\u003c/em>, the unbound David and also Walter, a later-model synthetic who is outwardly identical, but with hardwired inhibitions on his behavior and thinking. (David evokes Ash, the devious Ian Holm android from \u003cem>Alien\u003c/em>, while Walter represents Lance Henriksen’s tried-and-true Bishop from \u003cem>Aliens\u003c/em>.) The scenes wherein Fassbender engages himself in an existential rap session (and attempted seduction!) are surreal and campy and the freshest part of the movie. When David hands Walter a wind instrument to put in his mouth and says, “I’ll handle the fingering,” the snickering in the theatre will likely drown out the androids’ duet: It’s the title theme from \u003cem>Prometheus\u003c/em>, a weirdly meta… touch.\u003c/p>\n\u003cp>It’s also a clue that viewers of a certain stripe (hi!) will once again find it more fulfilling to mine this thing for subtext than to take anything Scott shows us at facehugging value. Though he certainly works himself into a lather trying to make \u003cem>Covenant’s\u003c/em> third act feel like the first two, universally beloved \u003cem>Alien\u003c/em> flicks, his emphasis on Fassbender represents a dramatic course-change for the series. The first trio of films presented unchecked intergalactic capitalism as a villain as vicious and amoral as any slime-dripping beast. The Weyland-Yutani Corporation was willing to bear whatever loss of life was necessary to obtain and patent xeno specimens. Scott’s latter-day chapters aren’t concerned with economic justice. Their Big Bad isn’t a corporation, but an individual, one endowed by his creator with free will and impatient with the weakness of the puny humans to whom he must feign subservience. “No one understands the lonely perfection of my dreams,” David murmurs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ridley Scott knows the feeling.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost 40 years ago, \u003cem>Alien\u003c/em> was a B-movie with A+ production values and performances, and \u003ca href=\"http://www.npr.org/sections/monkeysee/2014/05/13/312139053/thanks-to-h-r-giger-for-all-the-sleepless-nights\" target=\"_blank\" rel=\"noopener\">the scariest monster the movies ever gave us\u003c/a>. The new \u003cem>Alien: Covenant\u003c/em> is a shamelessly high-minded, Byron-and-Shelley-quoting existential inquiry into the origin of three species and the nature of belief that goes slumming in genre territory just enough to get itself greenlit.\u003c/p>\n\u003cp>Guess which one is going to last? My money’s on the one that already has.\u003c/p>\n\u003cp>At least \u003cem>Covenant\u003c/em> is an artistic upgrade to \u003cem>Prometheus\u003c/em>, the \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/06/08/154572020/hello-again-my-gooey-friends-on-loving-alien-and-seeing-prometheus\" target=\"_blank\" rel=\"noopener\">frustrating 2012 preamble\u003c/a> to which it is a direct sequel. In that film, septuagenarian director Ridley Scott returned to the \u003cem>Alien\u003c/em>-iverse he created and then left to others. Specifically, others who’ve had careers as celebrated and far more consistent than his own: James Cameron, David Fincher, Jean-Pierre Jeunet. Their follow-ups varied in quality and ambition (and yes, \u003cem>Aliens\u003c/em> is \u003ca href=\"http://www.npr.org/2016/07/18/486507610/aliens-turns-30-celebrating-the-iconic-sci-fi-sequel\" target=\"_blank\" rel=\"noopener\">a masterpiece in its own right\u003c/a>), but none addressed where their nightmare beasts came from, or who the long-dead, inhuman “space jockey” seen briefly in \u003cem>Alien\u003c/em> was. To Scott, this apparently amounted to artistic negligence. Because after 35 years away from the chest-bursting game, the thrice-Oscar-nominated director of the wretched \u003cem>Silence of the Lambs\u003c/em> sequel \u003cem>Hannibal\u003c/em>, among too many other films, opted to answer these questions… in the most ponderous, deflating way possible.\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/svnAD0TApb8'\n title='//www.youtube.com/embed/svnAD0TApb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Prometheus\u003c/em> left enough of us — and \u003ca href=\"https://chrisklimek.com/2012/10/18/making-of-documentary-the-furious-gods-reveals-the-people-who-actually-made-prometheus-had-no-idea-wtf-either/\" target=\"_blank\" rel=\"noopener\">some members of its own creative team\u003c/a> — confounded that Sir Ridley has been forced to make a few concessions this time: Putting the word \u003cem>Alien\u003c/em> in the movie’s name, using the opening title cards from his 1979 landmark, and reprising elements of Jerry Goldsmith’s haunting \u003cem>Alien\u003c/em> score. These remedies all come from the latter-day “legacyquel” playbook that helped the likes of \u003cem>Jurassic World\u003c/em> and \u003cem>Creed\u003c/em> and \u003cem>Mad Max: Fury Road\u003c/em> and \u003cem>Star Wars: The Force Awakens\u003c/em> give their long-running franchises a second or third generation of fans. For \u003cem>Covenant\u003c/em>‘s CGI-slathered, perfunctory-feeling all-action finale, Scott even revives the classic H.R. Giger-designed “xenomorph” incarnation of the species, despite having publicly opined for years that too much acid-blood had been wrung from that particular stone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As in \u003cem>Prometheus\u003c/em>, a religious subtext is introduced and then immediately abandoned. The mostly doomed space travelers this time around are 22nd-century pilgrims, ferrying a couple of thousand or so hibernating humans (and unborn human embryos) to their new lives on the off-world colonies. (The distance between these movies and \u003cem>Blade Runner\u003c/em>, Scott’s other landmark sci-fi movie, grows narrower still.) After an exciting series of in-flight catastrophes, the Starship Covenant’s shaky new captain (a superb Billy Crudup) redirects the ship to a previously undetected planet—one suspiciously suitable for human habitation. Katherine Waterston steps into Sigourney Weaver’s sweaty old flight-suit to challenge this decision. She does an admirable job as the movie’s surrogate Ripley, the skeptical problem-solver who is clearly smarter and more reliable than the dude (always a dude) above her in the chain of command. Comedian Danny McBride plays Tennessee, a pilot whose enthusiasm for 20th century country music becomes one of \u003cem>Covenant\u003c/em>‘s weirder plot points. There are a lot of other crew members, but they don’t make an impression the way the crew of the Nostromo or the squad of Marines aboard the Sulaco did. (I did not have to look up the names of these spacecraft, people.)\u003c/p>\n\u003cp>But even more than \u003cem>Prometheus\u003c/em> did, \u003cem>Covenant\u003c/em> belongs to Michael Fassbender. As David — the megalomaniacal, \u003cem>Lawrence of Arabia\u003c/em>-loving android whose betrayal of his human creators is the sustained chord between these two 21st century \u003cem>Alien\u003c/em> flicks — he is the only character in whom Scott seems truly interested. Fassbender occupies two roles in \u003cem>Covenant\u003c/em>, the unbound David and also Walter, a later-model synthetic who is outwardly identical, but with hardwired inhibitions on his behavior and thinking. (David evokes Ash, the devious Ian Holm android from \u003cem>Alien\u003c/em>, while Walter represents Lance Henriksen’s tried-and-true Bishop from \u003cem>Aliens\u003c/em>.) The scenes wherein Fassbender engages himself in an existential rap session (and attempted seduction!) are surreal and campy and the freshest part of the movie. When David hands Walter a wind instrument to put in his mouth and says, “I’ll handle the fingering,” the snickering in the theatre will likely drown out the androids’ duet: It’s the title theme from \u003cem>Prometheus\u003c/em>, a weirdly meta… touch.\u003c/p>\n\u003cp>It’s also a clue that viewers of a certain stripe (hi!) will once again find it more fulfilling to mine this thing for subtext than to take anything Scott shows us at facehugging value. Though he certainly works himself into a lather trying to make \u003cem>Covenant’s\u003c/em> third act feel like the first two, universally beloved \u003cem>Alien\u003c/em> flicks, his emphasis on Fassbender represents a dramatic course-change for the series. The first trio of films presented unchecked intergalactic capitalism as a villain as vicious and amoral as any slime-dripping beast. The Weyland-Yutani Corporation was willing to bear whatever loss of life was necessary to obtain and patent xeno specimens. Scott’s latter-day chapters aren’t concerned with economic justice. Their Big Bad isn’t a corporation, but an individual, one endowed by his creator with free will and impatient with the weakness of the puny humans to whom he must feign subservience. “No one understands the lonely perfection of my dreams,” David murmurs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ridley Scott knows the feeling.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Asian Americans in Hollywood Still Waiting for the Spotlight",
"headTitle": "Asian Americans in Hollywood Still Waiting for the Spotlight | KQED",
"content": "\u003cp>Ask some actors about their dream role, and they’re likely to offer range of answers: a character from Shakespeare, a superhero, the lead in \u003cem>Phantom of the Opera\u003c/em>. As for Daniel Dae Kim, a Korean-American actor who’s had roles in \u003cem>Lost\u003c/em>, \u003cem>Crash\u003c/em>, and most recently \u003cem>Hawaii Five-0\u003c/em>, his dream is to play a romantic lead. \u003cem>Any\u003c/em> romantic lead.\u003c/p>\n\u003cp>But Dae Kim said that there’s a reluctance on the part of many studio heads to cast Asian-American actors in romantic roles. He said he has asked people in every level of the film industry for data to show that casting white actors is more profitable, and they can’t provide any. “It’s just this institutionalized thinking,” he said. “[They] have it in their minds that it cannot be that way.”\u003c/p>\n\u003cp>Dae Kim joined Arden Cho, Sang H. Cho, and John C. Yang on Wednesday night for a panel discussion hosted by \u003ca href=\"http://www.mnetamerica.com/\">Mnet America\u003c/a> and the \u003ca href=\"https://capac-chu.house.gov/\" target=\"_blank\" rel=\"noopener\">Congressional Asian Pacific American Caucus\u003c/a> on Asian Americans in entertainment. The discussion was led by Traci G. Lee, the digital editorial manager for NBC Asian America. She asked the group about the challenges and opportunities that come with being Asian American in Hollywood today, and how those obstacles connect to broader dynamics that impact Asian Americans.\u003c/p>\n\u003cp>The panelists touched on familiar frustrations — lack of representation and mentoring; whitewashing of Asian characters; ossified power structures. Arden Cho, of \u003cem>Teen Wolf\u003c/em> and YouTube fame, talked about how limited opportunities for Asian American actors affect self-perception.\u003c/p>\n\u003cfigure id=\"attachment_13257119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-800x600.jpg\" alt=\"Actors and industry experts sat down for a panel discussion on Asian Americans in entertainment on Wednesday, May 17 at the U.S. Capitol Visitor Center.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13257119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors and industry experts sat down for a panel discussion on Asian Americans in entertainment on Wednesday, May 17 at the U.S. Capitol Visitor Center. \u003ccite>(Leah Donnella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I can remember one of the first times I saw an Asian American on TV,” Cho said. It was Whitney, a minor character in the 2000 movie \u003cem>Bring It On\u003c/em>. Still, the moment was meaningful for Cho. “I was like, oh my God. I could be a cheerleader.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Cho said that the landscape for Asian-American actors hasn’t changed that much in the past 17 years. She gets frustrated by being repeatedly asked to read for secondary characters but never for the leads. She said she asks her agent, “Can I read for A? And he goes, ‘No. They’re gonna go white on the lead.'”\u003c/p>\n\u003cp>Cho is looking forward to the day that changes — she said her dream is to play James Bond. “I want to be badass,” she said. “I want to be the one that’s saving the day. I want to be the hero.” In the meantime, she said, she’ll continue to make her own opportunities on platforms like YouTube.\u003c/p>\n\u003cp>Dae Kim, who is currently producing his own show, \u003cem>The Good Doctor\u003c/em>, was also excited about carving out space for a more diverse group of actors and stories. He started working on \u003cem>\u003ca href=\"http://www.imdb.com/title/tt6470478/\" target=\"_blank\" rel=\"noopener\">The Good Doctor\u003c/a>\u003c/em>, he said, because Asian Americans “were waiting for a space that never came.” Now that he’s producing his own material, Dae Kim said he can “create worlds from the ground up. How I envision them. How I would populate them.” But, he said, that also means the shape of the obstacles he faces has changed. He said that when you’re a young actor, “you see systemic racism as being out there in the ether.” These days, he said, he’s looking at it face to face when he works directly with people to produce, write and cast the work he’s involved with.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dae Kim added that despite the obstacles, he thinks Asian-American actors need to be prepared to blow casting directors away. “We like to talk about the ways in which we’re overlooked,” Dae Kim said. “Our responsibility is to be good at what we do… It’s important for us not to ask for charity.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Asian+Americans+In+Hollywood+Still+Waiting+For+The+Spotlight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask some actors about their dream role, and they’re likely to offer range of answers: a character from Shakespeare, a superhero, the lead in \u003cem>Phantom of the Opera\u003c/em>. As for Daniel Dae Kim, a Korean-American actor who’s had roles in \u003cem>Lost\u003c/em>, \u003cem>Crash\u003c/em>, and most recently \u003cem>Hawaii Five-0\u003c/em>, his dream is to play a romantic lead. \u003cem>Any\u003c/em> romantic lead.\u003c/p>\n\u003cp>But Dae Kim said that there’s a reluctance on the part of many studio heads to cast Asian-American actors in romantic roles. He said he has asked people in every level of the film industry for data to show that casting white actors is more profitable, and they can’t provide any. “It’s just this institutionalized thinking,” he said. “[They] have it in their minds that it cannot be that way.”\u003c/p>\n\u003cp>Dae Kim joined Arden Cho, Sang H. Cho, and John C. Yang on Wednesday night for a panel discussion hosted by \u003ca href=\"http://www.mnetamerica.com/\">Mnet America\u003c/a> and the \u003ca href=\"https://capac-chu.house.gov/\" target=\"_blank\" rel=\"noopener\">Congressional Asian Pacific American Caucus\u003c/a> on Asian Americans in entertainment. The discussion was led by Traci G. Lee, the digital editorial manager for NBC Asian America. She asked the group about the challenges and opportunities that come with being Asian American in Hollywood today, and how those obstacles connect to broader dynamics that impact Asian Americans.\u003c/p>\n\u003cp>The panelists touched on familiar frustrations — lack of representation and mentoring; whitewashing of Asian characters; ossified power structures. Arden Cho, of \u003cem>Teen Wolf\u003c/em> and YouTube fame, talked about how limited opportunities for Asian American actors affect self-perception.\u003c/p>\n\u003cfigure id=\"attachment_13257119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-800x600.jpg\" alt=\"Actors and industry experts sat down for a panel discussion on Asian Americans in entertainment on Wednesday, May 17 at the U.S. Capitol Visitor Center.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13257119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/daekim-76c85fbf70e33b88e734a0fd3ccbf3bec122cb32-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors and industry experts sat down for a panel discussion on Asian Americans in entertainment on Wednesday, May 17 at the U.S. Capitol Visitor Center. \u003ccite>(Leah Donnella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I can remember one of the first times I saw an Asian American on TV,” Cho said. It was Whitney, a minor character in the 2000 movie \u003cem>Bring It On\u003c/em>. Still, the moment was meaningful for Cho. “I was like, oh my God. I could be a cheerleader.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Cho said that the landscape for Asian-American actors hasn’t changed that much in the past 17 years. She gets frustrated by being repeatedly asked to read for secondary characters but never for the leads. She said she asks her agent, “Can I read for A? And he goes, ‘No. They’re gonna go white on the lead.'”\u003c/p>\n\u003cp>Cho is looking forward to the day that changes — she said her dream is to play James Bond. “I want to be badass,” she said. “I want to be the one that’s saving the day. I want to be the hero.” In the meantime, she said, she’ll continue to make her own opportunities on platforms like YouTube.\u003c/p>\n\u003cp>Dae Kim, who is currently producing his own show, \u003cem>The Good Doctor\u003c/em>, was also excited about carving out space for a more diverse group of actors and stories. He started working on \u003cem>\u003ca href=\"http://www.imdb.com/title/tt6470478/\" target=\"_blank\" rel=\"noopener\">The Good Doctor\u003c/a>\u003c/em>, he said, because Asian Americans “were waiting for a space that never came.” Now that he’s producing his own material, Dae Kim said he can “create worlds from the ground up. How I envision them. How I would populate them.” But, he said, that also means the shape of the obstacles he faces has changed. He said that when you’re a young actor, “you see systemic racism as being out there in the ether.” These days, he said, he’s looking at it face to face when he works directly with people to produce, write and cast the work he’s involved with.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dae Kim added that despite the obstacles, he thinks Asian-American actors need to be prepared to blow casting directors away. “We like to talk about the ways in which we’re overlooked,” Dae Kim said. “Our responsibility is to be good at what we do… It’s important for us not to ask for charity.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Asian+Americans+In+Hollywood+Still+Waiting+For+The+Spotlight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Can You Copyright Your Dumb Joke? And How Can You Prove It's Yours?",
"headTitle": "Can You Copyright Your Dumb Joke? And How Can You Prove It’s Yours? | KQED",
"content": "\u003cp>“Joke theft” sounds funny.\u003c/p>\n\u003cp>Unless you’re a comedy writer and you see a late-night TV host telling a joke you wrote. Five times.\u003c/p>\n\u003cp>That’s what the writer Alex Kaseberg says happened to him in late 2014 and early 2015, a charge disputed by Conan O’Brien and his lawyers.\u003c/p>\n\u003cp>Kaseberg is a comedy writer who has written over a thousand jokes used by Jay Leno over the last 20 years, according to \u003ca href=\"https://www.documentcloud.org/documents/3720894-Conan-Order-512.html\" target=\"_blank\" rel=\"noopener\">court documents\u003c/a>. On his blog, Kaseberg regularly writes \u003ca href=\"http://thordoggie.blogspot.com/2017/05/the-bad-fallkuuune-rides-again-for-only.html\" target=\"_blank\" rel=\"noopener\">posts with a dozen or more jokes\u003c/a> — topical humor styled in two-beat form used by late-night hosts in their monologues.\u003c/p>\n\u003cp>At the heart of the lawsuit are five not-amazing jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Dec. 2, 2014, Kaseberg posted this to his blog: “The University of Alabama-Birmingham is shutting down its football program. To which the Oakland Raiders said; ‘Wait, so you can do that?'”\u003c/p>\n\u003cp>In his monologue on \u003cem>Conan\u003c/em> the following day, O’Brien said, “Big news in sports. University of Alabama-Birmingham has decided to discontinue its football team. Yeah. When they heard the news, New York Jets fans said, ‘Wait can you do that? It’s something you can do?’ ”\u003c/p>\n\u003cp>A month later, in January 2015, a similar thing happened. Kaseberg posted a joke about passengers on a Delta flight fighting over the armrest; a few hours later, O’Brien delivered a very similar joke on his show. Kaseberg tweeted a couple days later at Mike Sweeney, the head writer for \u003cem>Conan\u003c/em>, saying he was “95% sure” that he had a joke from his blog used on the show: “I’m not upset, [but] would like the opportunity to contribute jokes.”\u003c/p>\n\u003cp>The next month, Kaseberg saw O’Brien deliver two jokes very similar to ones he had posted on his site.\u003c/p>\n\u003cp>Kaseberg then said he reached Sweeney on the phone, where they had what Kaseberg \u003ca href=\"http://thordoggie.blogspot.com/2015/02/0-0-1-24-108-little-bit-bad-productions.html\" target=\"_blank\" rel=\"noopener\">called\u003c/a> an “agonizing” conversation, in which Sweeney “angrily and loudly denied those were my jokes. He was furious that I was accusing them of stealing jokes, but most of all he was incensed that I would suggest his writers would have anything to do with my pathetic blog and [its] author, me, a no-name failure.”\u003c/p>\n\u003cp>In June 2015, Kaseberg and O’Brien made very similar jokes about Caitlyn Jenner; a month later, Kaseberg filed a lawsuit against O’Brien, his writers, executive producer, production company, TBS and Time Warner.\u003c/p>\n\u003cp>Which brings us to last week, when a U.S. District Judge Janis L. Sammartino \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/television/conan-obrien-joke-theft-allegations.html?_r=0\" target=\"_blank\" rel=\"noopener\">ruled\u003c/a> that the case will head to court. And that means close scrutiny of late-night monologues — which aren’t really designed for close scrutiny.\u003c/p>\n\u003cp>\u003cstrong>How many ways can you write a joke?\u003c/strong>\u003c/p>\n\u003cp>Kaseberg’s case is an interesting one: not only because the judge evaluated the originality of a “shrinkage” joke about the Washington Monument, but because lawsuits of its kind are rare.\u003c/p>\n\u003cp>“The most surprising thing to me about this lawsuit is that it was filed in the first place,” says \u003ca href=\"http://law.case.edu/Our-School/Faculty-Staff/Meet-Our-Faculty/Faculty-Detail/id/1032\" target=\"_blank\" rel=\"noopener\">Aaron Perzanowski\u003c/a>, a professor on intellectual property law at Case Western Reserve University. “When you’re talking about accusations of infringement dealing with fairly low-dollar-value creative work, we don’t see a lot of litigation.”\u003c/p>\n\u003cp>Judge Sammartino threw out the jokes about UAB football and the Delta flight (finding in the latter case that one of O’Brien’s writers had already pitched a similar joke before the one on the blog appeared). That left Kaseberg with the Tom Brady Joke, the Washington Monument Joke, and the Jenner Joke, as the judge labels them.\u003c/p>\n\u003cp>The jokes written by Kaseberg and O’Brien’s staff, the judge ruled, are “sufficiently objectively virtually identical” in those three instances. To win, Kaseberg’s lawyers will need to show that the defendants “willfully infringed Plaintiff’s copyrights.”\u003c/p>\n\u003cp>So how much copyright protection do jokes get?\u003c/p>\n\u003cp>In this case, the judge ruled that the jokes get a “thin” protection. That’s because, the judge writes, the copyrighted work (Kaseberg’s jokes) “is composed largely of ‘unprotectable’ elements. … [S]imilarities derived from the use of common ideas cannot be protected; otherwise, the first to come up with an idea will corner the market.”\u003c/p>\n\u003cp>Let’s take a look at the Jenner Joke.\u003c/p>\n\u003cp>This was Kaseberg’s: “Three towns, two in Texas, one in Tennessee, have streets named after Bruce Jenner and now they have to consider changing them to Caitlyn. And one will have to change from a Cul-De-Sac to a Cul-De-Sackless.”\u003c/p>\n\u003cp>And O’Brien’s: “Some cities that have streets named after Bruce Jenner are trying to change the streets’ names to Caitlyn Jenner. If you live on Bruce Jenner cul-de-sac it will now be cul-de-no-sack.”\u003c/p>\n\u003cp>Very similar? Yes. Kind of a groaner? Also yes.\u003c/p>\n\u003cp>But just because two things are similar doesn’t mean that one is a copy of the other.\u003c/p>\n\u003cp>“If you put a copy of the day’s newspaper in a room with 100 different comedy writers, you’re going to see lots of the same jokes where lots of people are circling the same formulation and often the same punchline independently,” says Perzanowski, the law professor. “That doesn’t mean they’re copying from each other. But people do have a tendency, when they see those similarities, to attribute that to copying rather than independent creation.”\u003c/p>\n\u003cp>“There’s a finite number of formulations of that Caitlyn Jenner cul-de-sac joke,” he adds. “You can tell it three or four different ways but they’re not very different from each other.\u003c/p>\n\u003cp>\u003cstrong>Is a lawsuit the best way to resolve joke theft?\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>In its way, this line from the judge’s opinion is much funnier than any of the jokes Conan delivered: “the common threads between all of the jokes are merely the ideas that (1) the Washington Monument looks like a phallus and (2) the Monument may therefore respond to cold weather by shrinking.”\u003c/p>\n\u003cp>But the cognitive dissonance of a district court judge writing in legalese about this dumb joke evinces a not-dumb point: Maybe judges aren’t the best judges of humor, or courts the best place to resolve ethics of comedy.\u003c/p>\n\u003cp>In 2008, law professors Dotan Oliar and Christopher Sprigman \u003ca href=\"http://www.law.virginia.edu/pdf/faculty/hein/sprigman/94va_l_rev1787_2008.pdf\" target=\"_blank\" rel=\"noopener\">published a paper\u003c/a> that explored the norms comics had established to protect their intellectual property: their jokes.\u003c/p>\n\u003cp>In stand-up comedy, they write, “social norms substitute for intellectual property law. These norms track copyright law at times: for example, the major norm at work is one against publicly performing another stand-up’s joke or bit. More often than not, however, the norms deviate from copyright law’s defaults: for example, whereas copyright protects expression but not ideas, comedians’ norms protect expression as well as ideas.”\u003c/p>\n\u003cp>And those norms aren’t “merely hortatory,” they write. “They are enforced with sanctions that start with simple badmouthing and may escalate from refusals to work with an offending comedian up to threats of, and even actual, physical violence.”\u003c/p>\n\u003cp>But even that system doesn’t keep everyone in line. Many extremely successful comedians are \u003ca href=\"http://mentalfloss.com/article/24305/not-so-funny-look-6-comedians-accused-plagiarism\" target=\"_blank\" rel=\"noopener\">regularly accused of stealing jokes\u003c/a>. Bob Hope \u003ca href=\"http://www.tcm.com/this-month/article/345437%7C0/Always-Leave-Them-Laughing.html\">used to joke\u003c/a> that Milton Berle “never heard a joke he didn’t steal.” And according to \u003ca href=\"https://web.archive.org/web/20070217031356/http:/www.radaronline.com/from-the-magazine/2007/02/take_the_funny_and_run_1.php\" target=\"_blank\" rel=\"noopener\">a 2007 story\u003c/a> in \u003cem>Radar\u003c/em>, comics at the Hollywood Improv in the ’80s would use a light to signal the presence of Robin Williams, “comedy’s most notorious joke rustler”; the comics would wrap up their sets quickly fearing that Williams would make off with their material.\u003c/p>\n\u003cp>Even if the informal system doesn’t nab every thief, it does offer one distinct advantage: a jury of one’s peers.\u003c/p>\n\u003cp>“In the particular instance of standup comedy, courts do not have a great wealth of prior case law or precedent to draw on,” says Perzanowski.\u003c/p>\n\u003cp>“That’s one reason that I think these informal systems tend to have an advantage over the formal judicial process,” he says. “Because no one is in a better position to understand what makes a joke funny, what makes a joke original, what makes a joke commonplace, than a group of comedy writers themselves.”\u003c/p>\n\u003cp>And O’Brien isn’t laughing about being called a joke-stealer. “Accusing a comedian of stealing a joke is the worst thing you can accuse them of, in my opinion, short of murder,” he said in a deposition. “I think it’s absolutely terrible.”\u003c/p>\n\u003cp>“I take it really seriously,” \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/conan-obrien-demands-halt-lawsuit-accusing-him-stealing-five-jokes-972357\" target=\"_blank\" rel=\"noopener\">he said\u003c/a>. “So the notion of stealing someone else’s comedy makes me physically ill.”\u003c/p>\n\u003cp>\u003cem>Kaseberg v. Conaco\u003c/em> may be in court because it doesn’t spring from the world of standup comedy, but from the deeper pockets of television comedy. Kaseberg isn’t suing some small-time comic; he’s suing TBS and Time Warner.\u003c/p>\n\u003cp>And that brings us to this question:\u003c/p>\n\u003cp>\u003cstrong>Can you really copyright a dumb joke?\u003c/strong>\u003c/p>\n\u003cp>“The question really focuses on originality, and there is no freestanding barrier to copyright extending to a joke on any topic … so long as that joke meets the fairly minimal requirements for originality,” says Perzanowski. “That means it has to demonstrate some low level of creativity and importantly that it not be copied from some other source.”\u003c/p>\n\u003cp>“Copyright will give you protection for this specific arrangement of words,” he says, but not for a whole subject matter.\u003c/p>\n\u003cp>When it comes to topical comedy, he says, the question is whether one can separate an idea (which can’t be copyrighted) from its expression (which can).\u003c/p>\n\u003cp>Judge Sammartino agrees. “[T]here is little doubt that the jokes at issue merit copyright protection,” she writes, citing the relevant case law, “noting originality requires only independent creation of a work that ‘possess[es] some creative spark, “no matter how crude, humble or obvious” it might be.'”\u003c/p>\n\u003cp>However, she adds, the jokes here “are similarly constrained by their subject matter and the conventions of the two-line, setup-and-delivery paradigm.”\u003c/p>\n\u003cp>The result is that for O’Brien’s jokes to infringe on Kaseberg’s copyright, they must be “virtually identical,” one step below verbatim.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbsnews.com/news/conan-obrien-heading-to-trial-over-joke-theft/\" target=\"_blank\" rel=\"noopener\">CBS reports\u003c/a> that unless there’s an out-of-court settlement, the case will go to trial in August. The case may indeed hinge on questions like how many ways there are to make a cul-de-sac joke. Because, as Sammarino notes, a joke’s originality is constrained by its format.\u003c/p>\n\u003cp>“Each joke begins with a factual sentence and then immediately concludes with another sentence providing humorous commentary on the preceding facts,” she writes. “Facts, of course, are not protected by copyright.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Those us who tell dumb jokes may hope that the case doesn’t go to court. After all, many of us are kept in line just by being told our jokes aren’t that funny — no copyright protection needed. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Can+You+Copyright+Your+Dumb+Joke%3F+And+How+Can+You+Prove+It%27s+Yours%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\"Joke theft\" sounds funny, but that claim is at the heart of a lawsuit lodged against Conan O'Brien. The case brings thorny questions of humor to the courtroom, a place not always known for jokes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Joke theft” sounds funny.\u003c/p>\n\u003cp>Unless you’re a comedy writer and you see a late-night TV host telling a joke you wrote. Five times.\u003c/p>\n\u003cp>That’s what the writer Alex Kaseberg says happened to him in late 2014 and early 2015, a charge disputed by Conan O’Brien and his lawyers.\u003c/p>\n\u003cp>Kaseberg is a comedy writer who has written over a thousand jokes used by Jay Leno over the last 20 years, according to \u003ca href=\"https://www.documentcloud.org/documents/3720894-Conan-Order-512.html\" target=\"_blank\" rel=\"noopener\">court documents\u003c/a>. On his blog, Kaseberg regularly writes \u003ca href=\"http://thordoggie.blogspot.com/2017/05/the-bad-fallkuuune-rides-again-for-only.html\" target=\"_blank\" rel=\"noopener\">posts with a dozen or more jokes\u003c/a> — topical humor styled in two-beat form used by late-night hosts in their monologues.\u003c/p>\n\u003cp>At the heart of the lawsuit are five not-amazing jokes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Dec. 2, 2014, Kaseberg posted this to his blog: “The University of Alabama-Birmingham is shutting down its football program. To which the Oakland Raiders said; ‘Wait, so you can do that?'”\u003c/p>\n\u003cp>In his monologue on \u003cem>Conan\u003c/em> the following day, O’Brien said, “Big news in sports. University of Alabama-Birmingham has decided to discontinue its football team. Yeah. When they heard the news, New York Jets fans said, ‘Wait can you do that? It’s something you can do?’ ”\u003c/p>\n\u003cp>A month later, in January 2015, a similar thing happened. Kaseberg posted a joke about passengers on a Delta flight fighting over the armrest; a few hours later, O’Brien delivered a very similar joke on his show. Kaseberg tweeted a couple days later at Mike Sweeney, the head writer for \u003cem>Conan\u003c/em>, saying he was “95% sure” that he had a joke from his blog used on the show: “I’m not upset, [but] would like the opportunity to contribute jokes.”\u003c/p>\n\u003cp>The next month, Kaseberg saw O’Brien deliver two jokes very similar to ones he had posted on his site.\u003c/p>\n\u003cp>Kaseberg then said he reached Sweeney on the phone, where they had what Kaseberg \u003ca href=\"http://thordoggie.blogspot.com/2015/02/0-0-1-24-108-little-bit-bad-productions.html\" target=\"_blank\" rel=\"noopener\">called\u003c/a> an “agonizing” conversation, in which Sweeney “angrily and loudly denied those were my jokes. He was furious that I was accusing them of stealing jokes, but most of all he was incensed that I would suggest his writers would have anything to do with my pathetic blog and [its] author, me, a no-name failure.”\u003c/p>\n\u003cp>In June 2015, Kaseberg and O’Brien made very similar jokes about Caitlyn Jenner; a month later, Kaseberg filed a lawsuit against O’Brien, his writers, executive producer, production company, TBS and Time Warner.\u003c/p>\n\u003cp>Which brings us to last week, when a U.S. District Judge Janis L. Sammartino \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/television/conan-obrien-joke-theft-allegations.html?_r=0\" target=\"_blank\" rel=\"noopener\">ruled\u003c/a> that the case will head to court. And that means close scrutiny of late-night monologues — which aren’t really designed for close scrutiny.\u003c/p>\n\u003cp>\u003cstrong>How many ways can you write a joke?\u003c/strong>\u003c/p>\n\u003cp>Kaseberg’s case is an interesting one: not only because the judge evaluated the originality of a “shrinkage” joke about the Washington Monument, but because lawsuits of its kind are rare.\u003c/p>\n\u003cp>“The most surprising thing to me about this lawsuit is that it was filed in the first place,” says \u003ca href=\"http://law.case.edu/Our-School/Faculty-Staff/Meet-Our-Faculty/Faculty-Detail/id/1032\" target=\"_blank\" rel=\"noopener\">Aaron Perzanowski\u003c/a>, a professor on intellectual property law at Case Western Reserve University. “When you’re talking about accusations of infringement dealing with fairly low-dollar-value creative work, we don’t see a lot of litigation.”\u003c/p>\n\u003cp>Judge Sammartino threw out the jokes about UAB football and the Delta flight (finding in the latter case that one of O’Brien’s writers had already pitched a similar joke before the one on the blog appeared). That left Kaseberg with the Tom Brady Joke, the Washington Monument Joke, and the Jenner Joke, as the judge labels them.\u003c/p>\n\u003cp>The jokes written by Kaseberg and O’Brien’s staff, the judge ruled, are “sufficiently objectively virtually identical” in those three instances. To win, Kaseberg’s lawyers will need to show that the defendants “willfully infringed Plaintiff’s copyrights.”\u003c/p>\n\u003cp>So how much copyright protection do jokes get?\u003c/p>\n\u003cp>In this case, the judge ruled that the jokes get a “thin” protection. That’s because, the judge writes, the copyrighted work (Kaseberg’s jokes) “is composed largely of ‘unprotectable’ elements. … [S]imilarities derived from the use of common ideas cannot be protected; otherwise, the first to come up with an idea will corner the market.”\u003c/p>\n\u003cp>Let’s take a look at the Jenner Joke.\u003c/p>\n\u003cp>This was Kaseberg’s: “Three towns, two in Texas, one in Tennessee, have streets named after Bruce Jenner and now they have to consider changing them to Caitlyn. And one will have to change from a Cul-De-Sac to a Cul-De-Sackless.”\u003c/p>\n\u003cp>And O’Brien’s: “Some cities that have streets named after Bruce Jenner are trying to change the streets’ names to Caitlyn Jenner. If you live on Bruce Jenner cul-de-sac it will now be cul-de-no-sack.”\u003c/p>\n\u003cp>Very similar? Yes. Kind of a groaner? Also yes.\u003c/p>\n\u003cp>But just because two things are similar doesn’t mean that one is a copy of the other.\u003c/p>\n\u003cp>“If you put a copy of the day’s newspaper in a room with 100 different comedy writers, you’re going to see lots of the same jokes where lots of people are circling the same formulation and often the same punchline independently,” says Perzanowski, the law professor. “That doesn’t mean they’re copying from each other. But people do have a tendency, when they see those similarities, to attribute that to copying rather than independent creation.”\u003c/p>\n\u003cp>“There’s a finite number of formulations of that Caitlyn Jenner cul-de-sac joke,” he adds. “You can tell it three or four different ways but they’re not very different from each other.\u003c/p>\n\u003cp>\u003cstrong>Is a lawsuit the best way to resolve joke theft?\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>In its way, this line from the judge’s opinion is much funnier than any of the jokes Conan delivered: “the common threads between all of the jokes are merely the ideas that (1) the Washington Monument looks like a phallus and (2) the Monument may therefore respond to cold weather by shrinking.”\u003c/p>\n\u003cp>But the cognitive dissonance of a district court judge writing in legalese about this dumb joke evinces a not-dumb point: Maybe judges aren’t the best judges of humor, or courts the best place to resolve ethics of comedy.\u003c/p>\n\u003cp>In 2008, law professors Dotan Oliar and Christopher Sprigman \u003ca href=\"http://www.law.virginia.edu/pdf/faculty/hein/sprigman/94va_l_rev1787_2008.pdf\" target=\"_blank\" rel=\"noopener\">published a paper\u003c/a> that explored the norms comics had established to protect their intellectual property: their jokes.\u003c/p>\n\u003cp>In stand-up comedy, they write, “social norms substitute for intellectual property law. These norms track copyright law at times: for example, the major norm at work is one against publicly performing another stand-up’s joke or bit. More often than not, however, the norms deviate from copyright law’s defaults: for example, whereas copyright protects expression but not ideas, comedians’ norms protect expression as well as ideas.”\u003c/p>\n\u003cp>And those norms aren’t “merely hortatory,” they write. “They are enforced with sanctions that start with simple badmouthing and may escalate from refusals to work with an offending comedian up to threats of, and even actual, physical violence.”\u003c/p>\n\u003cp>But even that system doesn’t keep everyone in line. Many extremely successful comedians are \u003ca href=\"http://mentalfloss.com/article/24305/not-so-funny-look-6-comedians-accused-plagiarism\" target=\"_blank\" rel=\"noopener\">regularly accused of stealing jokes\u003c/a>. Bob Hope \u003ca href=\"http://www.tcm.com/this-month/article/345437%7C0/Always-Leave-Them-Laughing.html\">used to joke\u003c/a> that Milton Berle “never heard a joke he didn’t steal.” And according to \u003ca href=\"https://web.archive.org/web/20070217031356/http:/www.radaronline.com/from-the-magazine/2007/02/take_the_funny_and_run_1.php\" target=\"_blank\" rel=\"noopener\">a 2007 story\u003c/a> in \u003cem>Radar\u003c/em>, comics at the Hollywood Improv in the ’80s would use a light to signal the presence of Robin Williams, “comedy’s most notorious joke rustler”; the comics would wrap up their sets quickly fearing that Williams would make off with their material.\u003c/p>\n\u003cp>Even if the informal system doesn’t nab every thief, it does offer one distinct advantage: a jury of one’s peers.\u003c/p>\n\u003cp>“In the particular instance of standup comedy, courts do not have a great wealth of prior case law or precedent to draw on,” says Perzanowski.\u003c/p>\n\u003cp>“That’s one reason that I think these informal systems tend to have an advantage over the formal judicial process,” he says. “Because no one is in a better position to understand what makes a joke funny, what makes a joke original, what makes a joke commonplace, than a group of comedy writers themselves.”\u003c/p>\n\u003cp>And O’Brien isn’t laughing about being called a joke-stealer. “Accusing a comedian of stealing a joke is the worst thing you can accuse them of, in my opinion, short of murder,” he said in a deposition. “I think it’s absolutely terrible.”\u003c/p>\n\u003cp>“I take it really seriously,” \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/conan-obrien-demands-halt-lawsuit-accusing-him-stealing-five-jokes-972357\" target=\"_blank\" rel=\"noopener\">he said\u003c/a>. “So the notion of stealing someone else’s comedy makes me physically ill.”\u003c/p>\n\u003cp>\u003cem>Kaseberg v. Conaco\u003c/em> may be in court because it doesn’t spring from the world of standup comedy, but from the deeper pockets of television comedy. Kaseberg isn’t suing some small-time comic; he’s suing TBS and Time Warner.\u003c/p>\n\u003cp>And that brings us to this question:\u003c/p>\n\u003cp>\u003cstrong>Can you really copyright a dumb joke?\u003c/strong>\u003c/p>\n\u003cp>“The question really focuses on originality, and there is no freestanding barrier to copyright extending to a joke on any topic … so long as that joke meets the fairly minimal requirements for originality,” says Perzanowski. “That means it has to demonstrate some low level of creativity and importantly that it not be copied from some other source.”\u003c/p>\n\u003cp>“Copyright will give you protection for this specific arrangement of words,” he says, but not for a whole subject matter.\u003c/p>\n\u003cp>When it comes to topical comedy, he says, the question is whether one can separate an idea (which can’t be copyrighted) from its expression (which can).\u003c/p>\n\u003cp>Judge Sammartino agrees. “[T]here is little doubt that the jokes at issue merit copyright protection,” she writes, citing the relevant case law, “noting originality requires only independent creation of a work that ‘possess[es] some creative spark, “no matter how crude, humble or obvious” it might be.'”\u003c/p>\n\u003cp>However, she adds, the jokes here “are similarly constrained by their subject matter and the conventions of the two-line, setup-and-delivery paradigm.”\u003c/p>\n\u003cp>The result is that for O’Brien’s jokes to infringe on Kaseberg’s copyright, they must be “virtually identical,” one step below verbatim.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbsnews.com/news/conan-obrien-heading-to-trial-over-joke-theft/\" target=\"_blank\" rel=\"noopener\">CBS reports\u003c/a> that unless there’s an out-of-court settlement, the case will go to trial in August. The case may indeed hinge on questions like how many ways there are to make a cul-de-sac joke. Because, as Sammarino notes, a joke’s originality is constrained by its format.\u003c/p>\n\u003cp>“Each joke begins with a factual sentence and then immediately concludes with another sentence providing humorous commentary on the preceding facts,” she writes. “Facts, of course, are not protected by copyright.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those us who tell dumb jokes may hope that the case doesn’t go to court. After all, many of us are kept in line just by being told our jokes aren’t that funny — no copyright protection needed. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Can+You+Copyright+Your+Dumb+Joke%3F+And+How+Can+You+Prove+It%27s+Yours%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Powers Boothe, Who Appeared In 'Deadwood' And 'Sin City,' Dies At 68",
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"content": "\u003cp>Powers Boothe, a character actor who worked on television and in the movies, died Sunday in Los Angeles.\u003c/p>\n\u003cp>A representative tells news agencies that Boothe died of natural causes at his home. He was 68.\u003c/p>\n\u003cp>According to The \u003ca href=\"http://www.hollywoodreporter.com/news/powers-boothe-dead-agents-shield-sin-city-actor-was-68-1003667\">Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boothe gained a reputation for playing villains with memorable roles in the action film\u003cem> Sudden Death\u003c/em> (1995), Bill Paxton’s \u003cem>Frailty\u003c/em> (2001) and the nefarious Senator Roark in \u003cem>Sin City\u003c/em> (2005). Perhaps his most famous villain role was Cy Tolliver, the ruthless saloon owner on HBO’s \u003cem>Deadwood. \u003c/em>\u003c/p>\n\u003cp>“More recently, Boothe took on the role of Gideon Malick as part of the Marvel Cinematic Universe, debuting the role in 2012’s \u003cem>The Avengers\u003c/em> and reprising it on ABC’s\u003cem> Agents of S.H.I.E.L.D.\u003c/em>\u003c/p>\n\u003cp>“He portrayed Alexander Haig in \u003cem>Nixon \u003c/em>(1995) and a sheriff in another Oliver Stone film, \u003cem>U Turn (\u003c/em>1997), and was unforgettable as the wicked gunman Curly Bill Brocius in \u003cem>Tombstone \u003c/em>(1993).\u003c/p>\n\u003cp>“He also played Connie Britton’s father, the industrialist and former mayor Lamar Wyatt, on \u003cem>Nashville\u003c/em> and portrayed Noah Daniels, the vice president and then the U.S. president, on \u003cem>24.”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>In 1980, Boothe gained national attention playing cult leader Jim Jones in the CBS-TV movie \u003cem>Guyana Tragedy: The Story of Jim Jones\u003c/em>.\u003c/p>\n\u003cp>He won an Emmy Award for that performance — beating out veteran actors Henry Fonda and Jason Robards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Actor Beau Bridges \u003ca href=\"https://twitter.com/MrBeauBridges/status/863871266914054144\" target=\"_blank\" rel=\"noopener\">tweeted the news of Boothe’s death\u003c/a> and called him “a dear friend, great actor, devoted father & husband.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Powers+Boothe%2C+Who+Appeared+In+%27Deadwood%27+And+%27Sin+City%2C%27+Dies+At+68&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The character actor was known for his roles as a villain in TV's \u003cem>Deadwood\u003c/em> and in the movies \u003cem>Tombstone\u003c/em>, \u003cem>Sin City\u003c/em> and \u003cem>The Avengers\u003c/em>. Boothe died of natural causes at his home in Los Angeles on Sunday.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Powers Boothe, a character actor who worked on television and in the movies, died Sunday in Los Angeles.\u003c/p>\n\u003cp>A representative tells news agencies that Boothe died of natural causes at his home. He was 68.\u003c/p>\n\u003cp>According to The \u003ca href=\"http://www.hollywoodreporter.com/news/powers-boothe-dead-agents-shield-sin-city-actor-was-68-1003667\">Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boothe gained a reputation for playing villains with memorable roles in the action film\u003cem> Sudden Death\u003c/em> (1995), Bill Paxton’s \u003cem>Frailty\u003c/em> (2001) and the nefarious Senator Roark in \u003cem>Sin City\u003c/em> (2005). Perhaps his most famous villain role was Cy Tolliver, the ruthless saloon owner on HBO’s \u003cem>Deadwood. \u003c/em>\u003c/p>\n\u003cp>“More recently, Boothe took on the role of Gideon Malick as part of the Marvel Cinematic Universe, debuting the role in 2012’s \u003cem>The Avengers\u003c/em> and reprising it on ABC’s\u003cem> Agents of S.H.I.E.L.D.\u003c/em>\u003c/p>\n\u003cp>“He portrayed Alexander Haig in \u003cem>Nixon \u003c/em>(1995) and a sheriff in another Oliver Stone film, \u003cem>U Turn (\u003c/em>1997), and was unforgettable as the wicked gunman Curly Bill Brocius in \u003cem>Tombstone \u003c/em>(1993).\u003c/p>\n\u003cp>“He also played Connie Britton’s father, the industrialist and former mayor Lamar Wyatt, on \u003cem>Nashville\u003c/em> and portrayed Noah Daniels, the vice president and then the U.S. president, on \u003cem>24.”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>In 1980, Boothe gained national attention playing cult leader Jim Jones in the CBS-TV movie \u003cem>Guyana Tragedy: The Story of Jim Jones\u003c/em>.\u003c/p>\n\u003cp>He won an Emmy Award for that performance — beating out veteran actors Henry Fonda and Jason Robards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Chicano Art Wields a Sharper Political Edge in Post-Election California",
"headTitle": "Chicano Art Wields a Sharper Political Edge in Post-Election California | KQED",
"content": "\u003cp>Chicano art never really went out of style in California; it was born during the political foment of the 1960s and ’70s, and it’s bubbled along since then for decades. Now there’s a new wave of the genre, one that’s taken on a fiercer political edge since November.\u003c/p>\n\u003cp>In LA, for example, there’s a group show opening called “\u003ca href=\"https://www.facebook.com/events/748067212035880/\" target=\"_blank\" rel=\"noopener noreferrer\">Art As Resistance: Paintings in Protest to a Trump Presidency\u003c/a>.” It’s the brainchild of Eric Almanza, a figurative painter and high school art teacher. Almanza’s contribution to the show is the latest in a series of oil paintings he’s produced depicting the border wall with Mexico. It shows the wall on fire and graffitied with the words “f – – – your wall” next to a curious symbol: a circular dream catcher with a triangle in the center that looks a bit like the “\u003ca href=\"http://zelda.wikia.com/wiki/Triforce\" target=\"_blank\" rel=\"noopener noreferrer\">Triforce\u003c/a>” from the Japanese video game series \u003cem>Legend of Zelda\u003c/em>. “Because every great resistance needs some kind of logo,” Almanza says. He calls the painting \u003ca href=\"https://www.facebook.com/photo.php?fbid=1121686684603636&set=a.133265930112388.21540.100002869441629&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">With This Fire, a Rebellion Will Rise\u003c/a>.\u003c/p>\n\u003cp>Almanza is one of a growing number of Chicano artists responding to Trump administration efforts to peel back civil rights enforcement and crack down on illegal immigration, with a heavy emphasis on Latino immigration. “About four years ago, I started working on this narrative of this post-apocalyptic, 21st century society,” Almanza says. “I always imagined it would take place 50 years from now, but it almost seems like time has fast-forwarded.”\u003c/p>\n\u003cp>Chicano art has tackled political topics from the beginning, starting with the grape boycott of the 1960s and ’70s and the Vietnam War. “It is an art that was made alongside of a movement for civil rights,” says Judith Baca, a visual artist and Chicano studies professor at UCLA. “So some of the most powerful images came about … farm-working conditions in the Central Valley in California; artworks that spoke about inner-city struggle with the police; artworks that articulated stories and histories that had been forgotten and not spoken about, or taught in the schools.”\u003c/p>\n\u003cfigure id=\"attachment_13235761\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235761\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1920x2967.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1180x1824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-960x1484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-520x804.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Cervantes’ organization, Dignidad Rebelde, designs protest posters with messages like “Divest from prisons!” and “Domestic workers deserve rights and respect!” \u003ccite>(Courtesy of Melanie Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That art came in the form of oil paintings and sculpture, but also music, theater and agitprop posters for use at protest marches — posters that are also enjoying a renaissance of sorts. At any number of protests around the world, you’ll see people carrying posters designed or distributed by \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>, the Oakland graphic arts collective Melanie Cervantes runs with her partner. “We have to have it everywhere,” Cervantes says, “and we need more people doing it, because that is its power.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dignidad Rebelde follows in a long line of Chicano graphic art collectives that also teach people how to do it themselves. When Cervantes gets invited to teach screen printing workshops at universities and community centers around the country, she makes a point of mixing in Chicano history and art history with her discussion of technique.\u003c/p>\n\u003cp>“Sometimes it’s just connecting the dots a little bit better for folks to see that our struggles have many fronts,” she says.\u003c/p>\n\u003cp>For Judith Baca, Almanza and Cervantes’ work marks a welcome return to the political roots of Chicano art after decades of trying to win recognition from art critics and museums.\u003c/p>\n\u003cp>“Chicano is about resistance and affirmation of a culture,” she says. “And I think it’s giving many young artists purpose again and a kind of focus for their work.”\u003c/p>\n\u003cp>Old and new Chicano artwork is being shown at museums and galleries across California this year, but the biggest exhibition of all will be “\u003ca href=\"http://www.getty.edu/pacificstandardtime/\" target=\"_blank\" rel=\"noopener noreferrer\">Pacific Standard Time: LA/LA\u003c/a>,” a massive, multi-institution blowout organized by the Getty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Artists are responding to Trump administration efforts to peel back civil rights enforcement and crack down on illegal immigration. One scholar says it marks a return to the roots of Chicano art.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chicano art never really went out of style in California; it was born during the political foment of the 1960s and ’70s, and it’s bubbled along since then for decades. Now there’s a new wave of the genre, one that’s taken on a fiercer political edge since November.\u003c/p>\n\u003cp>In LA, for example, there’s a group show opening called “\u003ca href=\"https://www.facebook.com/events/748067212035880/\" target=\"_blank\" rel=\"noopener noreferrer\">Art As Resistance: Paintings in Protest to a Trump Presidency\u003c/a>.” It’s the brainchild of Eric Almanza, a figurative painter and high school art teacher. Almanza’s contribution to the show is the latest in a series of oil paintings he’s produced depicting the border wall with Mexico. It shows the wall on fire and graffitied with the words “f – – – your wall” next to a curious symbol: a circular dream catcher with a triangle in the center that looks a bit like the “\u003ca href=\"http://zelda.wikia.com/wiki/Triforce\" target=\"_blank\" rel=\"noopener noreferrer\">Triforce\u003c/a>” from the Japanese video game series \u003cem>Legend of Zelda\u003c/em>. “Because every great resistance needs some kind of logo,” Almanza says. He calls the painting \u003ca href=\"https://www.facebook.com/photo.php?fbid=1121686684603636&set=a.133265930112388.21540.100002869441629&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">With This Fire, a Rebellion Will Rise\u003c/a>.\u003c/p>\n\u003cp>Almanza is one of a growing number of Chicano artists responding to Trump administration efforts to peel back civil rights enforcement and crack down on illegal immigration, with a heavy emphasis on Latino immigration. “About four years ago, I started working on this narrative of this post-apocalyptic, 21st century society,” Almanza says. “I always imagined it would take place 50 years from now, but it almost seems like time has fast-forwarded.”\u003c/p>\n\u003cp>Chicano art has tackled political topics from the beginning, starting with the grape boycott of the 1960s and ’70s and the Vietnam War. “It is an art that was made alongside of a movement for civil rights,” says Judith Baca, a visual artist and Chicano studies professor at UCLA. “So some of the most powerful images came about … farm-working conditions in the Central Valley in California; artworks that spoke about inner-city struggle with the police; artworks that articulated stories and histories that had been forgotten and not spoken about, or taught in the schools.”\u003c/p>\n\u003cfigure id=\"attachment_13235761\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235761\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1920x2967.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1180x1824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-960x1484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-520x804.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Cervantes’ organization, Dignidad Rebelde, designs protest posters with messages like “Divest from prisons!” and “Domestic workers deserve rights and respect!” \u003ccite>(Courtesy of Melanie Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That art came in the form of oil paintings and sculpture, but also music, theater and agitprop posters for use at protest marches — posters that are also enjoying a renaissance of sorts. At any number of protests around the world, you’ll see people carrying posters designed or distributed by \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>, the Oakland graphic arts collective Melanie Cervantes runs with her partner. “We have to have it everywhere,” Cervantes says, “and we need more people doing it, because that is its power.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dignidad Rebelde follows in a long line of Chicano graphic art collectives that also teach people how to do it themselves. When Cervantes gets invited to teach screen printing workshops at universities and community centers around the country, she makes a point of mixing in Chicano history and art history with her discussion of technique.\u003c/p>\n\u003cp>“Sometimes it’s just connecting the dots a little bit better for folks to see that our struggles have many fronts,” she says.\u003c/p>\n\u003cp>For Judith Baca, Almanza and Cervantes’ work marks a welcome return to the political roots of Chicano art after decades of trying to win recognition from art critics and museums.\u003c/p>\n\u003cp>“Chicano is about resistance and affirmation of a culture,” she says. “And I think it’s giving many young artists purpose again and a kind of focus for their work.”\u003c/p>\n\u003cp>Old and new Chicano artwork is being shown at museums and galleries across California this year, but the biggest exhibition of all will be “\u003ca href=\"http://www.getty.edu/pacificstandardtime/\" target=\"_blank\" rel=\"noopener noreferrer\">Pacific Standard Time: LA/LA\u003c/a>,” a massive, multi-institution blowout organized by the Getty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'King Arthur: Legend Of The Sword': An Edgy Script, Dulled By CGI",
"headTitle": "‘King Arthur: Legend Of The Sword’: An Edgy Script, Dulled By CGI | KQED",
"content": "\u003cp>After a millennium of mystical and/or pious Arthurian lore, someone — could it have been Guy Ritchie? — determined that the once and future king needed the Guy Ritchie treatment. But then someone — could it have been the selfsame Ritchie? — concluded that snarky attitude wasn’t enough. And so we have \u003cem>King Arthur: Legend of The Sword\u003c/em> an intermittently amusing mashup of frisky medieval-gangsta flick and ponderous sub-Tolkien war saga.\u003c/p>\n\u003cp>In the movie’s livelier moments, Arthur (\u003cem>The Lost City of Z\u003c/em>‘s Charlie Hunnam) is a thief in a Londonium that’s the spiritual precursor of the London of Ritchie’s \u003cem>Lock, Stock, and Two Smoking Barrels\u003c/em>. Swaggering, charismatic Arthur was raised in a brothel, and represses his memories of the parents who died when he was young. He now leads a group of merry, Cockney-accented men through an urban equivalent of Sherwood Forest.\u003c/p>\n\u003cp>https://youtu.be/jIM4-HLtUM0\u003c/p>\n\u003cp>If Arthur is something of a beefcake Oliver Twist, his muddy hometown is even shabbier than Dickens’ London. And yet this Britain is cosmopolitan enough to have lured Arthur’s kung fu instructor (Tom Wu) from China and one of his future associates (Djimon Hounsou) from Africa. Also making a cameo, via cinematic time machine, is global football star David Beckham.\u003c/p>\n\u003cp>Playfully cross-cut and maniacally chatty, the Londinium sequences employ a jaunty percussive score and lots of Godard-via-Tarantino tricks. There’s reverse motion and julienned dialogue, as well as freedom-fighting: Arthur is not simply a lovable rogue, but also a defender of women and a leader of the resistance against the black-clad London SS dispatched by King Vortigern (Jude Law, who was Watson in two Ritchie pillagings of the Sherlock Holmes canon).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vortigern, a late addition to Arthurian fable, is here depicted as part Hitler, part Lear, and part Herod — plus a big dollop of every fairy-tale ruler foolish enough to call on occult powers to aid in usurping and keeping a throne. Law has some melodramatic fun with the role, but not enough.\u003c/p>\n\u003cp>\u003cem>King Arthur\u003c/em> might have been as successful — which is to say, moderately — as the director’s Sherlock romps if only the demons, mages, and hawks the size of SUVs had been kept in the background. But Ritchie (who co-scripted with Joby Harold and Lionel Wigram) opens the tale in full sword-and-sorcery mode, with an assault on Camelot led by bad wizard Mordred. While that’s happening, Vortigern is down in the basement, murdering Uther (Eric Bana), the true king and Arthur’s dad.\u003c/p>\n\u003cp>This dreary prologue is a bid for fans of \u003cem>The Lord of the Rings\u003c/em>, Harry Potter, and all that, but its CGI-crowded action barely rises to the level of \u003cem>The Great Wall.\u003c/em> When little Arthur escapes the carnage, floating impossibly down the Thames to Londonium, he’s in a better place — and a better movie.\u003c/p>\n\u003cp>Perhaps the worst possible outcome would be for a no-named ethereal sorceress (Franco-Spanish actress Astrid Berges-Frisbey) to persuade our scruffy hero to return to the magic kingdom. That is, of course, what happens. The filmmakers (who include executive producer Steve Mnuchin, now treasury secretary of Mordor) are apparently convinced of viewers’ insatiable appetite for massive yet weightless supernatural monsters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While making a hash of a national legend, Ritchie is at least enough of a patriot to have filmed \u003cem>King Arthur\u003c/em> entirely in the U.K. Yet he insists on having the king of the Britons refer to his country as “England.” The pseudo-historical Arthur, who supposedly protected his people from the Angles and Saxons, would have Excalibur-ed him for that one.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a millennium of mystical and/or pious Arthurian lore, someone — could it have been Guy Ritchie? — determined that the once and future king needed the Guy Ritchie treatment. But then someone — could it have been the selfsame Ritchie? — concluded that snarky attitude wasn’t enough. And so we have \u003cem>King Arthur: Legend of The Sword\u003c/em> an intermittently amusing mashup of frisky medieval-gangsta flick and ponderous sub-Tolkien war saga.\u003c/p>\n\u003cp>In the movie’s livelier moments, Arthur (\u003cem>The Lost City of Z\u003c/em>‘s Charlie Hunnam) is a thief in a Londonium that’s the spiritual precursor of the London of Ritchie’s \u003cem>Lock, Stock, and Two Smoking Barrels\u003c/em>. Swaggering, charismatic Arthur was raised in a brothel, and represses his memories of the parents who died when he was young. He now leads a group of merry, Cockney-accented men through an urban equivalent of Sherwood Forest.\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/jIM4-HLtUM0'\n title='//www.youtube.com/embed/jIM4-HLtUM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If Arthur is something of a beefcake Oliver Twist, his muddy hometown is even shabbier than Dickens’ London. And yet this Britain is cosmopolitan enough to have lured Arthur’s kung fu instructor (Tom Wu) from China and one of his future associates (Djimon Hounsou) from Africa. Also making a cameo, via cinematic time machine, is global football star David Beckham.\u003c/p>\n\u003cp>Playfully cross-cut and maniacally chatty, the Londinium sequences employ a jaunty percussive score and lots of Godard-via-Tarantino tricks. There’s reverse motion and julienned dialogue, as well as freedom-fighting: Arthur is not simply a lovable rogue, but also a defender of women and a leader of the resistance against the black-clad London SS dispatched by King Vortigern (Jude Law, who was Watson in two Ritchie pillagings of the Sherlock Holmes canon).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vortigern, a late addition to Arthurian fable, is here depicted as part Hitler, part Lear, and part Herod — plus a big dollop of every fairy-tale ruler foolish enough to call on occult powers to aid in usurping and keeping a throne. Law has some melodramatic fun with the role, but not enough.\u003c/p>\n\u003cp>\u003cem>King Arthur\u003c/em> might have been as successful — which is to say, moderately — as the director’s Sherlock romps if only the demons, mages, and hawks the size of SUVs had been kept in the background. But Ritchie (who co-scripted with Joby Harold and Lionel Wigram) opens the tale in full sword-and-sorcery mode, with an assault on Camelot led by bad wizard Mordred. While that’s happening, Vortigern is down in the basement, murdering Uther (Eric Bana), the true king and Arthur’s dad.\u003c/p>\n\u003cp>This dreary prologue is a bid for fans of \u003cem>The Lord of the Rings\u003c/em>, Harry Potter, and all that, but its CGI-crowded action barely rises to the level of \u003cem>The Great Wall.\u003c/em> When little Arthur escapes the carnage, floating impossibly down the Thames to Londonium, he’s in a better place — and a better movie.\u003c/p>\n\u003cp>Perhaps the worst possible outcome would be for a no-named ethereal sorceress (Franco-Spanish actress Astrid Berges-Frisbey) to persuade our scruffy hero to return to the magic kingdom. That is, of course, what happens. The filmmakers (who include executive producer Steve Mnuchin, now treasury secretary of Mordor) are apparently convinced of viewers’ insatiable appetite for massive yet weightless supernatural monsters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While making a hash of a national legend, Ritchie is at least enough of a patriot to have filmed \u003cem>King Arthur\u003c/em> entirely in the U.K. Yet he insists on having the king of the Britons refer to his country as “England.” The pseudo-historical Arthur, who supposedly protected his people from the Angles and Saxons, would have Excalibur-ed him for that one.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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