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Eartha, “big as a boulder and softer than the moss that grew on it,” lives in Echo Fjord, a bucolic land and whose citizens harvest dreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>2. Said dreams belong to the residents of a faraway city.\u003c/p>\n\u003cp>3. The dreams that grow out of the ground are detained, and a thick paste called shadow applied to them, to keep them from floating away.\u003c/p>\n\u003cp>4. The dreams’ minders touch the dreams to provide “a boost of energy to ignite them back into themselves.”\u003c/p>\n\u003cp>5. The dreams then scamper through Echo Fjord toward a doorway, giving off brilliant rays of light out of the top of their heads.\u003c/p>\n\u003cp>6. As they pass through the doorway, they dissolve, having achieved their purpose.\u003c/p>\n\u003cfigure id=\"attachment_13037935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-800x656.jpg\" alt=\"In Cathy Malkasian's 'Eartha,' the title character first enters The City.\" width=\"800\" height=\"656\" class=\"size-medium wp-image-13037935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-800x656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-768x630.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-960x787.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-520x426.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f.jpg 1016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Cathy Malkasian’s ‘Eartha,’ the title character first enters The City. \u003ccite>(Fantagraphics Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s … a lot to take in, granted, but Malkasian is so careful and considered in rendering the array of dreams (the sad, the joyous, the horny and the hateful) that we don’t notice how much narrative work she’s doing.\u003c/p>\n\u003cp>In the pages that follow, Eartha will depart her homeland to make her way to the nameless city, where she — and we — will meet the men and women who sent those dreams to her people across the vast sea. Unguessed-at connections among them will come to light; insights gained in those opening pages will aid Eartha in her quest (as will a talking cat, an intoxicating plum tree, and an old woman who knows more than she’s letting on).\u003c/p>\n\u003cp>Such steel-trap plotting is something new from Malkasian, whose previous graphic novels have felt free to abandon familiar storytelling structure to double-down on some surreal image or theme. She’s consistently shown an eagerness to walk the line between fabulist fiction and social satire, and Eartha is no different: the city’s residents are addicted to biscuits printed with headlines of lurid tragedy (“Sinister Dandruff Muzzle Hen! Septic Jackass Gambles Naked! Prominent Orgy Provokes Rabies!”), and are ruled by thuggish, Mussolini-like figures who encourage the populace to embrace dull-eyed cynicism and performative despair.\u003c/p>\n\u003cp>Eartha will win the day, of course, because she maintains the ability to feel, and dream, and her sense of fairness will protect her from the city’s corrupt politicians and its emotionally bankrupt fascination with the ugliness of life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eartha is an extended dream with a fixed moral compass, a story about the central and transformative power of believing in humanity, even when — \u003cem>especially\u003c/em> when — it lets you down. \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=Long-Buried+Secrets%2C+Scampering+Dreams+And+A+Cat+That+Talks%3A+%27Eartha%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cfigure id=\"attachment_13037936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-800x677.jpg\" alt=\"Eartha comes across the Biscuit Tower, in Cathy Malkasian's 'Eartha.'\" width=\"800\" height=\"677\" class=\"size-medium wp-image-13037936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-960x812.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-240x203.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-375x317.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-520x440.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb.jpg 1065w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eartha comes across the Biscuit Tower, in Cathy Malkasian’s ‘Eartha.’ \u003ccite>(Fantagraphic Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cathy Malkasian creates fantastic worlds out of her proprietary blend of melancholy and dream-logic, and peoples them with characters who are all too dully, achingly human. Her landscapes and cityscapes, rendered in gorgeous colored pencils, can seem as chilly and remote as her facial expressions seem warm and intimate.\u003c/p>\n\u003cp>In graphic novels like \u003cem>Temperance\u003c/em>, about the lies that the citizens of a walled-off city tell themselves, and in her two \u003cem>Percy Gloom\u003c/em> books, a gentle absurdism asserts itself so quietly that story elements like talking goats and heads that glow come off like prosaic details.\u003c/p>\n\u003cp>That’s important, because without a sense of assured, implacable groundedness, Malkasian’s narratives could easily feel labored, built as they are on such baroque, involuted infrastructure.\u003c/p>\n\u003cp>To wit: the opening pages of \u003cem>Eartha\u003c/em>, Malkasian’s latest, ask the reader to unpack a series of high-concept premises, any one of which could form the basis of its own book:\u003c/p>\n\u003cp>1. Eartha, “big as a boulder and softer than the moss that grew on it,” lives in Echo Fjord, a bucolic land and whose citizens harvest dreams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>2. Said dreams belong to the residents of a faraway city.\u003c/p>\n\u003cp>3. The dreams that grow out of the ground are detained, and a thick paste called shadow applied to them, to keep them from floating away.\u003c/p>\n\u003cp>4. The dreams’ minders touch the dreams to provide “a boost of energy to ignite them back into themselves.”\u003c/p>\n\u003cp>5. The dreams then scamper through Echo Fjord toward a doorway, giving off brilliant rays of light out of the top of their heads.\u003c/p>\n\u003cp>6. As they pass through the doorway, they dissolve, having achieved their purpose.\u003c/p>\n\u003cfigure id=\"attachment_13037935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-800x656.jpg\" alt=\"In Cathy Malkasian's 'Eartha,' the title character first enters The City.\" width=\"800\" height=\"656\" class=\"size-medium wp-image-13037935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-800x656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-768x630.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-960x787.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-240x197.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f-520x426.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_2_custom-6378fa846d63fec08323b3612cdedd8a97cc608f.jpg 1016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Cathy Malkasian’s ‘Eartha,’ the title character first enters The City. \u003ccite>(Fantagraphics Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s … a lot to take in, granted, but Malkasian is so careful and considered in rendering the array of dreams (the sad, the joyous, the horny and the hateful) that we don’t notice how much narrative work she’s doing.\u003c/p>\n\u003cp>In the pages that follow, Eartha will depart her homeland to make her way to the nameless city, where she — and we — will meet the men and women who sent those dreams to her people across the vast sea. Unguessed-at connections among them will come to light; insights gained in those opening pages will aid Eartha in her quest (as will a talking cat, an intoxicating plum tree, and an old woman who knows more than she’s letting on).\u003c/p>\n\u003cp>Such steel-trap plotting is something new from Malkasian, whose previous graphic novels have felt free to abandon familiar storytelling structure to double-down on some surreal image or theme. She’s consistently shown an eagerness to walk the line between fabulist fiction and social satire, and Eartha is no different: the city’s residents are addicted to biscuits printed with headlines of lurid tragedy (“Sinister Dandruff Muzzle Hen! Septic Jackass Gambles Naked! Prominent Orgy Provokes Rabies!”), and are ruled by thuggish, Mussolini-like figures who encourage the populace to embrace dull-eyed cynicism and performative despair.\u003c/p>\n\u003cp>Eartha will win the day, of course, because she maintains the ability to feel, and dream, and her sense of fairness will protect her from the city’s corrupt politicians and its emotionally bankrupt fascination with the ugliness of life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eartha is an extended dream with a fixed moral compass, a story about the central and transformative power of believing in humanity, even when — \u003cem>especially\u003c/em> when — it lets you down. \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=Long-Buried+Secrets%2C+Scampering+Dreams+And+A+Cat+That+Talks%3A+%27Eartha%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cfigure id=\"attachment_13037936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-800x677.jpg\" alt=\"Eartha comes across the Biscuit Tower, in Cathy Malkasian's 'Eartha.'\" width=\"800\" height=\"677\" class=\"size-medium wp-image-13037936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-960x812.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-240x203.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-375x317.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb-520x440.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/eartha_3_custom-1b22f2ce1fff398626d8f08f05847f8d7b3369fb.jpg 1065w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eartha comes across the Biscuit Tower, in Cathy Malkasian’s ‘Eartha.’ \u003ccite>(Fantagraphic Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "East Bay Times Wins Pulitzer for Reporting on Ghost Ship Fire",
"headTitle": "East Bay Times Wins Pulitzer for Reporting on Ghost Ship Fire | KQED",
"content": "\u003cblockquote>\n\u003cp>\u003cem>A massive fire at a Fruitvale district live work space has reportedly left an unconfirmed number of people dead died at an East Oakland work space, authorities said.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The fire apparently broke out about 11:30 p.m. in the 1300 block of 31st Avenue.\u003c/em>\u003c/p>\n\u003cp>\u003cem>No other information was immediately available.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Check back for updates.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>So began the\u003cem> \u003c/em>\u003ca href=\"http://extras.mercurynews.com/ghostship/dayone/#Fifth\" target=\"_blank\" rel=\"noopener\">\u003cem>East Bay Times\u003c/em>‘ coverage\u003c/a>, at 4:13 on the morning of Dec. 3, 2016 of a fire in Oakland. We would later learn the fire, which took place at a dense underground art space called “Ghost Ship,” had taken 36 lives. Today, the paper’s coverage of the disaster \u003ca href=\"http://www.pulitzer.org/winners/staff-27\" target=\"_blank\" rel=\"noopener\">won a Pulitzer Prize for Breaking News Reporting\u003c/a>.\u003c/p>\n\u003cp>For 19 hours and 27 minutes following that initial publication — at 53 words, including typos — the\u003cem> East Bay Times\u003c/em> expanded its story before ending the day with 1,388 hard-reported words. The first paragraph of the final version of the story reads:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Doomed partygoers trapped on the second floor of a crudely converted warehouse screamed, “Help us! Help us!” as one of the deadliest structure fires in Oakland’s history ripped through a tinderbox of makeshift living spaces and a labyrinth cluttered with art late Friday night, killing at least nine people and possibly dozens more.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>Its coverage that day and in those that followed, including first-person accounts of the fire and a memorial to the victims, helped generate conversations worldwide both about local officials’ culpability in Ghost Ship’s lack of safety precautions to the wider responsibility of do-it-yourself and underground art spaces to monitor themselves.\u003c/p>\n\u003cp>As the Pulitzer committee explained, \u003cem>The East Bay Times \u003c/em>won for its “relentless coverage of the ‘Ghost Ship’ fire, which killed 36 people at a warehouse party, and for reporting after the tragedy that exposed the city’s failure to take actions that might have prevented it.” \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=East+Bay+Times+Wins+Pulitzer+For+Reporting+On+Ghost+Ship+Fire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Coverage of the December fire that killed 36 people in an Oakland, Calif. warehouse and DIY venue during a dance party won the Pulitzer for Breaking News Reporting.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote>\n\u003cp>\u003cem>A massive fire at a Fruitvale district live work space has reportedly left an unconfirmed number of people dead died at an East Oakland work space, authorities said.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The fire apparently broke out about 11:30 p.m. in the 1300 block of 31st Avenue.\u003c/em>\u003c/p>\n\u003cp>\u003cem>No other information was immediately available.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Check back for updates.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>So began the\u003cem> \u003c/em>\u003ca href=\"http://extras.mercurynews.com/ghostship/dayone/#Fifth\" target=\"_blank\" rel=\"noopener\">\u003cem>East Bay Times\u003c/em>‘ coverage\u003c/a>, at 4:13 on the morning of Dec. 3, 2016 of a fire in Oakland. We would later learn the fire, which took place at a dense underground art space called “Ghost Ship,” had taken 36 lives. Today, the paper’s coverage of the disaster \u003ca href=\"http://www.pulitzer.org/winners/staff-27\" target=\"_blank\" rel=\"noopener\">won a Pulitzer Prize for Breaking News Reporting\u003c/a>.\u003c/p>\n\u003cp>For 19 hours and 27 minutes following that initial publication — at 53 words, including typos — the\u003cem> East Bay Times\u003c/em> expanded its story before ending the day with 1,388 hard-reported words. The first paragraph of the final version of the story reads:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Doomed partygoers trapped on the second floor of a crudely converted warehouse screamed, “Help us! Help us!” as one of the deadliest structure fires in Oakland’s history ripped through a tinderbox of makeshift living spaces and a labyrinth cluttered with art late Friday night, killing at least nine people and possibly dozens more.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>Its coverage that day and in those that followed, including first-person accounts of the fire and a memorial to the victims, helped generate conversations worldwide both about local officials’ culpability in Ghost Ship’s lack of safety precautions to the wider responsibility of do-it-yourself and underground art spaces to monitor themselves.\u003c/p>\n\u003cp>As the Pulitzer committee explained, \u003cem>The East Bay Times \u003c/em>won for its “relentless coverage of the ‘Ghost Ship’ fire, which killed 36 people at a warehouse party, and for reporting after the tragedy that exposed the city’s failure to take actions that might have prevented it.” \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=East+Bay+Times+Wins+Pulitzer+For+Reporting+On+Ghost+Ship+Fire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "John Clarke, Who Made Fake News Hilarious, is Mourned in Australia and New Zealand",
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"content": "\u003cp>His pitch-perfect parody of an Australian senator denying the impact of an oil spill once prompted a \u003ca href=\"http://www.snopes.com/photos/politics/frontfell.asp\">Snopes fact-check report\u003c/a>.\u003c/p>\n\u003cp>Satirist John Clarke, whose career spanned from 1970s sketch comedy to bitingly dry political humor, has died, leaving legions of fans in mourning. He was 68.\u003c/p>\n\u003cp>Clarke died from natural causes during a walk in the Victoria bushlands over the weekend, reports the \u003ca href=\"http://www.abc.net.au/news/2017-04-10/john-clarke-dies-aged-68/8430174\">Australian Broadcasting Corporation\u003c/a>, citing a statement from his family. Since then, tributes have poured in from around Australia and Clarke’s native New Zealand.\u003c/p>\n\u003cp>“We’ll wait a long time to find another John Clarke. In fact, we never will,” Australian Prime Minister Malcolm Turnbull \u003ca href=\"https://twitter.com/TurnbullMalcolm/status/851271204979621889\">said via Twitter\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/TurnbullMalcolm/status/851271204979621889\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clarke and his partner, Bryan Dawe, made up the \u003ca href=\"http://www.abc.net.au/news/2017-04-10/john-clarke-dies-aged-68/8430174\" target=\"_self\" rel=\"noopener\">Clarke and Dawe\u003c/a> spoof-interview team, which had a long run on the ABC. They performed their “The Front Fell Off” oil spill sketch back in 1991. When a video of it was circulated online more than 15 years later, the sketch perplexed and amused millions of people, prompting Snopes to clarify that the pair were parodying reaction to an actual oil spill by a Greek tanker — which had indeed \u003ca href=\"https://www.amsa.gov.au/environment/protecting-our-environment/major-historical-incidents/Kirki/index.asp\" target=\"_blank\" rel=\"noopener\">“lost its bow off the coast of Western Australia\u003c/a>,” as a government site notes.\u003c/p>\n\u003cp>In 2010, the pair took on BP’s U.S. oil spill \u003ca href=\"https://www.youtube.com/watch?v=ClvLp4vXJ5I\">for another sketch\u003c/a> in which Clarke’s character noted, “The first thing to do in an event like that is to underestimate the problem.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ClvLp4vXJ5I\u003c/p>\n\u003cp>Long before his turn as an Internet star, Clarke was a star in the comedy scenes in Australia and New Zealand. He wrote books and scripts; he recorded songs; he conjured up the sport of \u003ca href=\"http://mrjohnclarke.com/projects/farnarkeling\" target=\"_blank\" rel=\"noopener\">“farnarkeling”\u003c/a> and covered it doggedly.\u003c/p>\n\u003cp>From the ABC:\u003c/p>\n\u003cblockquote>\n\u003cp>“He came to attention in his native New Zealand in the 1970s when he created the iconic character, Fred Dagg, a country bloke dressed in a black singlet, shorts and gumboots.\u003c/p>\n\u003cp>“He co-wrote the multi-award winning mockumentary \u003ca href=\"https://www.youtube.com/watch?v=17NKos-7GCo\" target=\"_blank\" rel=\"noopener\">The Games\u003c/a>, about the Sydney Organizing Committee for the Olympic Games, which aired in 1999 and 2000.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The character of Fred Dagg remains beloved and admired. Upon learning of Clarke’s death, Jemaine Clement of the comedy duo The Conchords \u003ca href=\"https://twitter.com/AJemaineClement/status/851259029951205376\" target=\"_blank\" rel=\"noopener\">shared an early mockumentary segment\u003c/a> featuring Dagg and his “approximately half a dozen” sons — all of whom were named Trevor.\u003c/p>\n\u003cp>“So subtle and hilarious,” Clement wrote.\u003c/p>\n\u003cp>https://twitter.com/AJemaineClement/status/851259029951205376\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Actor and director Taika Waititi \u003ca href=\"https://twitter.com/TaikaWaititi/status/851244586596835328\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a>, “RIP John Clarke. Hugely influential to me and my mates, he was one of the fathers of NZ’s style of comedy. We all copied him at some point.” \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=John+Clarke%2C+Who+Made+Fake+News+Hilarious%2C+Is+Mourned+In+Australia+And+New+Zealand&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>His pitch-perfect parody of an Australian senator denying the impact of an oil spill once prompted a \u003ca href=\"http://www.snopes.com/photos/politics/frontfell.asp\">Snopes fact-check report\u003c/a>.\u003c/p>\n\u003cp>Satirist John Clarke, whose career spanned from 1970s sketch comedy to bitingly dry political humor, has died, leaving legions of fans in mourning. He was 68.\u003c/p>\n\u003cp>Clarke died from natural causes during a walk in the Victoria bushlands over the weekend, reports the \u003ca href=\"http://www.abc.net.au/news/2017-04-10/john-clarke-dies-aged-68/8430174\">Australian Broadcasting Corporation\u003c/a>, citing a statement from his family. Since then, tributes have poured in from around Australia and Clarke’s native New Zealand.\u003c/p>\n\u003cp>“We’ll wait a long time to find another John Clarke. In fact, we never will,” Australian Prime Minister Malcolm Turnbull \u003ca href=\"https://twitter.com/TurnbullMalcolm/status/851271204979621889\">said via Twitter\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clarke and his partner, Bryan Dawe, made up the \u003ca href=\"http://www.abc.net.au/news/2017-04-10/john-clarke-dies-aged-68/8430174\" target=\"_self\" rel=\"noopener\">Clarke and Dawe\u003c/a> spoof-interview team, which had a long run on the ABC. They performed their “The Front Fell Off” oil spill sketch back in 1991. When a video of it was circulated online more than 15 years later, the sketch perplexed and amused millions of people, prompting Snopes to clarify that the pair were parodying reaction to an actual oil spill by a Greek tanker — which had indeed \u003ca href=\"https://www.amsa.gov.au/environment/protecting-our-environment/major-historical-incidents/Kirki/index.asp\" target=\"_blank\" rel=\"noopener\">“lost its bow off the coast of Western Australia\u003c/a>,” as a government site notes.\u003c/p>\n\u003cp>In 2010, the pair took on BP’s U.S. oil spill \u003ca href=\"https://www.youtube.com/watch?v=ClvLp4vXJ5I\">for another sketch\u003c/a> in which Clarke’s character noted, “The first thing to do in an event like that is to underestimate the problem.”\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/ClvLp4vXJ5I'\n title='//www.youtube.com/embed/ClvLp4vXJ5I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Long before his turn as an Internet star, Clarke was a star in the comedy scenes in Australia and New Zealand. He wrote books and scripts; he recorded songs; he conjured up the sport of \u003ca href=\"http://mrjohnclarke.com/projects/farnarkeling\" target=\"_blank\" rel=\"noopener\">“farnarkeling”\u003c/a> and covered it doggedly.\u003c/p>\n\u003cp>From the ABC:\u003c/p>\n\u003cblockquote>\n\u003cp>“He came to attention in his native New Zealand in the 1970s when he created the iconic character, Fred Dagg, a country bloke dressed in a black singlet, shorts and gumboots.\u003c/p>\n\u003cp>“He co-wrote the multi-award winning mockumentary \u003ca href=\"https://www.youtube.com/watch?v=17NKos-7GCo\" target=\"_blank\" rel=\"noopener\">The Games\u003c/a>, about the Sydney Organizing Committee for the Olympic Games, which aired in 1999 and 2000.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The character of Fred Dagg remains beloved and admired. Upon learning of Clarke’s death, Jemaine Clement of the comedy duo The Conchords \u003ca href=\"https://twitter.com/AJemaineClement/status/851259029951205376\" target=\"_blank\" rel=\"noopener\">shared an early mockumentary segment\u003c/a> featuring Dagg and his “approximately half a dozen” sons — all of whom were named Trevor.\u003c/p>\n\u003cp>“So subtle and hilarious,” Clement wrote.\u003c/p>\u003c/p>\u003c/div>",
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"title": "The Nuyorican Poets Café, a Cauldron for Poetry and Politics",
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"content": "\u003cp>In the heart of an ever-gentrifying New York City neighborhood, the Nuyorican Poets Café was once called “the most integrated place on the planet” by none other than Beat poet Allen Ginsberg. Today it remains a wildly diverse venue still influenced by its mostly Puerto Rican founders who claimed it as a site of artistry and resistance in 1973.\u003c/p>\n\u003cp>Poet and founder Miguel Algarín and his artist friends just wanted a place to get together to create. By the 1990s, the Café was the epicenter of Slam Poetry in the country.\u003c/p>\n\u003cp>With its focus on spoken word, and slam poetry in particular (though it also hosts hip-hop, rap, and Latin jazz artists), the Café embodies the belief that anyone can take the stage and interpret one of the most accessible art forms. “The philosophy and purpose of the Nuyorican Poets Café has always been to reveal poetry as a living art,” Algarín wrote in the anthology \u003cem>Aloud: Voices from the Nuyorican Poets Café.\u003c/em>\u003c/p>\n\u003cp>That feeling remains.\u003c/p>\n\u003cp>On a recent Open Mic night, for example, audiences were treated to a raunchy stand-up set about girls with big body parts by a tall Haitian man, a convulsive spit session by a wiry New Zealander, a rap performance about coffee and water that elicited plenty of hollering, and a moving socially conscious piece called “Don’t Do That” that felt like a woke listicle come alive thanks to its thumping beats. “Let’s all do the best to not elect a reptile,” the performer intoned, “and don’t do any drugs made in the 80s.” It even called out the rampant homophobia that often greets provocative rap performers: “Don’t say no homo; we’re all gay as f*ck.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The crowds at the Café, through their loud clapping, peppery snaps, sarcastic hollers, and delighted screams during performances, creates one of the most welcoming spots in all of New York City. In the words of poet Portia Bartley, who was featured in a recent Poetry Slam night and who was a regular before moving to Los Angeles, the Café “speaks to the marginalized, to anyone who’s usually not granted a safe space to express themselves and speak on their experiences.”\u003c/p>\n\u003cfigure id=\"attachment_13020318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-800x600.png\" alt=\"The crowds at the Café, through their loud clapping, peppery snaps, sarcastic hollers, and delighted screams during performances, creates one of the most welcoming spots in all of New York City.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13020318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-240x180.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-375x281.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-520x390.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31.png 870w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowds at the Café, through their loud clapping, peppery snaps, sarcastic hollers, and delighted screams during performances, creates one of the most welcoming spots in all of New York City. \u003ccite>(Courtesy of Nuyorican Cafe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audience has also evolved and now includes not only first-generation Latinos, but African-Americans and Asian-Americans. Daniel Gallant, executive director since 2008, believes that’s exactly the venue’s mission. “What we’ve tried to do in my time at the Café is create as many opportunities as possible for artists who may not otherwise look at slam poetry or spoken word as an accessible art form,” he said. Those Open Mic spots, as well as multiple Poetry Slam Nights every week, are platforms to showcase budding artists to the eager young audience.\u003c/p>\n\u003cp>Among the favorite theme nights is the Wednesday Night Poetry Slam Open where poets are rated by three randomly selected judges before a rapt and raucous audience. Winners earn a spot on the headlining Friday Night Poetry Slam. The reward is part of an embedded teaching philosophy that encourages experimenting and redrafting. “We rather hear a noble failure than a polished success,” Gallant said. This echoes what Mahogany L. Browne, the poetry program curator at the Café, said via email about what makes the space such an invaluable resource.\u003c/p>\n\u003cp>“The reality is that art has been commodified for so long, it is a rarity that there is a space that cultivates community, invests in the act of the building the portfolio of writers/performers, and is a purveyor of the preservation of this constantly re-imagined art form.” While the Café sporadically stages theatrical events (most famously in 2015 with \u003cem>Carmen: A Drinking Opera\u003c/em>), the emphasis remains on the fleeting and the ephemeral.\u003c/p>\n\u003cp>Much of the work showcased at the Café exists at the intersection of art and activism. Given its proximity to the worlds and words of activism, slam poetry remains a hotbed for politically-charged voices. While the Café, a registered nonprofit, is prohibited from taking political stances, performers are not. Recent projects like Benjamin Benne’s queer piece \u003ca href=\"http://www.nuyorican.org/event/1459574-querencia-imagined-new-york/\">\u003cem>Querencia: An Imagined Autobiography about Forbidden Fruits\u003c/em>\u003c/a>\u003cem>, \u003c/em>upcoming PEN World Voices events including “\u003ca href=\"http://www.nuyorican.org/event/1450019-pen-world-voices-us-borders-new-york/\" target=\"_blank\" rel=\"noopener\">US Borders and the Central American Diaspora\u003c/a>,” as well as a summer workshop staging of Ishmael Reed’s new play, \u003ca href=\"http://www.nuyorican.org/event/1462483-ishmael-reed-s-life-among-new-york/\">\u003cem>Life Among the Aryans\u003c/em>\u003c/a>\u003cem>,\u003c/em> merely continue the cultural work that Algarín envisioned, work that speaks to complex cultural and political currents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If people want art that is easy to process, we politely encourage them to go elsewhere,” Gallant said. \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=The+Nuyorican+Poets+Caf%C3%A9%2C+A+Cauldron+for+Poetry+And+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "It embodies the belief that anyone can take the stage and interpret one of the most accessible art forms and \"reveal poetry as a living art.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the heart of an ever-gentrifying New York City neighborhood, the Nuyorican Poets Café was once called “the most integrated place on the planet” by none other than Beat poet Allen Ginsberg. Today it remains a wildly diverse venue still influenced by its mostly Puerto Rican founders who claimed it as a site of artistry and resistance in 1973.\u003c/p>\n\u003cp>Poet and founder Miguel Algarín and his artist friends just wanted a place to get together to create. By the 1990s, the Café was the epicenter of Slam Poetry in the country.\u003c/p>\n\u003cp>With its focus on spoken word, and slam poetry in particular (though it also hosts hip-hop, rap, and Latin jazz artists), the Café embodies the belief that anyone can take the stage and interpret one of the most accessible art forms. “The philosophy and purpose of the Nuyorican Poets Café has always been to reveal poetry as a living art,” Algarín wrote in the anthology \u003cem>Aloud: Voices from the Nuyorican Poets Café.\u003c/em>\u003c/p>\n\u003cp>That feeling remains.\u003c/p>\n\u003cp>On a recent Open Mic night, for example, audiences were treated to a raunchy stand-up set about girls with big body parts by a tall Haitian man, a convulsive spit session by a wiry New Zealander, a rap performance about coffee and water that elicited plenty of hollering, and a moving socially conscious piece called “Don’t Do That” that felt like a woke listicle come alive thanks to its thumping beats. “Let’s all do the best to not elect a reptile,” the performer intoned, “and don’t do any drugs made in the 80s.” It even called out the rampant homophobia that often greets provocative rap performers: “Don’t say no homo; we’re all gay as f*ck.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The crowds at the Café, through their loud clapping, peppery snaps, sarcastic hollers, and delighted screams during performances, creates one of the most welcoming spots in all of New York City. In the words of poet Portia Bartley, who was featured in a recent Poetry Slam night and who was a regular before moving to Los Angeles, the Café “speaks to the marginalized, to anyone who’s usually not granted a safe space to express themselves and speak on their experiences.”\u003c/p>\n\u003cfigure id=\"attachment_13020318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-800x600.png\" alt=\"The crowds at the Café, through their loud clapping, peppery snaps, sarcastic hollers, and delighted screams during performances, creates one of the most welcoming spots in all of New York City.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13020318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-240x180.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-375x281.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31-520x390.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/nuyo-3-66f42aa7f0c93f1d9500f11241974b97d453be31.png 870w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowds at the Café, through their loud clapping, peppery snaps, sarcastic hollers, and delighted screams during performances, creates one of the most welcoming spots in all of New York City. \u003ccite>(Courtesy of Nuyorican Cafe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audience has also evolved and now includes not only first-generation Latinos, but African-Americans and Asian-Americans. Daniel Gallant, executive director since 2008, believes that’s exactly the venue’s mission. “What we’ve tried to do in my time at the Café is create as many opportunities as possible for artists who may not otherwise look at slam poetry or spoken word as an accessible art form,” he said. Those Open Mic spots, as well as multiple Poetry Slam Nights every week, are platforms to showcase budding artists to the eager young audience.\u003c/p>\n\u003cp>Among the favorite theme nights is the Wednesday Night Poetry Slam Open where poets are rated by three randomly selected judges before a rapt and raucous audience. Winners earn a spot on the headlining Friday Night Poetry Slam. The reward is part of an embedded teaching philosophy that encourages experimenting and redrafting. “We rather hear a noble failure than a polished success,” Gallant said. This echoes what Mahogany L. Browne, the poetry program curator at the Café, said via email about what makes the space such an invaluable resource.\u003c/p>\n\u003cp>“The reality is that art has been commodified for so long, it is a rarity that there is a space that cultivates community, invests in the act of the building the portfolio of writers/performers, and is a purveyor of the preservation of this constantly re-imagined art form.” While the Café sporadically stages theatrical events (most famously in 2015 with \u003cem>Carmen: A Drinking Opera\u003c/em>), the emphasis remains on the fleeting and the ephemeral.\u003c/p>\n\u003cp>Much of the work showcased at the Café exists at the intersection of art and activism. Given its proximity to the worlds and words of activism, slam poetry remains a hotbed for politically-charged voices. While the Café, a registered nonprofit, is prohibited from taking political stances, performers are not. Recent projects like Benjamin Benne’s queer piece \u003ca href=\"http://www.nuyorican.org/event/1459574-querencia-imagined-new-york/\">\u003cem>Querencia: An Imagined Autobiography about Forbidden Fruits\u003c/em>\u003c/a>\u003cem>, \u003c/em>upcoming PEN World Voices events including “\u003ca href=\"http://www.nuyorican.org/event/1450019-pen-world-voices-us-borders-new-york/\" target=\"_blank\" rel=\"noopener\">US Borders and the Central American Diaspora\u003c/a>,” as well as a summer workshop staging of Ishmael Reed’s new play, \u003ca href=\"http://www.nuyorican.org/event/1462483-ishmael-reed-s-life-among-new-york/\">\u003cem>Life Among the Aryans\u003c/em>\u003c/a>\u003cem>,\u003c/em> merely continue the cultural work that Algarín envisioned, work that speaks to complex cultural and political currents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If people want art that is easy to process, we politely encourage them to go elsewhere,” Gallant said. \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=The+Nuyorican+Poets+Caf%C3%A9%2C+A+Cauldron+for+Poetry+And+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Revisiting a Masterpiece: When Frank Sinatra Collaborated with Antonio Carlos Jobim",
"headTitle": "Revisiting a Masterpiece: When Frank Sinatra Collaborated with Antonio Carlos Jobim | KQED",
"content": "\u003cp>Frank Sinatra was well into his Rat Pack era, the reigning American embodiment of masculine suavity and aplomb, when he teamed up with a maestro of Brazilian music to make one of the most exquisitely tender albums of his career. That album, \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim,\u003c/em> has lost none of its luster since it was first released 50 years ago. In fact, a newly remastered anniversary edition extracts additional depth from Claus Ogerman’s orchestrations, which frame Sinatra’s voice like a Rolex on a velvet cushion.\u003c/p>\n\u003cfigure id=\"attachment_13020312\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051.jpg\" alt=\"Frank Sinatra's album with Antonio Carlos Jobim came out 50 years ago this week.\" width=\"200\" height=\"200\" class=\"size-full wp-image-13020312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra’s album with Antonio Carlos Jobim came out 50 years ago this week.\u003c/figcaption>\u003c/figure>\n\u003cp>The album, recorded in Hollywood in the winter of 1967, captures both Sinatra and Jobim at an apex, flush with creative and popular success. Sinatra was coming off a knockout run of albums on his Reprise label — including \u003cem>Sinatra at the Sands\u003c/em>, recorded with the Count Basie Orchestra, and \u003cem>That’s Life, \u003c/em>which yielded an unstoppable single, “Strangers in the Night.”\u003c/p>\n\u003cp>Jobim, a pianist and guitarist as well as a composer, was the beating heart at the center of a worldwide bossa nova craze, following the success of \u003cem>Getz/Gilberto\u003c/em>. A joint effort of the American tenor saxophonist Stan Getz and the Brazilian guitarist and singer João Gilberto, that album also served as a showcase for Jobim’s songs, including “The Girl From Ipanema,” a runaway smash.\u003c/p>\n\u003cfigure id=\"attachment_13020313\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-800x1067.jpg\" alt=\"Frank Sinatra with Antonio Carlos Jobim in 1967\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13020313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra with Antonio Carlos Jobim in 1967 \u003ccite>(Photo: Ed Thrasher/Courtesy of Frank Sinatra Enterprises)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 50\u003csup>th\u003c/sup> anniversary edition of \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim \u003c/em>has just been \u003ca href=\"https://ume.lnk.to/SinatraJobim50PHY\">released in various formats\u003c/a>, including two vinyl packages. And along with the music from the original album, it includes two previously unreleased tracks: A live medley from a television special, and part of a session reel for “The Girl From Ipanema,” which Sinatra and Jobim sing as a duet.\u003c/p>\n\u003cp>“Don’t let it run away, fellas, with the tempo,” Sinatra cautions at the top of the first take. “Just hold it down, let it settle down. Because it’s got a lot of — it’s got a gang of words.” After the take is finished, he calls for another one, “right away.” His decisive brusqueness strikes a jarring contrast to the singing, which is as delectably airy as a soufflé.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The commercial relevancy of bossa nova is one way to explain Sinatra’s keen interest in Jobim: He was aware of his tenuous position within a cultural moment increasingly defined by The Beatles. But his treatment of this music belies any charge of opportunism. While bossa nova presented a new angle for him as a singer — “I haven’t sung so soft since I had the laryngitis,” he quipped during the sessions — he clearly regarded the style as something more than a novelty.\u003c/p>\n\u003cp>“No other American pop star would so thoroughly immerse himself in the world of bossa,” writes Will Friedwald in his fine critical biography \u003cem>Sinatra! The Song is You: A Singer’s Art. \u003c/em>“He not only recorded two whole albums’ worth of the stuff but sacrificed his signature stylistics in order to more smoothly fit into the new vernacular.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uU1mz6WburU\u003c/p>\n\u003cp>Consider the sensitivity of Sinatra’s phrasing on “Quiet Nights of Quiet Stars,” a version of Jobim’s “Corcovado” with English lyrics by the critic Gene Lees.\u003c/p>\n\u003cp>The balance of voice and orchestration is so impeccably calibrated that it has effectively been canonized: When Diana Krall made her own bossa nova album in 2009, she named it \u003cem>Quiet Nights\u003c/em>, enlisting Ogerman as arranger (who won a Grammy for his efforts).\u003c/p>\n\u003cp>In its original iteration, \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim\u003c/em> broke into the Top 20 and spent 28 consecutive weeks on the Billboard album chart. According to Michael Bourne, the host of \u003cem>Singers Unlimited\u003c/em> on WBGO, it marked another layer of validation for bossa nova in the American pop mainstream. “Even after the album \u003cem>Getz/Gilberto\u003c/em> won a Grammy as album of the year,” said Bourne, “the Sinatra/Jobim album was a musical apotheosis, a blessing of Jobim’s songs from America’s musical Pope.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There was, however, one distinction that eluded the album. Sinatra had won album of the year at the previous two Grammy Awards — for \u003cem>September of My Years \u003c/em>(1965) and \u003cem>A Man and His Music \u003c/em>(1966) — but he wasn’t destined for a threepeat\u003cem>. \u003c/em>While \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim\u003c/em> was nominated, and perhaps even the frontrunner, the top honor went to another album that has stood the test of time: \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/05/522729531/fixing-a-hole-sgt-pepper-remixed-and-reissued-for-50th-anniversary\">\u003cem>Sgt. Pepper’s Lonely Hearts Club Band\u003c/em>\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Newark Public Radio. To see more, visit \u003ca href=\"http://www.wbgo.org\">Newark Public Radio\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Revisiting+A+Masterpiece%3A+When+Frank+Sinatra+Collaborated+With+Antonio+Carlos+Jobim&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Sinatra was well into his Rat Pack era, the reigning American embodiment of masculine suavity and aplomb, when he teamed up with the Brazilian maestro for one of the best albums of his career.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Frank Sinatra was well into his Rat Pack era, the reigning American embodiment of masculine suavity and aplomb, when he teamed up with a maestro of Brazilian music to make one of the most exquisitely tender albums of his career. That album, \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim,\u003c/em> has lost none of its luster since it was first released 50 years ago. In fact, a newly remastered anniversary edition extracts additional depth from Claus Ogerman’s orchestrations, which frame Sinatra’s voice like a Rolex on a velvet cushion.\u003c/p>\n\u003cfigure id=\"attachment_13020312\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051.jpg\" alt=\"Frank Sinatra's album with Antonio Carlos Jobim came out 50 years ago this week.\" width=\"200\" height=\"200\" class=\"size-full wp-image-13020312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/cover_art-francis_albert_sinatra___antonio_carlos_jobim_sq-51f575ab35107721d5512aebc9f926b3345f6051-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra’s album with Antonio Carlos Jobim came out 50 years ago this week.\u003c/figcaption>\u003c/figure>\n\u003cp>The album, recorded in Hollywood in the winter of 1967, captures both Sinatra and Jobim at an apex, flush with creative and popular success. Sinatra was coming off a knockout run of albums on his Reprise label — including \u003cem>Sinatra at the Sands\u003c/em>, recorded with the Count Basie Orchestra, and \u003cem>That’s Life, \u003c/em>which yielded an unstoppable single, “Strangers in the Night.”\u003c/p>\n\u003cp>Jobim, a pianist and guitarist as well as a composer, was the beating heart at the center of a worldwide bossa nova craze, following the success of \u003cem>Getz/Gilberto\u003c/em>. A joint effort of the American tenor saxophonist Stan Getz and the Brazilian guitarist and singer João Gilberto, that album also served as a showcase for Jobim’s songs, including “The Girl From Ipanema,” a runaway smash.\u003c/p>\n\u003cfigure id=\"attachment_13020313\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-800x1067.jpg\" alt=\"Frank Sinatra with Antonio Carlos Jobim in 1967\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13020313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/sinatra___jobim-frank_sinatra_enterprises-ed_thrasher_0_vert-a8c6c8e5aa9d841fe34632cb7807a0f785602262.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra with Antonio Carlos Jobim in 1967 \u003ccite>(Photo: Ed Thrasher/Courtesy of Frank Sinatra Enterprises)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 50\u003csup>th\u003c/sup> anniversary edition of \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim \u003c/em>has just been \u003ca href=\"https://ume.lnk.to/SinatraJobim50PHY\">released in various formats\u003c/a>, including two vinyl packages. And along with the music from the original album, it includes two previously unreleased tracks: A live medley from a television special, and part of a session reel for “The Girl From Ipanema,” which Sinatra and Jobim sing as a duet.\u003c/p>\n\u003cp>“Don’t let it run away, fellas, with the tempo,” Sinatra cautions at the top of the first take. “Just hold it down, let it settle down. Because it’s got a lot of — it’s got a gang of words.” After the take is finished, he calls for another one, “right away.” His decisive brusqueness strikes a jarring contrast to the singing, which is as delectably airy as a soufflé.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The commercial relevancy of bossa nova is one way to explain Sinatra’s keen interest in Jobim: He was aware of his tenuous position within a cultural moment increasingly defined by The Beatles. But his treatment of this music belies any charge of opportunism. While bossa nova presented a new angle for him as a singer — “I haven’t sung so soft since I had the laryngitis,” he quipped during the sessions — he clearly regarded the style as something more than a novelty.\u003c/p>\n\u003cp>“No other American pop star would so thoroughly immerse himself in the world of bossa,” writes Will Friedwald in his fine critical biography \u003cem>Sinatra! The Song is You: A Singer’s Art. \u003c/em>“He not only recorded two whole albums’ worth of the stuff but sacrificed his signature stylistics in order to more smoothly fit into the new vernacular.”\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/uU1mz6WburU'\n title='//www.youtube.com/embed/uU1mz6WburU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Consider the sensitivity of Sinatra’s phrasing on “Quiet Nights of Quiet Stars,” a version of Jobim’s “Corcovado” with English lyrics by the critic Gene Lees.\u003c/p>\n\u003cp>The balance of voice and orchestration is so impeccably calibrated that it has effectively been canonized: When Diana Krall made her own bossa nova album in 2009, she named it \u003cem>Quiet Nights\u003c/em>, enlisting Ogerman as arranger (who won a Grammy for his efforts).\u003c/p>\n\u003cp>In its original iteration, \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim\u003c/em> broke into the Top 20 and spent 28 consecutive weeks on the Billboard album chart. According to Michael Bourne, the host of \u003cem>Singers Unlimited\u003c/em> on WBGO, it marked another layer of validation for bossa nova in the American pop mainstream. “Even after the album \u003cem>Getz/Gilberto\u003c/em> won a Grammy as album of the year,” said Bourne, “the Sinatra/Jobim album was a musical apotheosis, a blessing of Jobim’s songs from America’s musical Pope.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There was, however, one distinction that eluded the album. Sinatra had won album of the year at the previous two Grammy Awards — for \u003cem>September of My Years \u003c/em>(1965) and \u003cem>A Man and His Music \u003c/em>(1966) — but he wasn’t destined for a threepeat\u003cem>. \u003c/em>While \u003cem>Francis Albert Sinatra & Antonio Carlos Jobim\u003c/em> was nominated, and perhaps even the frontrunner, the top honor went to another album that has stood the test of time: \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/05/522729531/fixing-a-hole-sgt-pepper-remixed-and-reissued-for-50th-anniversary\">\u003cem>Sgt. Pepper’s Lonely Hearts Club Band\u003c/em>\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Newark Public Radio. To see more, visit \u003ca href=\"http://www.wbgo.org\">Newark Public Radio\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Revisiting+A+Masterpiece%3A+When+Frank+Sinatra+Collaborated+With+Antonio+Carlos+Jobim&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the charming and soulful Japanese anime \u003cem>Your Name\u003c/em>, two teenagers who have never met wake up rattled to discover that they have switched bodies in their sleep, or more precisely their dreams. And it’s not just their anatomies they’ve exchanged, or even the identities-in-progress each has managed to cobble together at such a tender age. Mitsuha, a spirited but restless small-town girl of Miyazaki-type vintage, and Taki, a Tokyo high school boy, have also swapped the country for the city, with all the psychic and cultural adjustments that will entail.\u003c/p>\n\u003cp>Soon it grows clear the two have also switched places in time as well, with potentially drastic consequences for at least one of them. Indeed Mitsuha’s village of Itomori may be in terrible danger from the fallout of a beautifully rendered approaching comet. The kicker is that the fallout fell three years ago.\u003c/p>\n\u003cp>https://youtu.be/e4dZhQaTJMk\u003c/p>\n\u003cp>\u003cem>Your Name\u003c/em> is a stirring tale of rescue with a boisterous edge of YA mischief. It’s also a love story with a swoony romantic affinity for the age-old tussle between chance and fate. The movie — which is released stateside in both dubbed and subtitled formats (for sheer atmospheric pleasure, the latter is overwhelmingly preferred) — is not a Studio Ghibli project, but visually it might as well be.\u003c/p>\n\u003cp>The director of animation, Andou Masashi, is a longtime Ghibli artist who worked on the ravishing \u003cem>Spirited Away\u003c/em>, and fans of Hayao Miyazaki will swoon over the small-town landscape with its pastel-washed skies and lakes and tile-roofed houses, its blow-ups of frying eggs and dripping taps. Itomori is the kind of place you wish you’d grown up in — unless you happen to be sixteen years old, in which case the cityscapes may be more likely to thrill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Your Name\u003c/em>‘s young director, Makoto Shinkai, brings a frisky pop vibe (the soundtrack is by the Japanese rock band Radwimps) to the lively interplay between the rural idylls and metropolitan Tokyo, with its rush of trains and looming, angled skyscrapers and entitled young hipsters bellowing orders in the restaurant where Mitsuha, uncomfortably lodged in Taki’s body, must learn to cope with urban folkways.\u003c/p>\n\u003cp>For all its twitchy city-kid appeal, \u003cem>Your Name\u003c/em> often seems to cast its vote for history and rural tradition. Based on a classic Japanese poem, the story is shot through with reverence for ancient ritual, as spelled out by a prototypical granny-crone with an acerbic grasp of life’s real business. In many ways this is an old-fashioned movie, exquisitely attuned to the dualism of mind and body, male and female, that strike deep roots in Japanese art and literature down the centuries. The plot does little more than glance incuriously at elements like cyborgs, hacking and gender fluidity.\u003c/p>\n\u003cp>As in Miyazaki, Shinkai’s casual feminism gives us a boy who sews and a girl who spits, and its impulses are broadly humanistic rather than in-your-face challenging. Taki and Mitsuha’s entertainingly rendered initial panic on discovering strange new body parts where flatness once prevailed soon gives way to an intense desire to connect. The action segues nimbly from one to the other as the teens, both motherless and both suffering from inattentive fathers, find ways to communicate across space and time via text message and, when that fails, by other creative means. As the comet closes in, both draft their friends to try and save the town — and to get in sync with the mysterious Other who has invaded their dreams as well as their bodies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With its gods and extra-real dimensions, its staccato beat of memory and forgetting that guide the journey, \u003cem>Your Name\u003c/em> shimmers with the magic of a fairy tale, yet also has its feet firmly planted on the ground of Japan’s past and present. Undeterred by constant setbacks, Taki and Mitsuha move uncertainly toward one another in a journey to adulthood that must be carried out alone and entail the shedding of long-cherished illusions as well as their alternate selves. When they finally meet, the encounter will bring several new meanings to “You had me at hello.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the charming and soulful Japanese anime \u003cem>Your Name\u003c/em>, two teenagers who have never met wake up rattled to discover that they have switched bodies in their sleep, or more precisely their dreams. And it’s not just their anatomies they’ve exchanged, or even the identities-in-progress each has managed to cobble together at such a tender age. Mitsuha, a spirited but restless small-town girl of Miyazaki-type vintage, and Taki, a Tokyo high school boy, have also swapped the country for the city, with all the psychic and cultural adjustments that will entail.\u003c/p>\n\u003cp>Soon it grows clear the two have also switched places in time as well, with potentially drastic consequences for at least one of them. Indeed Mitsuha’s village of Itomori may be in terrible danger from the fallout of a beautifully rendered approaching comet. The kicker is that the fallout fell three years ago.\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/e4dZhQaTJMk'\n title='//www.youtube.com/embed/e4dZhQaTJMk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Your Name\u003c/em> is a stirring tale of rescue with a boisterous edge of YA mischief. It’s also a love story with a swoony romantic affinity for the age-old tussle between chance and fate. The movie — which is released stateside in both dubbed and subtitled formats (for sheer atmospheric pleasure, the latter is overwhelmingly preferred) — is not a Studio Ghibli project, but visually it might as well be.\u003c/p>\n\u003cp>The director of animation, Andou Masashi, is a longtime Ghibli artist who worked on the ravishing \u003cem>Spirited Away\u003c/em>, and fans of Hayao Miyazaki will swoon over the small-town landscape with its pastel-washed skies and lakes and tile-roofed houses, its blow-ups of frying eggs and dripping taps. Itomori is the kind of place you wish you’d grown up in — unless you happen to be sixteen years old, in which case the cityscapes may be more likely to thrill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Ikutaro Kakehashi, the founder of the Japanese music company Roland, died yesterday at the age of 87. The news was confirmed by the company in a statement.\u003c/p>\n\u003cp>Decades of hits performed by everyone from Marvin Gaye to Madonna used Roland’s iconic inventions. Kakehashi was also one of the original architects of MIDI, a method introduced in 1983 of getting different musical machines to “talk” to each other and which is still in used regularly around the world.\u003c/p>\n\u003cp>When we think of the people who shaped popular music, we tend to think of the big stars on stage — but a dazzling array of new instruments and new sounds were unleashed in the 20th century that expanded the palettes of these artists. Inventors drove this sonic revolution, playing a role behind the scenes as important to musical history as those in the spotlight; the invention of the synthesizer was as vital as the invention of the electric guitar, while drum machines formed the bedrock for entire genres like hip-hop and techno.\u003c/p>\n\u003cp>Kakehashi began dreaming of electronic instruments early, in the 1950s. Back then, synthesizers as we know them now didn’t exist; there were a few lumbering behemoths lurking in laboratories and university corridors, such as the RCA Mark II synthesizer, installed in 1957 at the Columbia-Princeton Electronic Music Center. The \u003ca href=\"https://en.wikipedia.org/wiki/Theremin\">theremin\u003c/a> existed, but it only made one kind of sound — a fantastic sound, to be sure, but its uses were limited. Composers devised ways of making electronic music using tape machines, in a practice known as \u003cem>musique concrète\u003c/em>. Others, such as Louis and Bebe Barron, experimented with homemade circuits. Independent inventors, like Raymond Scott in New York and Oskar Sala in Germany, were building intriguing prototypes of proto-synthesizers, but these devices weren’t accessible to the general public.\u003c/p>\n\u003cp>Then, the inventors Robert Moog and Don Buchla started having big ideas and, in the early 1960s, they designed — and later, mass-produced — the first sophisticated electronic musical instruments that would be recognizable today as synthesizers. Around the same time, thousands of miles away in Japan, Kakehashi was formulating his own inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/thebugzoo/status/848283605386350592\u003c/p>\n\u003cp>Kakehashi got his start after World War II with a modest business repairing watches and broken clocks. His life wasn’t easy; his parents died in the 1930s of tuberculosis and he spent several years in the hospital himself fighting off a near-deadly bout with the disease. When he was, many years later in the 1950s, released from the hospital, he started trying to invent his own electronic instruments.\u003c/p>\n\u003cp>In 1960, Kakehashi started Ace Electronic Industries, also known as Ace Tone. He designed electric organs inspired by the Hammond organ, amplifiers and effects devices, and ‘rhythm machines’ — early drum machines — like the popular Rhythm Ace. But the real action began when Kakehashi founded Roland on April 18, 1972, a story detailed masterfully some years ago \u003ca href=\"http://www.soundonsound.com/music-business/history-roland-part-1\">by Gordon Reid in the magazine \u003cem>Sound on Sound\u003c/em>\u003c/a> and in Kakehashi’s own memoir, \u003cem>I Believe in Music\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Japan had several companies by then that were hitting it big in the music world. Yamaha had a head start — it began in the late 19\u003csup>th\u003c/sup> century and founder Torakasu Yamaha’s first creation, in 1887, was a reed organ. Another Japanese company, Korg, was founded in 1962 by Tsutomo Katoh and Tadashi Osanai. Kakehashi also started another successful music company, Boss, which focused on effects pedals for guitars and bass.\u003c/p>\n\u003cp>https://twitter.com/chris_carter_/status/848429717984333825\u003c/p>\n\u003cp>Under Kakehashi’s lead, Roland’s engineers developed synths, effects units, drum machines, and many other devices at a furious clip. The Jupiter-6, Space Echo, SH-101 and many others created in this electronic renaissance are still prized by musicians today. But Roland’s most famous inventions — the TB-303 “bass synthesizer,” used to create the rubbery, spacey timbres that defined \u003ca href=\"https://www.youtube.com/watch?v=AmB9nktFBpE\" target=\"_blank\" rel=\"noopener\">acid house\u003c/a>, and the TR-808 and TR-909 drum machines — were creations of the 1980s that seemed to have little commercial potential when they first launched. (Roland actually discontinued the 808 in 1983, three years after it was introduced.) The 808’s candy-colored keys, clunky preset sounds, and small size made it seem more like a Fisher-Price toy than a serious instrument. But that was part of its enduring genius. There was nothing intimidating about the little Roland machines — unlike most synthesizers and drum machines of the time, which tended to be large, expensive, and hard to program.\u003c/p>\n\u003cfigure id=\"attachment_12994780\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/roland_tr-808.jpg\" alt=\"Roland's TR-808 drum machine, which would go on to have an outsized impact on popular music.\" width=\"700\" height=\"408\" class=\"size-full wp-image-12994780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-520x303.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Roland’s TR-808 drum machine, which would go on to have an outsized impact on popular music. \u003ccite>(Photo: Brandon Daniel/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 808’s distinctive sounds, from its cowbell to the snare hit, became iconic and formed an essential element of the deep language within\u003cstrong> \u003c/strong>genres like electro, hip-hop, and house. The 808 model number even became something of a meme in pop culture — a word used in everything from band names (see 808 State) to a Kanye West album \u003ca href=\"https://en.wikipedia.org/wiki/808s_%26_Heartbreak\">title\u003c/a>. Recently, the 808 was even the subject of its own feature-length documentary, \u003ca href=\"http://808themovie.com/\">808\u003c/a>.\u003c/p>\n\u003cp>For Kakehashi, the 808 was just another invention in a long line of them — one that spurred him to include only a minor mention of it in his memoir. Roland was bigger than one drum machine or one synthesizer; Kakehashi’s vision had extended to a whole new way of looking at music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Technologies are creating previously undreamed-of avenues of expression in many different fields,” he wrote in \u003cem>I Believe in Music\u003c/em>. “It is a wonderfully rich age for artists of all sorts.” \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=Ikutaro+Kakehashi%2C+Founder+Of+Roland%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Kakehashi got his start after World War II with a modest business repairing watches and broken clocks. His life wasn’t easy; his parents died in the 1930s of tuberculosis and he spent several years in the hospital himself fighting off a near-deadly bout with the disease. When he was, many years later in the 1950s, released from the hospital, he started trying to invent his own electronic instruments.\u003c/p>\n\u003cp>In 1960, Kakehashi started Ace Electronic Industries, also known as Ace Tone. He designed electric organs inspired by the Hammond organ, amplifiers and effects devices, and ‘rhythm machines’ — early drum machines — like the popular Rhythm Ace. But the real action began when Kakehashi founded Roland on April 18, 1972, a story detailed masterfully some years ago \u003ca href=\"http://www.soundonsound.com/music-business/history-roland-part-1\">by Gordon Reid in the magazine \u003cem>Sound on Sound\u003c/em>\u003c/a> and in Kakehashi’s own memoir, \u003cem>I Believe in Music\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Japan had several companies by then that were hitting it big in the music world. Yamaha had a head start — it began in the late 19\u003csup>th\u003c/sup> century and founder Torakasu Yamaha’s first creation, in 1887, was a reed organ. Another Japanese company, Korg, was founded in 1962 by Tsutomo Katoh and Tadashi Osanai. Kakehashi also started another successful music company, Boss, which focused on effects pedals for guitars and bass.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Under Kakehashi’s lead, Roland’s engineers developed synths, effects units, drum machines, and many other devices at a furious clip. The Jupiter-6, Space Echo, SH-101 and many others created in this electronic renaissance are still prized by musicians today. But Roland’s most famous inventions — the TB-303 “bass synthesizer,” used to create the rubbery, spacey timbres that defined \u003ca href=\"https://www.youtube.com/watch?v=AmB9nktFBpE\" target=\"_blank\" rel=\"noopener\">acid house\u003c/a>, and the TR-808 and TR-909 drum machines — were creations of the 1980s that seemed to have little commercial potential when they first launched. (Roland actually discontinued the 808 in 1983, three years after it was introduced.) The 808’s candy-colored keys, clunky preset sounds, and small size made it seem more like a Fisher-Price toy than a serious instrument. But that was part of its enduring genius. There was nothing intimidating about the little Roland machines — unlike most synthesizers and drum machines of the time, which tended to be large, expensive, and hard to program.\u003c/p>\n\u003cfigure id=\"attachment_12994780\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/roland_tr-808.jpg\" alt=\"Roland's TR-808 drum machine, which would go on to have an outsized impact on popular music.\" width=\"700\" height=\"408\" class=\"size-full wp-image-12994780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/roland_tr-808-520x303.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Roland’s TR-808 drum machine, which would go on to have an outsized impact on popular music. \u003ccite>(Photo: Brandon Daniel/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 808’s distinctive sounds, from its cowbell to the snare hit, became iconic and formed an essential element of the deep language within\u003cstrong> \u003c/strong>genres like electro, hip-hop, and house. The 808 model number even became something of a meme in pop culture — a word used in everything from band names (see 808 State) to a Kanye West album \u003ca href=\"https://en.wikipedia.org/wiki/808s_%26_Heartbreak\">title\u003c/a>. Recently, the 808 was even the subject of its own feature-length documentary, \u003ca href=\"http://808themovie.com/\">808\u003c/a>.\u003c/p>\n\u003cp>For Kakehashi, the 808 was just another invention in a long line of them — one that spurred him to include only a minor mention of it in his memoir. Roland was bigger than one drum machine or one synthesizer; Kakehashi’s vision had extended to a whole new way of looking at music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Technologies are creating previously undreamed-of avenues of expression in many different fields,” he wrote in \u003cem>I Believe in Music\u003c/em>. “It is a wonderfully rich age for artists of all sorts.” \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=Ikutaro+Kakehashi%2C+Founder+Of+Roland%2C+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From time to time in Hirokazu Kore-eda’s gently incisive family drama \u003cem>After the Storm\u003c/em>, the soundtrack produces a few bars of casual whistling backed by a soft fragment of melody that noodles along with its lead character, stalled novelist and private detective Ryôta Shinoda (Hiroshi Abe). As he bumbles through another dispiriting day in the life, we learn that a typhoon is on its way to the Japanese town where he lives. If you’ve seen any other of Kore-eda’s leisurely character studies — \u003cem>Nobody Knows\u003c/em>, say, or last year’s lovely \u003cem>Our Little Sister\u003c/em> — you’ll know not to expect much in the way of action, let alone spectacles.\u003c/p>\n\u003cp>Watch and listen closely, though, and worlds of deeply felt, awkwardly expressed passion will unfold in and around a cramped apartment in a nondescript high-rise that has aged along with the inhabitants who raised families there. There, Ryôta’s mother, Yoshiko (Kilin Kiki), ekes out her last years on an income slashed to the rind by her late husband’s gambling losses. No victim, she: In her ebulliently acid way Yoshiko is a resilient survivor. Which is more than can be said of her son as he comes and goes, trying to make his peace with a family that doesn’t exactly run on oiled wheels.\u003c/p>\n\u003cp>https://youtu.be/MISbcZZvSPI\u003c/p>\n\u003cp>Every Kore-eda family portrait functions, the director has said, as an inquiry from different angles into his own early experience. Almost invariably there’s a feckless father; maternal dragons in various shades of bracing; and in the foreground a floundering younger generation struggling not to repeat their elders’ mistakes even as they do that very thing. As lost souls go, Ryôta may be Kore-eda’s most hapless: Tall and handsome but red-eyed and long-faced, this man-child with shirt perennially untucked walks with the shambling, head-down gait of one who fears he’s as much of a screw-up as his father.\u003c/p>\n\u003cp>While gathering material for a new novel that’s not noticeably getting written, Ryôta shakes down cheaters and adulterers for his sleazy boss at the agency, then squanders his meager earnings at the racetrack instead of paying child support to his beautiful ex-wife Kyoko (Yoko Maki), whom he clearly loves as much as he does his sweet young son (Taiyo Yoshizawa) whom he manages to serially fail. It’s telling that Ryôta still seeks validation from his plainspoken mother, who has her son’s number (“You’re taking too long to bloom”) but who, we will see, has given up neither on him nor on life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As always, Kor-eda offers little by way of plot. Instead he builds the dynamic between his characters out of an accumulating wealth of seemingly banal detail: A woman wordlessly vacuuming up broken glass; a tangerine tree that bears no blossom or fruit but “I water it every day like it’s you”; a man obsessively rummaging through drawers for the wrong treasure. Like his creator, Ryôta is a meticulous observer of others. But he’s pretty clueless about his own motives until the arrival of the typhoon brings the family together, not entirely by accident, for the night in his mother’s apartment.\u003c/p>\n\u003cp>If Yoshiko provides much of the movie’s tartly unsentimental comedy (who else would make someone a gift of her son’s umbilical cord?), she’s also the source of its wisdom and the carrier of Kore-eda’s insight into how mired we are in self-defeating delusion, how harsh in our judgment of others, how wacky in our fantasies that Action A will lead inexorably to Desired Outcome B. Before the film’s end, more than one member of this patched-together, clumsily durable family will cry out piteously that things weren’t supposed to turn out like this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On paper such insights can seem trite, but Kore-eda fills them to the brim with the rich muddle of life, of endless aspiration, repeated failure, unlooked-for internal reboots. Near the end of the movie, Ryôta and two of his imperfectly loved ones sit out the storm inside a ridiculous pink structure in a nearby park, eating stale cookies and sharing memories. There’s no Hollywood ending here, only a mutual nudging toward rueful understanding of how to go forward, and the creation of one of those cherished moments out of which, in the gospel according to Kore-eda, the good life is built.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From time to time in Hirokazu Kore-eda’s gently incisive family drama \u003cem>After the Storm\u003c/em>, the soundtrack produces a few bars of casual whistling backed by a soft fragment of melody that noodles along with its lead character, stalled novelist and private detective Ryôta Shinoda (Hiroshi Abe). As he bumbles through another dispiriting day in the life, we learn that a typhoon is on its way to the Japanese town where he lives. If you’ve seen any other of Kore-eda’s leisurely character studies — \u003cem>Nobody Knows\u003c/em>, say, or last year’s lovely \u003cem>Our Little Sister\u003c/em> — you’ll know not to expect much in the way of action, let alone spectacles.\u003c/p>\n\u003cp>Watch and listen closely, though, and worlds of deeply felt, awkwardly expressed passion will unfold in and around a cramped apartment in a nondescript high-rise that has aged along with the inhabitants who raised families there. There, Ryôta’s mother, Yoshiko (Kilin Kiki), ekes out her last years on an income slashed to the rind by her late husband’s gambling losses. No victim, she: In her ebulliently acid way Yoshiko is a resilient survivor. Which is more than can be said of her son as he comes and goes, trying to make his peace with a family that doesn’t exactly run on oiled wheels.\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/MISbcZZvSPI'\n title='//www.youtube.com/embed/MISbcZZvSPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Every Kore-eda family portrait functions, the director has said, as an inquiry from different angles into his own early experience. Almost invariably there’s a feckless father; maternal dragons in various shades of bracing; and in the foreground a floundering younger generation struggling not to repeat their elders’ mistakes even as they do that very thing. As lost souls go, Ryôta may be Kore-eda’s most hapless: Tall and handsome but red-eyed and long-faced, this man-child with shirt perennially untucked walks with the shambling, head-down gait of one who fears he’s as much of a screw-up as his father.\u003c/p>\n\u003cp>While gathering material for a new novel that’s not noticeably getting written, Ryôta shakes down cheaters and adulterers for his sleazy boss at the agency, then squanders his meager earnings at the racetrack instead of paying child support to his beautiful ex-wife Kyoko (Yoko Maki), whom he clearly loves as much as he does his sweet young son (Taiyo Yoshizawa) whom he manages to serially fail. It’s telling that Ryôta still seeks validation from his plainspoken mother, who has her son’s number (“You’re taking too long to bloom”) but who, we will see, has given up neither on him nor on life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As always, Kor-eda offers little by way of plot. Instead he builds the dynamic between his characters out of an accumulating wealth of seemingly banal detail: A woman wordlessly vacuuming up broken glass; a tangerine tree that bears no blossom or fruit but “I water it every day like it’s you”; a man obsessively rummaging through drawers for the wrong treasure. Like his creator, Ryôta is a meticulous observer of others. But he’s pretty clueless about his own motives until the arrival of the typhoon brings the family together, not entirely by accident, for the night in his mother’s apartment.\u003c/p>\n\u003cp>If Yoshiko provides much of the movie’s tartly unsentimental comedy (who else would make someone a gift of her son’s umbilical cord?), she’s also the source of its wisdom and the carrier of Kore-eda’s insight into how mired we are in self-defeating delusion, how harsh in our judgment of others, how wacky in our fantasies that Action A will lead inexorably to Desired Outcome B. Before the film’s end, more than one member of this patched-together, clumsily durable family will cry out piteously that things weren’t supposed to turn out like this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On paper such insights can seem trite, but Kore-eda fills them to the brim with the rich muddle of life, of endless aspiration, repeated failure, unlooked-for internal reboots. Near the end of the movie, Ryôta and two of his imperfectly loved ones sit out the storm inside a ridiculous pink structure in a nearby park, eating stale cookies and sharing memories. There’s no Hollywood ending here, only a mutual nudging toward rueful understanding of how to go forward, and the creation of one of those cherished moments out of which, in the gospel according to Kore-eda, the good life is built.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bob Dylan will be accepting his Nobel Prize in literature this weekend, according to the permanent secretary of the Swedish Academy. In a blog post Tuesday, Sara Danius announced the “good news” that members of the academy will be meeting with Dylan when he makes a tour stop in Stockholm.\u003c/p>\n\u003cp>“The Swedish Academy is very much looking forward to the weekend and will show up at one of the performances” Dylan is delivering on Saturday and Sunday, \u003ca href=\"https://akademibloggen.wordpress.com/2017/03/29/good-news-about-dylan/\" target=\"_blank\" rel=\"noopener\">Danius writes\u003c/a>. “The Academy will then hand over Dylan’s Nobel diploma and the Nobel medal, and congratulate him on the Nobel Prize in Literature.”\u003c/p>\n\u003cp>She adds: “The setting will be small and intimate, and no media will be present; only Bob Dylan and members of the Academy will attend, all according to Dylan’s wishes.”\u003c/p>\n\u003cp>In \u003ca href=\"https://akademibloggen.wordpress.com/2017/03/27/dylans-konserter/\" target=\"_blank\" rel=\"noopener\">a previous post\u003c/a>, Danius was careful to note that the tour date in Stockholm had been planned well before Dylan won the prize, which \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/13/497780610/bob-dylan-titan-of-american-music-wins-the-2016-nobel-prize-in-literature\" target=\"_blank\" rel=\"noopener\">he was awarded\u003c/a> in October “for having created new poetic expressions within the great American song tradition,” according to the Swedish Academy’s citation.\u003c/p>\n\u003cp>“He is a great poet in the English-speaking tradition, and he is a wonderful sampler — a very original sampler,” Danius said at the time, explaining the decision to award a musician a prize that for more than a century has principally been doled out to novelists, poets and essayists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet the unusual decision was just the first installment of what came to be an unusual saga — as Dylan first \u003ca href=\"http://www.npr.org/2016/10/24/499121073/world-waits-for-bob-dylan-to-acknowledge-his-nobel\">waited more than two weeks\u003c/a> to acknowledge the award, then \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/11/16/502312155/bob-dylan-wont-be-picking-up-his-nobel-prize-in-person\">begged off\u003c/a> attending the December ceremony where it was to be doled out. Dylan sent a personal letter to the academy saying he could not make it to Stockholm then due to “pre-existing commitments.”\u003c/p>\n\u003cp>Instead, Patti Smith spelled Dylan for \u003ca href=\"https://youtu.be/DVXQaOhpfJU\">a moving rendition\u003c/a> of his classic, “A Hard Rain’s Gonna Fall.”\u003c/p>\n\u003cp>It remains unclear whether this weekend’s meeting portends warmer embrace of the prize from Dylan, who has yet to fulfill his one requirement to receive the roughly $900,000 that comes with it: delivery of the Nobel lecture, a traditional talk on a topic of the laureate’s choosing.\u003c/p>\n\u003cp>That requirement, set by the rules of the Nobel Foundation, must be satisfied by June 10 for Dylan to pick up the prize money.\u003c/p>\n\u003cp>“Please note that no Nobel Lecture will be held. The Academy has reason to believe that a taped version will be sent at a later point,” Danius says in her post, noting that if he sends a taped lecture, he will not be the first.\u003c/p>\n\u003cp>Alice Munro, the 2013 laureate, had to send a taped lecture because of health woes, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2013/10/21/238967288/book-news-health-woes-will-keep-munro-from-nobel-ceremony\" target=\"_blank\" rel=\"noopener\">as we reported then\u003c/a>.\u003c/p>\n\u003cp>Dylan did, however, write an acceptance speech for the December ceremony \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2016/dylan-speech.html\" target=\"_blank\" rel=\"noopener\">that was delivered\u003c/a> by the U.S. ambassador to Sweden, Azita Raji.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If someone had ever told me that I had the slightest chance of winning the Nobel prize,” Dylan wrote, “I would have to think that I’d have about the same odds as standing on the moon.” \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=Bob+Dylan+Agrees+To+Accept+His+Nobel+Prize+During+A+Tour+Stop+In+Stockholm&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bob Dylan will be accepting his Nobel Prize in literature this weekend, according to the permanent secretary of the Swedish Academy. In a blog post Tuesday, Sara Danius announced the “good news” that members of the academy will be meeting with Dylan when he makes a tour stop in Stockholm.\u003c/p>\n\u003cp>“The Swedish Academy is very much looking forward to the weekend and will show up at one of the performances” Dylan is delivering on Saturday and Sunday, \u003ca href=\"https://akademibloggen.wordpress.com/2017/03/29/good-news-about-dylan/\" target=\"_blank\" rel=\"noopener\">Danius writes\u003c/a>. “The Academy will then hand over Dylan’s Nobel diploma and the Nobel medal, and congratulate him on the Nobel Prize in Literature.”\u003c/p>\n\u003cp>She adds: “The setting will be small and intimate, and no media will be present; only Bob Dylan and members of the Academy will attend, all according to Dylan’s wishes.”\u003c/p>\n\u003cp>In \u003ca href=\"https://akademibloggen.wordpress.com/2017/03/27/dylans-konserter/\" target=\"_blank\" rel=\"noopener\">a previous post\u003c/a>, Danius was careful to note that the tour date in Stockholm had been planned well before Dylan won the prize, which \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/13/497780610/bob-dylan-titan-of-american-music-wins-the-2016-nobel-prize-in-literature\" target=\"_blank\" rel=\"noopener\">he was awarded\u003c/a> in October “for having created new poetic expressions within the great American song tradition,” according to the Swedish Academy’s citation.\u003c/p>\n\u003cp>“He is a great poet in the English-speaking tradition, and he is a wonderful sampler — a very original sampler,” Danius said at the time, explaining the decision to award a musician a prize that for more than a century has principally been doled out to novelists, poets and essayists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet the unusual decision was just the first installment of what came to be an unusual saga — as Dylan first \u003ca href=\"http://www.npr.org/2016/10/24/499121073/world-waits-for-bob-dylan-to-acknowledge-his-nobel\">waited more than two weeks\u003c/a> to acknowledge the award, then \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/11/16/502312155/bob-dylan-wont-be-picking-up-his-nobel-prize-in-person\">begged off\u003c/a> attending the December ceremony where it was to be doled out. Dylan sent a personal letter to the academy saying he could not make it to Stockholm then due to “pre-existing commitments.”\u003c/p>\n\u003cp>Instead, Patti Smith spelled Dylan for \u003ca href=\"https://youtu.be/DVXQaOhpfJU\">a moving rendition\u003c/a> of his classic, “A Hard Rain’s Gonna Fall.”\u003c/p>\n\u003cp>It remains unclear whether this weekend’s meeting portends warmer embrace of the prize from Dylan, who has yet to fulfill his one requirement to receive the roughly $900,000 that comes with it: delivery of the Nobel lecture, a traditional talk on a topic of the laureate’s choosing.\u003c/p>\n\u003cp>That requirement, set by the rules of the Nobel Foundation, must be satisfied by June 10 for Dylan to pick up the prize money.\u003c/p>\n\u003cp>“Please note that no Nobel Lecture will be held. The Academy has reason to believe that a taped version will be sent at a later point,” Danius says in her post, noting that if he sends a taped lecture, he will not be the first.\u003c/p>\n\u003cp>Alice Munro, the 2013 laureate, had to send a taped lecture because of health woes, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2013/10/21/238967288/book-news-health-woes-will-keep-munro-from-nobel-ceremony\" target=\"_blank\" rel=\"noopener\">as we reported then\u003c/a>.\u003c/p>\n\u003cp>Dylan did, however, write an acceptance speech for the December ceremony \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2016/dylan-speech.html\" target=\"_blank\" rel=\"noopener\">that was delivered\u003c/a> by the U.S. ambassador to Sweden, Azita Raji.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If someone had ever told me that I had the slightest chance of winning the Nobel prize,” Dylan wrote, “I would have to think that I’d have about the same odds as standing on the moon.” \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=Bob+Dylan+Agrees+To+Accept+His+Nobel+Prize+During+A+Tour+Stop+In+Stockholm&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Kerry James Marshall: A Black Presence in the Art World is 'Not Negotiable'",
"headTitle": "Kerry James Marshall: A Black Presence in the Art World is ‘Not Negotiable’ | KQED",
"content": "\u003cp>With his large-scale, exuberant paintings, artist Kerry James Marshall is on a mission: to make the presence of black people and black culture in the art world “indispensable” and “undeniable.” Now 61, Marshall was a young artist when he decided to paint exclusively black figures.\u003c/p>\n\u003cp>“One of the reasons I paint black people is because I am a black person …” he says. “There are fewer representations of black figures in the historical record …”\u003c/p>\n\u003cp>Marshall was born in Birmingham, Ala., in 1955, just before the Montgomery Bus Boycott began. He grew up in South Central, Los Angeles, and was living in the Watts neighborhood in 1965, when riots broke out in protest of police brutality.\u003c/p>\n\u003cp>“The hope was always to make sure these works found their way into museums so they could exist alongside everything else that people go into museums to look at,” Marshall says.\u003c/p>\n\u003cp>And it’s worked — a 35-year retrospective of his work has appeared at New York’s Metropolitan Museum of Art, Chicago’s Museum of Contemporary Art, and now, the Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His paintings depict daily life — people planting gardens, picnicking and getting haircuts. Helen Molesworth, curator of the Museum of Contemporary Art exhibit, points out Marshall’s 1993 work, \u003cem>De Style.\u003c/em>\u003cem> \u003c/em>“I consider this to be Kerry’s first great painting,” she says. It’s a massive canvas that shows a scene in a barbershop.\u003c/p>\n\u003cfigure id=\"attachment_12969275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-800x690.jpg\" alt='\"De Style,\" acrylic and collage on canvas, 1993' width=\"800\" height=\"690\" class=\"size-medium wp-image-12969275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-800x690.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-768x662.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1020x879.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1920x1655.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1180x1017.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-960x828.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-240x207.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-375x323.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-520x448.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“De Style,” acrylic and collage on canvas, 1993 \u003ccite>(Photo: LACMA, licensed by Art Resource, NY/Museum of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s going to give you an image of blackness, of African-American culture, of daily life that is both rooted in everyday pleasures, but also transcendent at the same time,” Molesworth says.\u003c/p>\n\u003cp>Molesworth’s favorite painting, \u003cem>School of Beauty, School of Culture\u003c/em> is monumental. It bursts with riotous colors and spirited life. The work shows women’s space — little kids play as ladies pose and primp.\u003c/p>\n\u003cp>“One of the things that these pictures show us over and over again is that the category of beauty is really large,” Molesworth says. “If whiteness is the only form of beauty you see, you are operating in a pretty small universe.”\u003c/p>\n\u003cp>People can get emotional in front of these paintings.\u003c/p>\n\u003cp>“I’ve seen people kiss in front of Kerry James Marshall paintings …” Molesworth says. “These paintings are emotional — they are filled with love.”\u003c/p>\n\u003cp>It’s not all happiness on these walls, though — there are funerals, killers, lost boys, anger and grief — but always depicted in bright, bold colors and powerful shapes.\u003c/p>\n\u003cp>Marshall’s 1994 “Garden Project” series shows the early, utopian days of public housing in Chicago and Los Angeles. Lovers stroll along groomed lawns, men rake and plant flowers, children ride bikes and run dogs.\u003c/p>\n\u003cfigure id=\"attachment_12969276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-800x372.jpg\" alt=\"Marshall's 1994 "Garden Project" series shows the early, utopian days of public housing in Chicago and Los Angeles.\" width=\"800\" height=\"372\" class=\"size-medium wp-image-12969276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-800x372.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-768x357.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1020x474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1920x893.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1180x549.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-960x446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-240x112.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-375x174.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-520x242.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall’s 1994 “Garden Project” series shows the early, utopian days of public housing in Chicago and Los Angeles. \u003ccite>(Photo: Brian Forrest/Museum of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s kind of a mixed message and it has everything to do with what people expect in a painting that’s about housing projects,” Marshall says.\u003c/p>\n\u003cp>In one, a man sits on one hip, leaning forward on the grass, supported by extended arms. He stares directly at us — very seriously. Behind him, white paint blots a big sign that says \u003cem>Welcome to Altgeld Gardens.\u003c/em> \u003ca href=\"https://s-media-cache-ak0.pinimg.com/originals/16/9b/1d/169b1d75062c5294a9f9ae7c97c6663c.jpg\" target=\"_blank\" rel=\"noopener\">Click here to get a closer look at the painting.\u003c/a> Some might perceive desperation in his eyes — but not the artist.\u003c/p>\n\u003cp>“I know better,” says Marshall, who has lived in public housing. “I know it’s not so despairing. … When I look at his demeanor, I see contentment. That’s what I see. The gaze out at the spectator, there’s a certain uncertainty about the way he sees himself being perceived by the spectator.”\u003c/p>\n\u003cp>These are not romanticized images; they are vivid, energetic, real-life reports — and Marshall wants those reports on museums walls. His works have sold at auction for $1 million and $2 million. And his paintings are part of the permanent collections of the Met, the National Gallery, the Museum of Fine Arts Boston and more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you’re trying to create is a certain kind of an indispensable presence,” Marshall says. “Where your position in the narrative is not contingent on whether somebody likes you, or somebody knows you, or somebody’s a friend, or somebody’s being generous to you. But you want a presence in the narrative that’s not negotiable, that’s undeniable.” \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=Kerry+James+Marshall%3A+A+Black+Presence+In+The+Art+World+Is+%27Not+Negotiable%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "For decades, the 61-year-old artist has depicted black lives on canvas. He says inclusion in museums must not be contingent on \"whether somebody likes you ... or somebody's being generous to you.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With his large-scale, exuberant paintings, artist Kerry James Marshall is on a mission: to make the presence of black people and black culture in the art world “indispensable” and “undeniable.” Now 61, Marshall was a young artist when he decided to paint exclusively black figures.\u003c/p>\n\u003cp>“One of the reasons I paint black people is because I am a black person …” he says. “There are fewer representations of black figures in the historical record …”\u003c/p>\n\u003cp>Marshall was born in Birmingham, Ala., in 1955, just before the Montgomery Bus Boycott began. He grew up in South Central, Los Angeles, and was living in the Watts neighborhood in 1965, when riots broke out in protest of police brutality.\u003c/p>\n\u003cp>“The hope was always to make sure these works found their way into museums so they could exist alongside everything else that people go into museums to look at,” Marshall says.\u003c/p>\n\u003cp>And it’s worked — a 35-year retrospective of his work has appeared at New York’s Metropolitan Museum of Art, Chicago’s Museum of Contemporary Art, and now, the Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His paintings depict daily life — people planting gardens, picnicking and getting haircuts. Helen Molesworth, curator of the Museum of Contemporary Art exhibit, points out Marshall’s 1993 work, \u003cem>De Style.\u003c/em>\u003cem> \u003c/em>“I consider this to be Kerry’s first great painting,” she says. It’s a massive canvas that shows a scene in a barbershop.\u003c/p>\n\u003cfigure id=\"attachment_12969275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-800x690.jpg\" alt='\"De Style,\" acrylic and collage on canvas, 1993' width=\"800\" height=\"690\" class=\"size-medium wp-image-12969275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-800x690.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-768x662.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1020x879.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1920x1655.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-1180x1017.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-960x828.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-240x207.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-375x323.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8-520x448.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/ac1993_76_1-2-_enl-a221ba84fe29001738539a1ee7501984bdbf5ba8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“De Style,” acrylic and collage on canvas, 1993 \u003ccite>(Photo: LACMA, licensed by Art Resource, NY/Museum of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s going to give you an image of blackness, of African-American culture, of daily life that is both rooted in everyday pleasures, but also transcendent at the same time,” Molesworth says.\u003c/p>\n\u003cp>Molesworth’s favorite painting, \u003cem>School of Beauty, School of Culture\u003c/em> is monumental. It bursts with riotous colors and spirited life. The work shows women’s space — little kids play as ladies pose and primp.\u003c/p>\n\u003cp>“One of the things that these pictures show us over and over again is that the category of beauty is really large,” Molesworth says. “If whiteness is the only form of beauty you see, you are operating in a pretty small universe.”\u003c/p>\n\u003cp>People can get emotional in front of these paintings.\u003c/p>\n\u003cp>“I’ve seen people kiss in front of Kerry James Marshall paintings …” Molesworth says. “These paintings are emotional — they are filled with love.”\u003c/p>\n\u003cp>It’s not all happiness on these walls, though — there are funerals, killers, lost boys, anger and grief — but always depicted in bright, bold colors and powerful shapes.\u003c/p>\n\u003cp>Marshall’s 1994 “Garden Project” series shows the early, utopian days of public housing in Chicago and Los Angeles. Lovers stroll along groomed lawns, men rake and plant flowers, children ride bikes and run dogs.\u003c/p>\n\u003cfigure id=\"attachment_12969276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-800x372.jpg\" alt=\"Marshall's 1994 "Garden Project" series shows the early, utopian days of public housing in Chicago and Los Angeles.\" width=\"800\" height=\"372\" class=\"size-medium wp-image-12969276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-800x372.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-768x357.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1020x474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1920x893.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-1180x549.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-960x446.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-240x112.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-375x174.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854-520x242.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/marshall-install-041_enl-1a1ecd12bb621b35caccfbd93ffe0371b12b8854.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall’s 1994 “Garden Project” series shows the early, utopian days of public housing in Chicago and Los Angeles. \u003ccite>(Photo: Brian Forrest/Museum of Contemporary Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s kind of a mixed message and it has everything to do with what people expect in a painting that’s about housing projects,” Marshall says.\u003c/p>\n\u003cp>In one, a man sits on one hip, leaning forward on the grass, supported by extended arms. He stares directly at us — very seriously. Behind him, white paint blots a big sign that says \u003cem>Welcome to Altgeld Gardens.\u003c/em> \u003ca href=\"https://s-media-cache-ak0.pinimg.com/originals/16/9b/1d/169b1d75062c5294a9f9ae7c97c6663c.jpg\" target=\"_blank\" rel=\"noopener\">Click here to get a closer look at the painting.\u003c/a> Some might perceive desperation in his eyes — but not the artist.\u003c/p>\n\u003cp>“I know better,” says Marshall, who has lived in public housing. “I know it’s not so despairing. … When I look at his demeanor, I see contentment. That’s what I see. The gaze out at the spectator, there’s a certain uncertainty about the way he sees himself being perceived by the spectator.”\u003c/p>\n\u003cp>These are not romanticized images; they are vivid, energetic, real-life reports — and Marshall wants those reports on museums walls. His works have sold at auction for $1 million and $2 million. And his paintings are part of the permanent collections of the Met, the National Gallery, the Museum of Fine Arts Boston and more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you’re trying to create is a certain kind of an indispensable presence,” Marshall says. “Where your position in the narrative is not contingent on whether somebody likes you, or somebody knows you, or somebody’s a friend, or somebody’s being generous to you. But you want a presence in the narrative that’s not negotiable, that’s undeniable.” \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=Kerry+James+Marshall%3A+A+Black+Presence+In+The+Art+World+Is+%27Not+Negotiable%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first opera hit the stage over 400 years ago. More recently, the art form has been adapted to modern media: In the 1920s and ’30s, operas were written to be performed on the radio, and in 1951, NBC commissioned Gian Carlo Menotti to compose \u003cem>Amahl And The Night Visitors\u003c/em> for television.\u003c/p>\n\u003cp>Now, a company called \u003ca href=\"https://www.therainyparkopera.com/\" target=\"_blank\" rel=\"noopener\">Rainy Park Opera\u003c/a> is creating operas for the internet.\u003c/p>\n\u003cp>The project started over a beer. On one stool: Adam Taylor, a young filmmaker based in Los Angeles. On the other: Scott Joiner, an opera singer working on his doctorate at the Manhattan School of Music.\u003c/p>\n\u003cp>“We had both semi-recently come out of long relationships, and we had both discovered, in our 30s, this dating app [Tinder],” Joiner says. “[It] makes dating so different from when we first started dating, before the millennium.”\u003c/p>\n\u003cp>Joiner composed the music for and sings the lead in “Connection Lost: The Tinder Opera,” an opera about a young man trying to connect through Tinder and failing. His character goes from scene to scene around New York, phone in front of him — just like all the women he finds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taylor, who directed and wrote the screenplay, says that the entire 11-minute soundtrack was recorded first, and the video was shot to fit. That turned out to be very handy for the singers.\u003c/p>\n\u003cp>“They’re holding the phone in the shots, mimicking the Tinder app, and at the same time,\u003cem> \u003c/em>the playback is coming through their phone, so they’re holding it right by their face, they’re able to lip-sync it,” Taylor says. “Then we edit the film and we place the original recorded tracks over the lip-syncing, and put it together that way.”\u003c/p>\n\u003cp>Heidi Waleson, the opera critic for \u003cem>The Wall Street Journal\u003c/em>, says it “felt very millennial.”\u003c/p>\n\u003cp>“It just puts opera in a different medium,” she says. “And since that medium is something that so many people participate in, then why not have opera as a — you know — integral part of that medium?”\u003c/p>\n\u003cp>“The Tinder Opera” is scored for 10 female singers, two male singers, a pair of pianos and a string quartet. Everyone volunteered their services, so the entire budget was just $2,000. After the opera debuted last April on YouTube, a backer offered to pay for a sequel. With a cast dominated by women, Taylor immediately thought of \u003cem>The Bachelor\u003c/em>.\u003c/p>\n\u003cp>“‘The Tinder Opera’\u003cem> \u003c/em>sort of talked about how the phone has devolved our ability to interact on a relationship level,” Taylor says. “The television — or, more specifically, a show like \u003cem>The Bachelor\u003c/em> — has sort of destroyed this idea of marriage, where, you know, two people can meet on a television show, and on the last episode they get married.”\u003c/p>\n\u003cp>Much to Joiner and Taylor’s surprise, Opera Carolina in Charlotte, N.C., staged “The Tinder Opera” this past fall. Next season, they’re doing it again as a double bill with the sequel: “The Bachelor Opera.”\u003c/p>\n\u003cp>“The operas that were written for television didn’t mean that you never saw it in the theater again,” Waleson explains. “The operas that were written for radio didn’t mean you never saw it in the theater again. So, you know, the operas that are purely online — it’s the same thing!”\u003c/p>\n\u003cp>A month after “The Tinder Opera” debuted online, the New York-based ensemble \u003ca href=\"http://experimentsinopera.com/portfolio-item/video-operas/\" target=\"_blank\" rel=\"noopener\">Experiments in Opera\u003c/a> premiered five video works in a theater. And later this spring, a West Coast project called \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">Vireo\u003c/a> will release an episodic opera online and on public television. Scott Joiner is thrilled by the activity.\u003c/p>\n\u003cp>“We’re all trying to integrate this old singing art form with a new visual film, television medium,” Joiner says. “But the results of the few people doing it are wildly different.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joiner and Taylor’s next work will be … what else? “L’Opera di Facebook.” \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=%27The+Tinder+Opera%27+Creators+Hope+You+Swipe+Right+On+Online+Opera&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first opera hit the stage over 400 years ago. More recently, the art form has been adapted to modern media: In the 1920s and ’30s, operas were written to be performed on the radio, and in 1951, NBC commissioned Gian Carlo Menotti to compose \u003cem>Amahl And The Night Visitors\u003c/em> for television.\u003c/p>\n\u003cp>Now, a company called \u003ca href=\"https://www.therainyparkopera.com/\" target=\"_blank\" rel=\"noopener\">Rainy Park Opera\u003c/a> is creating operas for the internet.\u003c/p>\n\u003cp>The project started over a beer. On one stool: Adam Taylor, a young filmmaker based in Los Angeles. On the other: Scott Joiner, an opera singer working on his doctorate at the Manhattan School of Music.\u003c/p>\n\u003cp>“We had both semi-recently come out of long relationships, and we had both discovered, in our 30s, this dating app [Tinder],” Joiner says. “[It] makes dating so different from when we first started dating, before the millennium.”\u003c/p>\n\u003cp>Joiner composed the music for and sings the lead in “Connection Lost: The Tinder Opera,” an opera about a young man trying to connect through Tinder and failing. His character goes from scene to scene around New York, phone in front of him — just like all the women he finds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taylor, who directed and wrote the screenplay, says that the entire 11-minute soundtrack was recorded first, and the video was shot to fit. That turned out to be very handy for the singers.\u003c/p>\n\u003cp>“They’re holding the phone in the shots, mimicking the Tinder app, and at the same time,\u003cem> \u003c/em>the playback is coming through their phone, so they’re holding it right by their face, they’re able to lip-sync it,” Taylor says. “Then we edit the film and we place the original recorded tracks over the lip-syncing, and put it together that way.”\u003c/p>\n\u003cp>Heidi Waleson, the opera critic for \u003cem>The Wall Street Journal\u003c/em>, says it “felt very millennial.”\u003c/p>\n\u003cp>“It just puts opera in a different medium,” she says. “And since that medium is something that so many people participate in, then why not have opera as a — you know — integral part of that medium?”\u003c/p>\n\u003cp>“The Tinder Opera” is scored for 10 female singers, two male singers, a pair of pianos and a string quartet. Everyone volunteered their services, so the entire budget was just $2,000. After the opera debuted last April on YouTube, a backer offered to pay for a sequel. With a cast dominated by women, Taylor immediately thought of \u003cem>The Bachelor\u003c/em>.\u003c/p>\n\u003cp>“‘The Tinder Opera’\u003cem> \u003c/em>sort of talked about how the phone has devolved our ability to interact on a relationship level,” Taylor says. “The television — or, more specifically, a show like \u003cem>The Bachelor\u003c/em> — has sort of destroyed this idea of marriage, where, you know, two people can meet on a television show, and on the last episode they get married.”\u003c/p>\n\u003cp>Much to Joiner and Taylor’s surprise, Opera Carolina in Charlotte, N.C., staged “The Tinder Opera” this past fall. Next season, they’re doing it again as a double bill with the sequel: “The Bachelor Opera.”\u003c/p>\n\u003cp>“The operas that were written for television didn’t mean that you never saw it in the theater again,” Waleson explains. “The operas that were written for radio didn’t mean you never saw it in the theater again. So, you know, the operas that are purely online — it’s the same thing!”\u003c/p>\n\u003cp>A month after “The Tinder Opera” debuted online, the New York-based ensemble \u003ca href=\"http://experimentsinopera.com/portfolio-item/video-operas/\" target=\"_blank\" rel=\"noopener\">Experiments in Opera\u003c/a> premiered five video works in a theater. And later this spring, a West Coast project called \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">Vireo\u003c/a> will release an episodic opera online and on public television. Scott Joiner is thrilled by the activity.\u003c/p>\n\u003cp>“We’re all trying to integrate this old singing art form with a new visual film, television medium,” Joiner says. “But the results of the few people doing it are wildly different.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joiner and Taylor’s next work will be … what else? “L’Opera di Facebook.” \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=%27The+Tinder+Opera%27+Creators+Hope+You+Swipe+Right+On+Online+Opera&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The namesake of \u003cem>Wilson\u003c/em> is the kind of guy people try to avoid on the bus, at the sidewalk cafe, or while using the adjacent urinal. Yet the makers of this deadpan comedy want us to spend 90 minutes with him.\u003c/p>\n\u003cp>The experience isn’t painful, but it is a little frustrating. Playing the reclusive, misanthropic, yet oddly gregarious title character, Woody Harrelson is as engaging as the man’s personality allows. But \u003cem>Wilson\u003c/em> struggles with tone, shifting from monotonously bleak to predictably satirical to improbably sanguine.\u003c/p>\n\u003cp>The movie was adapted from a graphic novel by Daniel Clowes, and offers another take on the premise of \u003cem>Ghost World\u003c/em>, the best of the three films derived from his work: A disaffected middle-aged man bonds with an alienated teenage girl. But this time the story takes the viewpoint of the man, who lacks the winning adolescent sass of \u003cem>Ghost World\u003c/em>‘s Enid and her pal, Rebecca. (The other\u003csup>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=520412045#footnote\">1\u003c/a>\u003c/sup> film based on Clowes comic was 2006’s \u003cem>Art School Confidential\u003c/em>.)\u003c/p>\n\u003cp>https://youtu.be/w9S6bDzLUgk\u003c/p>\n\u003cp>Wilson is a lonely guy who’s about to get lonelier: His dad is dying and his best friend is moving to St. Louis. (Wilson’s tattered, semi-urban habitat is not identified, but the comic is set in Oakland, where Clowes lives.) Wilson will be left with just his adorable terrier, so he makes some tentative attempts to broaden his social circle. He fails, but in the process is introduced to something he’s been carefully avoiding: the Internet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Suddenly, it becomes possible to track Pippi (Laura Dern), the ex-wife who abandoned him 17 years ago. She reluctantly renews their acquaintance, and casually reveals that she didn’t terminate the pregnancy that began around the time their marriage ended. Wilson, as needful of human connection as he is disdainful of it, is elated. He’s a dad!\u003c/p>\n\u003cp>There’s a complication. Claire (Isabella Amara) was put up for adoption, and Wilson has no legal right to see her. He introduces himself anyway, and the goth girl develops an affinity for the eccentric curmudgeon who says he’s her father. Pippi joins in, and the three pretend to be a family. Briefly.\u003c/p>\n\u003cp>Things go very wrong, but then sort of right again. One reason for the turnaround is the presence of easygoing Shelly (Judy Greer), a dogsitter who later becomes a fitness instructor. That’s two more jobs than are indicated for Wilson, who seems to be independently not very wealthy.\u003c/p>\n\u003cp>This material was more striking in its original form because Clowes took an experimental approach, dividing the story into short vignettes and varying his drawing style. The cartoonist scripted the movie, but it was directed by Craig Johnson, who previously balanced the gamy and the sweet in \u003cem>The Skeleton Twins\u003c/em>. Like \u003cem>Wilson\u003c/em>, that semi-tragic farce took a conventional approach to outlandish events.\u003c/p>\n\u003cp>“Modern civilization is a scam,” announces Wilson in his opening narration, and that stance is something else this film shares with \u003cem>Ghost World\u003c/em>. Yet while Wilson takes the occasional swipe at recent cultural abominations — teen pop, shops that sell nothing but multiple varieties of olive oil — it never marshals much vehemence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clowes’ vision of an ideal world is reduced to such throwaways as the film on the marquee of the local cinema: \u003cem>Umberto D\u003c/em>., a 1952 Italian neorealist drama about a solitary man who, unlike Wilson, is actually battling to survive in a hostile world. Compared to Umberto D.’s travails, Wilson’s existential funk seems something of a scam.\u003c/p>\n\u003ch5>\u003csup>1\u003c/sup>\u003ca name=\"footnote\">\u003c/a>The 2012 short film by Shia LaBeouf, \u003cem>HowardCantour.com\u003c/em>, \u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">plagiarized Clowes’ comic \u003c/a>\u003cem>\u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">Justin M. Damiano\u003c/a>. \u003c/em>So let’s not count that one.\u003c/h5>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The namesake of \u003cem>Wilson\u003c/em> is the kind of guy people try to avoid on the bus, at the sidewalk cafe, or while using the adjacent urinal. Yet the makers of this deadpan comedy want us to spend 90 minutes with him.\u003c/p>\n\u003cp>The experience isn’t painful, but it is a little frustrating. Playing the reclusive, misanthropic, yet oddly gregarious title character, Woody Harrelson is as engaging as the man’s personality allows. But \u003cem>Wilson\u003c/em> struggles with tone, shifting from monotonously bleak to predictably satirical to improbably sanguine.\u003c/p>\n\u003cp>The movie was adapted from a graphic novel by Daniel Clowes, and offers another take on the premise of \u003cem>Ghost World\u003c/em>, the best of the three films derived from his work: A disaffected middle-aged man bonds with an alienated teenage girl. But this time the story takes the viewpoint of the man, who lacks the winning adolescent sass of \u003cem>Ghost World\u003c/em>‘s Enid and her pal, Rebecca. (The other\u003csup>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=520412045#footnote\">1\u003c/a>\u003c/sup> film based on Clowes comic was 2006’s \u003cem>Art School Confidential\u003c/em>.)\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/w9S6bDzLUgk'\n title='//www.youtube.com/embed/w9S6bDzLUgk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wilson is a lonely guy who’s about to get lonelier: His dad is dying and his best friend is moving to St. Louis. (Wilson’s tattered, semi-urban habitat is not identified, but the comic is set in Oakland, where Clowes lives.) Wilson will be left with just his adorable terrier, so he makes some tentative attempts to broaden his social circle. He fails, but in the process is introduced to something he’s been carefully avoiding: the Internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Suddenly, it becomes possible to track Pippi (Laura Dern), the ex-wife who abandoned him 17 years ago. She reluctantly renews their acquaintance, and casually reveals that she didn’t terminate the pregnancy that began around the time their marriage ended. Wilson, as needful of human connection as he is disdainful of it, is elated. He’s a dad!\u003c/p>\n\u003cp>There’s a complication. Claire (Isabella Amara) was put up for adoption, and Wilson has no legal right to see her. He introduces himself anyway, and the goth girl develops an affinity for the eccentric curmudgeon who says he’s her father. Pippi joins in, and the three pretend to be a family. Briefly.\u003c/p>\n\u003cp>Things go very wrong, but then sort of right again. One reason for the turnaround is the presence of easygoing Shelly (Judy Greer), a dogsitter who later becomes a fitness instructor. That’s two more jobs than are indicated for Wilson, who seems to be independently not very wealthy.\u003c/p>\n\u003cp>This material was more striking in its original form because Clowes took an experimental approach, dividing the story into short vignettes and varying his drawing style. The cartoonist scripted the movie, but it was directed by Craig Johnson, who previously balanced the gamy and the sweet in \u003cem>The Skeleton Twins\u003c/em>. Like \u003cem>Wilson\u003c/em>, that semi-tragic farce took a conventional approach to outlandish events.\u003c/p>\n\u003cp>“Modern civilization is a scam,” announces Wilson in his opening narration, and that stance is something else this film shares with \u003cem>Ghost World\u003c/em>. Yet while Wilson takes the occasional swipe at recent cultural abominations — teen pop, shops that sell nothing but multiple varieties of olive oil — it never marshals much vehemence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clowes’ vision of an ideal world is reduced to such throwaways as the film on the marquee of the local cinema: \u003cem>Umberto D\u003c/em>., a 1952 Italian neorealist drama about a solitary man who, unlike Wilson, is actually battling to survive in a hostile world. Compared to Umberto D.’s travails, Wilson’s existential funk seems something of a scam.\u003c/p>\n\u003ch5>\u003csup>1\u003c/sup>\u003ca name=\"footnote\">\u003c/a>The 2012 short film by Shia LaBeouf, \u003cem>HowardCantour.com\u003c/em>, \u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">plagiarized Clowes’ comic \u003c/a>\u003cem>\u003ca href=\"http://www.avclub.com/article/shia-labeouf-plagiarizes-daniel-clowes-comic-for-h-106565\" target=\"_blank\" rel=\"noopener\">Justin M. Damiano\u003c/a>. \u003c/em>So let’s not count that one.\u003c/h5>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"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.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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