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"content": "\u003cp>In honor of the 50th anniversary of the CMA Awards, show producers worked a truly impressive number of performers into the Nov. 2 telecast, utilizing everything from moving medleys to photo montages and mentions of legends seated in the audience.\u003c/p>\n\u003cp>But no other appearance received half the attention of \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s “Daddy Lessons” collaboration with the \u003ca href=\"http://www.npr.org/artists/15399450/dixie-chicks\">Dixie Chicks\u003c/a>. As with just about anything Bey-related, the announcement that she would take the stage at Nashville’s Bridgestone Arena during what’s billed as “Country’s Biggest Night” generated a flurry of social media responses voicing a wide array of opinions. 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It was one of the few segments in the show through which the entire arena remained on its feet. The song kicked off with harmonica, rather than the album version’s New Orleans-style horn intro, a down-home touch that hearkened back to country music’s early, and incidentally African-American, harmonica hero \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/deford-bailey\" target=\"_blank\" rel=\"noopener\">Deford Bailey\u003c/a>. Beyoncé struck up a “Texas” chant, then passed it off to Natalie Maines, Emily Robison and Martie Maguire, in acknowledgement of their shared geographical origins in a state rich in countrified storytelling. Between the tweaking of Beyoncé’s usual live instrumentation — less low-end thump, more strumming and light-footed percussion — and the Chicks’ bluegrass underpinnings, they leaned into a string band sound, even briefly veering into a stuttering, second line-ish adaptation of the Chicks’ fiddle romp “\u003ca href=\"https://www.youtube.com/watch?v=2c5b8ZtjwwY\" target=\"_blank\" rel=\"noopener\">Long Time Gone\u003c/a>,” a No. 2 country hit in 2002. And it was no small gesture for an artist whose performances of physicality have become iconic in R&B and pop realms — from her leotards to her magnetic dance choreography — to don a sheer, floor-length gown whose puffy sleeves Loretta Lynn might appreciate and, in a visual display of solidarity, stand next to the Chicks, who were anchored to instruments and mic stands. Beyoncé certainly didn’t squander her official country slot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From a historical angle, her country excursion represents something more like reclamation than invasion, since the genre’s roots entwine with African-American folk, blues, string band and pop contributions. In more recent times, a precedent’s been set for artists from other genres signaling their affinity for country music by \u003ca href=\"http://www.billboard.com/articles/columns/pop/7534100/lady-gaga-joanne-nashville-dive-bar-tour-review\" target=\"_blank\" rel=\"noopener\">making pilgrimages\u003c/a> to Nashville \u003ca href=\"http://nashvillepublicradio.org/post/bob-dylan-was-catalyst-nashville-cats-were-ones-who-changed-music-row#stream/0\" target=\"_blank\" rel=\"noopener\">writing rooms and studios\u003c/a>, \u003ca href=\"https://www.theguardian.com/music/2016/jun/01/beyonce-daddy-lessons-country-music\" target=\"_blank\" rel=\"noopener\">enlisting the talents\u003c/a> of recognized Music Row pros or teaming up with country’s resident stars. It’s nothing new either for the CMA Awards to present crossover pairings that, in a sense, position major country acts to vouch for the country-friendliness of pop heavyweights. (See: last year’s \u003ca href=\"http://www.rollingstone.com/music/news/see-chris-stapleton-and-justin-timberlakes-stunning-cma-awards-duet-20151104\" target=\"_blank\" rel=\"noopener\">much-discussed collab\u003c/a> between Chris Stapleton and Justin Timberlake, or 2013’s \u003ca href=\"http://www.billboard.com/articles/columns/the-615/5800832/zac-brown-band-teams-up-with-dave-grohl\" target=\"_blank\" rel=\"noopener\">between\u003c/a> the Zac Brown Band and Dave Grohl.) But Beyonce’s “Daddy Lessons” was written and recorded entirely independently of the country scene, and her performing partners, the Chicks — who’d been regularly covering her song — no longer have the ambassadorial heft of the format insiders they once were. They’ve kept a safe distance from the Nashville establishment ever since the radio rejection that followed lead singer Natalie Maines’ 2003 on-stage comments about President Bush. \u003ca href=\"http://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener\">Until a few months ago\u003c/a>, they hadn’t headlined Nashville in a decade.\u003c/p>\n\u003cp>When Beyonce, the Chicks and their combined band took the stage deep in the awards show, some may have experienced it as an interruption in the honoring of country stars past and present, especially given that it came immediately before a lifetime achievement nod to Beyonce’s fellow stadium-filler Kenny Chesney, comprised of a speech from Peyton Manning and an admiring tribute video; without a performing component, it couldn’t help but seem subdued in comparison to the high-energy musical interlude that had come just before. But Beyonce’s turn also brought a certain symmetry to the night.\u003c/p>\n\u003cp>Interaction with other forms of popular music — as opposed to isolation from them — is a source of pride, not to mention one among many drivers of stylistic evolution, in the mainstream country world. Crossover impact has been one of the great achievements of the award show’s penultimate honoree, Dolly Parton, who was feted with a medley of hits, like “Here You Come Again” and “9 to 5,” that landed her on the pop charts and a standard, “I Will Always Love You,” that’s had a second life in reinterpretations by pop superstars of color, Beyoncé \u003ca href=\"http://rare.us/story/beyonce-attempts-to-slay-a-dolly-parton-country-classic/\" target=\"_blank\" rel=\"noopener\">included\u003c/a>. It’s worth noting too that two of the five singers paying tribute to Parton, \u003ca href=\"https://www.youtube.com/watch?v=RjWCZB08UW0\" target=\"_blank\" rel=\"noopener\">Reba McEntire\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=6XTXHvae10o\" target=\"_blank\" rel=\"noopener\">Jennifer Nettles\u003c/a>, have also dipped into Beyoncé’s catalog on occasion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The “Daddy Lessons” performance was preceded earlier in the night by Maren Morris’s explicit incorporation of African-American gospel stylings into her breezy country-pop gem “My Church” and Keith Urban’s smolderingly stark rendition of his throwback soul single “Blue Ain’t Your Color.” And shortly after Beyonce sang with the Chicks, Dwight Yoakam and Chris Stapleton revisited a successful country-soul collaboration with a cover of “Seven Spanish Angels,” a Willie Nelson and Ray Charles duet that became a country hit in the mid-’80s. That wasn’t Charles’s first foray into country music, of course, but it was his highest charting one. (The complexities of Charles’s track record with the genre, and the \u003ca href=\"https://www.dukeupress.edu/segregating-sound\" target=\"_blank\" rel=\"noopener\">impact\u003c/a> of \u003ca href=\"http://uncpress.unc.edu/books/12833.html\" target=\"_blank\" rel=\"noopener\">race\u003c/a> on the \u003ca href=\"http://www.hup.harvard.edu/catalog.php?isbn=9780674416598\" target=\"_blank\" rel=\"noopener\">categorization\u003c/a> of American \u003ca href=\"https://www.dukeupress.edu/Hidden-in-the-Mix/\" target=\"_blank\" rel=\"noopener\">music\u003c/a> in general is too much to wade into here, but there’s plenty of important work on the subject.) To have Beyonce, a contemporary, southern-born, black R&B artist in the mix helped ensure the circle remained unbroken. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+And+The+Dixie+Chicks+Offer+Up+Lessons+On+Country+Music%27s+Past+%28And+Future%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The collaboration stirred up controversy, but in the room at the CMA Awards, the performance of Beyoncé's \"Daddy Lessons\" felt like a precise recalibration of pop for a country setting.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In honor of the 50th anniversary of the CMA Awards, show producers worked a truly impressive number of performers into the Nov. 2 telecast, utilizing everything from moving medleys to photo montages and mentions of legends seated in the audience.\u003c/p>\n\u003cp>But no other appearance received half the attention of \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s “Daddy Lessons” collaboration with the \u003ca href=\"http://www.npr.org/artists/15399450/dixie-chicks\">Dixie Chicks\u003c/a>. As with just about anything Bey-related, the announcement that she would take the stage at Nashville’s Bridgestone Arena during what’s billed as “Country’s Biggest Night” generated a flurry of social media responses voicing a wide array of opinions. At opposing extremes were those exultant about the superstar \u003ca href=\"http://www.thedailybeast.com/articles/2016/11/02/beyonce-slays-the-country-music-awards-a-political-statement-unto-itself.html?via=twitter_page\" target=\"_blank\" rel=\"noopener\">extending her dominance\u003c/a> into an additional corner of the musical landscape and those who declared themselves country fans — but likely represented only a small but vocal minority of the genre’s listenership — and insisted that \u003ca href=\"http://www.tennessean.com/story/entertainment/music/2016/11/02/beyonce-sparks-cma-awards-backlash/93205328/?hootPostID=133a2e1ff28d14a178caca4dc90ac724\" target=\"_blank\" rel=\"noopener\">she didn’t belong there\u003c/a>.\u003c/p>\n\u003cp>The day after the show, a number of blogs joined Beyhive diehards in accusing the Country Music Association of bowing to the more vitriolic, racially charged commenters by erasing all online promotion of the Bey/Chicks segment, a conversation which ultimately amplified the perception that such viewpoints represented the country audience en masse. (The \u003ca href=\"http://www.nytimes.com/2016/11/04/arts/music/beyonce-cma-awards-backlash.html?_r=1\" target=\"_blank\" rel=\"noopener\">plausible explanation\u003c/a> offered by the CMA was that Beyoncé’s representatives were simply selective about what photos and video clips they would approve.) Some of the complaints plucked from Twitter feeds and comment threads on the CMA’s Facebook page had a territorial tone that echoed the “Is it or isn’t it country?” debate \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/7378225/beyonce-daddy-issues-country-music?utm_source=twitter\" target=\"_blank\" rel=\"noopener\">that sprang up\u003c/a> \u003ca href=\"http://www.cmt.com/news/1765408/whats-so-country-about-beyonce/\" target=\"_blank\" rel=\"noopener\">in some corners\u003c/a> after “Daddy Lessons” was released on \u003cem>Lemonade\u003c/em> in April.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/291254039″&visual=true&”color=ff5500″'\n title='”https://api.soundcloud.com/tracks/291254039″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Even so, the feeling in the room when Beyoncé took the stage was that we were watching a precision entertainer consciously recalibrate her delivery for the setting. It was one of the few segments in the show through which the entire arena remained on its feet. The song kicked off with harmonica, rather than the album version’s New Orleans-style horn intro, a down-home touch that hearkened back to country music’s early, and incidentally African-American, harmonica hero \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/deford-bailey\" target=\"_blank\" rel=\"noopener\">Deford Bailey\u003c/a>. Beyoncé struck up a “Texas” chant, then passed it off to Natalie Maines, Emily Robison and Martie Maguire, in acknowledgement of their shared geographical origins in a state rich in countrified storytelling. Between the tweaking of Beyoncé’s usual live instrumentation — less low-end thump, more strumming and light-footed percussion — and the Chicks’ bluegrass underpinnings, they leaned into a string band sound, even briefly veering into a stuttering, second line-ish adaptation of the Chicks’ fiddle romp “\u003ca href=\"https://www.youtube.com/watch?v=2c5b8ZtjwwY\" target=\"_blank\" rel=\"noopener\">Long Time Gone\u003c/a>,” a No. 2 country hit in 2002. And it was no small gesture for an artist whose performances of physicality have become iconic in R&B and pop realms — from her leotards to her magnetic dance choreography — to don a sheer, floor-length gown whose puffy sleeves Loretta Lynn might appreciate and, in a visual display of solidarity, stand next to the Chicks, who were anchored to instruments and mic stands. Beyoncé certainly didn’t squander her official country slot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From a historical angle, her country excursion represents something more like reclamation than invasion, since the genre’s roots entwine with African-American folk, blues, string band and pop contributions. In more recent times, a precedent’s been set for artists from other genres signaling their affinity for country music by \u003ca href=\"http://www.billboard.com/articles/columns/pop/7534100/lady-gaga-joanne-nashville-dive-bar-tour-review\" target=\"_blank\" rel=\"noopener\">making pilgrimages\u003c/a> to Nashville \u003ca href=\"http://nashvillepublicradio.org/post/bob-dylan-was-catalyst-nashville-cats-were-ones-who-changed-music-row#stream/0\" target=\"_blank\" rel=\"noopener\">writing rooms and studios\u003c/a>, \u003ca href=\"https://www.theguardian.com/music/2016/jun/01/beyonce-daddy-lessons-country-music\" target=\"_blank\" rel=\"noopener\">enlisting the talents\u003c/a> of recognized Music Row pros or teaming up with country’s resident stars. It’s nothing new either for the CMA Awards to present crossover pairings that, in a sense, position major country acts to vouch for the country-friendliness of pop heavyweights. (See: last year’s \u003ca href=\"http://www.rollingstone.com/music/news/see-chris-stapleton-and-justin-timberlakes-stunning-cma-awards-duet-20151104\" target=\"_blank\" rel=\"noopener\">much-discussed collab\u003c/a> between Chris Stapleton and Justin Timberlake, or 2013’s \u003ca href=\"http://www.billboard.com/articles/columns/the-615/5800832/zac-brown-band-teams-up-with-dave-grohl\" target=\"_blank\" rel=\"noopener\">between\u003c/a> the Zac Brown Band and Dave Grohl.) But Beyonce’s “Daddy Lessons” was written and recorded entirely independently of the country scene, and her performing partners, the Chicks — who’d been regularly covering her song — no longer have the ambassadorial heft of the format insiders they once were. They’ve kept a safe distance from the Nashville establishment ever since the radio rejection that followed lead singer Natalie Maines’ 2003 on-stage comments about President Bush. \u003ca href=\"http://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener\">Until a few months ago\u003c/a>, they hadn’t headlined Nashville in a decade.\u003c/p>\n\u003cp>When Beyonce, the Chicks and their combined band took the stage deep in the awards show, some may have experienced it as an interruption in the honoring of country stars past and present, especially given that it came immediately before a lifetime achievement nod to Beyonce’s fellow stadium-filler Kenny Chesney, comprised of a speech from Peyton Manning and an admiring tribute video; without a performing component, it couldn’t help but seem subdued in comparison to the high-energy musical interlude that had come just before. But Beyonce’s turn also brought a certain symmetry to the night.\u003c/p>\n\u003cp>Interaction with other forms of popular music — as opposed to isolation from them — is a source of pride, not to mention one among many drivers of stylistic evolution, in the mainstream country world. Crossover impact has been one of the great achievements of the award show’s penultimate honoree, Dolly Parton, who was feted with a medley of hits, like “Here You Come Again” and “9 to 5,” that landed her on the pop charts and a standard, “I Will Always Love You,” that’s had a second life in reinterpretations by pop superstars of color, Beyoncé \u003ca href=\"http://rare.us/story/beyonce-attempts-to-slay-a-dolly-parton-country-classic/\" target=\"_blank\" rel=\"noopener\">included\u003c/a>. It’s worth noting too that two of the five singers paying tribute to Parton, \u003ca href=\"https://www.youtube.com/watch?v=RjWCZB08UW0\" target=\"_blank\" rel=\"noopener\">Reba McEntire\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=6XTXHvae10o\" target=\"_blank\" rel=\"noopener\">Jennifer Nettles\u003c/a>, have also dipped into Beyoncé’s catalog on occasion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The “Daddy Lessons” performance was preceded earlier in the night by Maren Morris’s explicit incorporation of African-American gospel stylings into her breezy country-pop gem “My Church” and Keith Urban’s smolderingly stark rendition of his throwback soul single “Blue Ain’t Your Color.” And shortly after Beyonce sang with the Chicks, Dwight Yoakam and Chris Stapleton revisited a successful country-soul collaboration with a cover of “Seven Spanish Angels,” a Willie Nelson and Ray Charles duet that became a country hit in the mid-’80s. That wasn’t Charles’s first foray into country music, of course, but it was his highest charting one. (The complexities of Charles’s track record with the genre, and the \u003ca href=\"https://www.dukeupress.edu/segregating-sound\" target=\"_blank\" rel=\"noopener\">impact\u003c/a> of \u003ca href=\"http://uncpress.unc.edu/books/12833.html\" target=\"_blank\" rel=\"noopener\">race\u003c/a> on the \u003ca href=\"http://www.hup.harvard.edu/catalog.php?isbn=9780674416598\" target=\"_blank\" rel=\"noopener\">categorization\u003c/a> of American \u003ca href=\"https://www.dukeupress.edu/Hidden-in-the-Mix/\" target=\"_blank\" rel=\"noopener\">music\u003c/a> in general is too much to wade into here, but there’s plenty of important work on the subject.) To have Beyonce, a contemporary, southern-born, black R&B artist in the mix helped ensure the circle remained unbroken. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+And+The+Dixie+Chicks+Offer+Up+Lessons+On+Country+Music%27s+Past+%28And+Future%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A federal jury has found that \u003cem>Rolling Stone\u003c/em>, a reporter and the magazine’s publisher are liable in a defamation lawsuit over a 2014 article about an alleged rape at the University of Virginia.\u003c/p>\n\u003cp>The trial centered on an article by reporter Sabrina Rubin Erdely that told the story of a student identified as “Jackie” who said she was brutally gang raped at a fraternity party.\u003c/p>\n\u003cp>But “several outlets, including The Washington Post, identified major inconsistencies in the reporting,” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/17/498242065/defamation-trial-over-rolling-stone-rape-allegation-story-to-begin\" target=\"_blank\" rel=\"noopener\">as The Two-Way has reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Soon afterward, \u003cem>Rolling Stone \u003c/em>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/12/05/368748289/rolling-stone-says-trust-in-gang-rape-accuser-was-misplaced\" target=\"_blank\" rel=\"noopener\">retracted the story\u003c/a>, saying the magazine had relied too much on “Jackie’s” account and did not adequately work to confirm her story.\u003c/p>\n\u003cp>“An investigation found that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/05/397696712/report-on-retracted-rolling-stone-rape-story-cites-systematic-failing\" target=\"_blank\" rel=\"noopener\">repeated, systematic failures\u003c/a> within the magazine led to the article’s publication.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Nicole Eramo, a former associate dean of students, sued for $7.85 million over how she was portrayed. As we reported, she “said the article painted her as the ‘chief villain’ of the story, full of indifference toward a sexual assault allegation.”\u003c/p>\n\u003cp>Damages have yet to be assessed. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jury+Finds+%27Rolling+Stone%2C%27+Reporter+Liable+For+Damages+Over+Rape+Allegation+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A federal jury has found that \u003cem>Rolling Stone\u003c/em>, a reporter and the magazine’s publisher are liable in a defamation lawsuit over a 2014 article about an alleged rape at the University of Virginia.\u003c/p>\n\u003cp>The trial centered on an article by reporter Sabrina Rubin Erdely that told the story of a student identified as “Jackie” who said she was brutally gang raped at a fraternity party.\u003c/p>\n\u003cp>But “several outlets, including The Washington Post, identified major inconsistencies in the reporting,” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/17/498242065/defamation-trial-over-rolling-stone-rape-allegation-story-to-begin\" target=\"_blank\" rel=\"noopener\">as The Two-Way has reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Soon afterward, \u003cem>Rolling Stone \u003c/em>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/12/05/368748289/rolling-stone-says-trust-in-gang-rape-accuser-was-misplaced\" target=\"_blank\" rel=\"noopener\">retracted the story\u003c/a>, saying the magazine had relied too much on “Jackie’s” account and did not adequately work to confirm her story.\u003c/p>\n\u003cp>“An investigation found that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/05/397696712/report-on-retracted-rolling-stone-rape-story-cites-systematic-failing\" target=\"_blank\" rel=\"noopener\">repeated, systematic failures\u003c/a> within the magazine led to the article’s publication.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Nicole Eramo, a former associate dean of students, sued for $7.85 million over how she was portrayed. As we reported, she “said the article painted her as the ‘chief villain’ of the story, full of indifference toward a sexual assault allegation.”\u003c/p>\n\u003cp>Damages have yet to be assessed. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jury+Finds+%27Rolling+Stone%2C%27+Reporter+Liable+For+Damages+Over+Rape+Allegation+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Gimme Danger': Finding Cool On The Brink Of Catastrophe",
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"content": "\u003cp>Iggy Pop cares very deeply about things that are cool. This is clear throughout \u003cem>Gimme Danger\u003c/em>, the new documentary about the legendary rock band The Stooges, just based on the choices their wild, writhing, frequently shirtless frontman makes at every stage of his career: jumping into the crowd during his shows, squatting in a house in Detroit after the 1967 riots, taking advantage of a post-breakup contract with David Bowie to reunite the band on someone else’s dime. But his love of cool at the expense of all else comes especially into focus during his acceptance speech from The Stooges’ induction into the Rock and Roll Hall of Fame in 2010. “All the poor people who actually started rock-and-roll music are \u003cem>cool\u003c/em>,” he says in the clip.\u003c/p>\n\u003cp>These days the “rockumentary” is big again—not in the \u003cem>Spinal Tap\u003c/em> sense, but in a fully earnest form, where a band in its golden years gazes back on its time in the limelight with a knowing chuckle and embraces every drug-fueled act of rebellion as the moment when music changed forever. As filmmakers run out of Boomer-era acts to profile, some are even turning to \u003ca href=\"http://www.npr.org/2015/04/02/396791393/lambert-and-stamp-the-story-of-the-men-who-helped-make-the-who\" target=\"_blank\" rel=\"noopener\">band managers\u003c/a> instead. But are these kinds of nostalgic exercises “cool”? Or are they, as the arbiter of cool himself says here about the corporate flower-power acts marketed against The Stooges the late-’60s, another form of hijacking poor people’s cred for a quick buck?\u003c/p>\n\u003cp>https://youtu.be/StqNCvQHJnM\u003c/p>\n\u003cp>Well, if anyone could be cool enough to document the Ann Arbor forefathers of punk, it’s Jim Jarmusch. The closest thing to a rock star in American cinema, Jarmusch—a lifelong outside-the-system filmmaker who often casts musicians in his movies—has a deep affinity for the subculture The Stooges helped usher in. It’s noticeable even in films of his that outwardly have nothing to do with music, like the natty comic nihilism of his period Western \u003cem>Dead Man\u003c/em>, but particularly in the ones that do. Jarmusch’s \u003cem>Only Lovers Left Alive\u003c/em>, in which Tom Hiddleston played a reclusive Detroit vampire who’s released centuries’ worth of compositions under famous names, might as well have been an alternative Iggy Pop history: Both men share Michigan ties, long hair, an under-appreciated role in the development of popular music, and the leathery skin and twisty bone structures of the undead.\u003c/p>\n\u003cp>In \u003cem>Gimme Danger\u003c/em>, Jarmusch makes the canny decision to identify Iggy by his birth name, Jim Osterberg, which has the effect of stripping away the artificiality that often plagues rock-docs of this sort. In fact, Jarmusch’s greatest accomplishment here may be that his film looks and feels just as raggedy as the band itself. Title cards in rock-poster font announce major chapters (“Stooges to L.A.!!”), while stories from the bandmates themselves, via interviews largely conducted in laundry rooms and other “undisclosed locations,” are illustrated with jerky animated sequences that could be lunchroom doodles.\u003c/p>\n\u003cfigure id=\"attachment_12286186\" class=\"wp-caption aligncenter\" style=\"max-width: 948px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/gimme1.jpg\" alt=\"Iggy Pop and the Stooges.\" width=\"948\" height=\"648\" class=\"size-full wp-image-12286186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1.jpg 948w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-520x355.jpg 520w\" sizes=\"(max-width: 948px) 100vw, 948px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop and the Stooges. \u003ccite>(courtesy Amazon Studios/Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movie opens with the band’s 1973 flameout, brought on by drug abuse and backstage violence. It then jumps back to their already-rickety 1967 beginnings, when Osterberg, along with brothers Ron and Scott Asheton (guitar, drums) and novice musician Dave Alexander (bass), were making up their dirty, primitive sound as they went along, landing a record deal due to their association with the much buzzier MC5. Jarmusch could be arguing that the band’s entire trajectory was its own kind of flameout—one deliberately done for spectacle, like a stuntman’s controlled crash. From the beginning, the band’s nasty, antagonistic tendencies had as much potential to finish them off prematurely as they did to secure their legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where did all that, err, raw power come from? Osterberg himself name-checks early influences for his onstage behavior, including the kids’ clown Soupy Sales, and it was Howdy Doody’s request for his viewers to keep their letters to him short that led to the naked simplicity of Stooges lyrics like “Last year I was 21 / I didn’t have a lot of fun.” The band stayed apolitical even as contemporaries dug into the antiwar movement, a choice that in Osterberg’s telling seems to have been born as much out of sheer apathy as anything else, but nevertheless seems to have freed them to make fools out of themselves. Not that they wouldn’t have done that, anyway.\u003c/p>\n\u003cfigure id=\"attachment_12286188\" class=\"wp-caption aligncenter\" style=\"max-width: 503px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/gimme3.jpg\" alt=\"Iggy Pop and the Stooges.\" width=\"503\" height=\"355\" class=\"size-full wp-image-12286188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-375x265.jpg 375w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop and the Stooges. \u003ccite>(Courtesy Amazon Studios/Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film tells the story almost entirely through The Stooges’ own words, including the now-deceased Ashetons (archival footage for Ron, new interviews with Scott recorded before his 2014 death). A side plot allows for a fun comeback narrative involving guitarist James Williamson, who joined the band for the \u003cem>Raw Power\u003c/em> sessions in 1973 but retreated to a career in Silicon Valley in the intervening years, until Osterberg called him out of the blue to join the reunion tour in the mid-2000s. But even as he drags his veritable encyclopedia into a largely self-indulgent second hour, Jarmusch still leaves things off the table; more live footage of Osterberg in full vampire mode surely would have made his case for musical mischief better than the 69-year-old’s overly heady modern-day recollections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever nebulous value defines “cool” at the end of the day, the hands-down coolest thing about \u003cem>Gimme Danger\u003c/em> is seeing how a weird, self-described “trailer park kid” from the outskirts of Ann Arbor, working with wildly differing levels of musical talent, could influence generations’ worth of the most prominent names in rock. By this value alone, The Stooges may be the biggest secret success story in music. \u003cem>Gimme Danger\u003c/em> preserves their legacy better than any fan might have dared hope: by showing how the “poor people,” imperfections and all, could shock the world through sheer force of will.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iggy Pop cares very deeply about things that are cool. This is clear throughout \u003cem>Gimme Danger\u003c/em>, the new documentary about the legendary rock band The Stooges, just based on the choices their wild, writhing, frequently shirtless frontman makes at every stage of his career: jumping into the crowd during his shows, squatting in a house in Detroit after the 1967 riots, taking advantage of a post-breakup contract with David Bowie to reunite the band on someone else’s dime. But his love of cool at the expense of all else comes especially into focus during his acceptance speech from The Stooges’ induction into the Rock and Roll Hall of Fame in 2010. “All the poor people who actually started rock-and-roll music are \u003cem>cool\u003c/em>,” he says in the clip.\u003c/p>\n\u003cp>These days the “rockumentary” is big again—not in the \u003cem>Spinal Tap\u003c/em> sense, but in a fully earnest form, where a band in its golden years gazes back on its time in the limelight with a knowing chuckle and embraces every drug-fueled act of rebellion as the moment when music changed forever. As filmmakers run out of Boomer-era acts to profile, some are even turning to \u003ca href=\"http://www.npr.org/2015/04/02/396791393/lambert-and-stamp-the-story-of-the-men-who-helped-make-the-who\" target=\"_blank\" rel=\"noopener\">band managers\u003c/a> instead. But are these kinds of nostalgic exercises “cool”? Or are they, as the arbiter of cool himself says here about the corporate flower-power acts marketed against The Stooges the late-’60s, another form of hijacking poor people’s cred for a quick buck?\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/StqNCvQHJnM'\n title='//www.youtube.com/embed/StqNCvQHJnM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, if anyone could be cool enough to document the Ann Arbor forefathers of punk, it’s Jim Jarmusch. The closest thing to a rock star in American cinema, Jarmusch—a lifelong outside-the-system filmmaker who often casts musicians in his movies—has a deep affinity for the subculture The Stooges helped usher in. It’s noticeable even in films of his that outwardly have nothing to do with music, like the natty comic nihilism of his period Western \u003cem>Dead Man\u003c/em>, but particularly in the ones that do. Jarmusch’s \u003cem>Only Lovers Left Alive\u003c/em>, in which Tom Hiddleston played a reclusive Detroit vampire who’s released centuries’ worth of compositions under famous names, might as well have been an alternative Iggy Pop history: Both men share Michigan ties, long hair, an under-appreciated role in the development of popular music, and the leathery skin and twisty bone structures of the undead.\u003c/p>\n\u003cp>In \u003cem>Gimme Danger\u003c/em>, Jarmusch makes the canny decision to identify Iggy by his birth name, Jim Osterberg, which has the effect of stripping away the artificiality that often plagues rock-docs of this sort. In fact, Jarmusch’s greatest accomplishment here may be that his film looks and feels just as raggedy as the band itself. Title cards in rock-poster font announce major chapters (“Stooges to L.A.!!”), while stories from the bandmates themselves, via interviews largely conducted in laundry rooms and other “undisclosed locations,” are illustrated with jerky animated sequences that could be lunchroom doodles.\u003c/p>\n\u003cfigure id=\"attachment_12286186\" class=\"wp-caption aligncenter\" style=\"max-width: 948px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/gimme1.jpg\" alt=\"Iggy Pop and the Stooges.\" width=\"948\" height=\"648\" class=\"size-full wp-image-12286186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1.jpg 948w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-520x355.jpg 520w\" sizes=\"(max-width: 948px) 100vw, 948px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop and the Stooges. \u003ccite>(courtesy Amazon Studios/Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movie opens with the band’s 1973 flameout, brought on by drug abuse and backstage violence. It then jumps back to their already-rickety 1967 beginnings, when Osterberg, along with brothers Ron and Scott Asheton (guitar, drums) and novice musician Dave Alexander (bass), were making up their dirty, primitive sound as they went along, landing a record deal due to their association with the much buzzier MC5. Jarmusch could be arguing that the band’s entire trajectory was its own kind of flameout—one deliberately done for spectacle, like a stuntman’s controlled crash. From the beginning, the band’s nasty, antagonistic tendencies had as much potential to finish them off prematurely as they did to secure their legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where did all that, err, raw power come from? Osterberg himself name-checks early influences for his onstage behavior, including the kids’ clown Soupy Sales, and it was Howdy Doody’s request for his viewers to keep their letters to him short that led to the naked simplicity of Stooges lyrics like “Last year I was 21 / I didn’t have a lot of fun.” The band stayed apolitical even as contemporaries dug into the antiwar movement, a choice that in Osterberg’s telling seems to have been born as much out of sheer apathy as anything else, but nevertheless seems to have freed them to make fools out of themselves. Not that they wouldn’t have done that, anyway.\u003c/p>\n\u003cfigure id=\"attachment_12286188\" class=\"wp-caption aligncenter\" style=\"max-width: 503px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/gimme3.jpg\" alt=\"Iggy Pop and the Stooges.\" width=\"503\" height=\"355\" class=\"size-full wp-image-12286188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-375x265.jpg 375w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop and the Stooges. \u003ccite>(Courtesy Amazon Studios/Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film tells the story almost entirely through The Stooges’ own words, including the now-deceased Ashetons (archival footage for Ron, new interviews with Scott recorded before his 2014 death). A side plot allows for a fun comeback narrative involving guitarist James Williamson, who joined the band for the \u003cem>Raw Power\u003c/em> sessions in 1973 but retreated to a career in Silicon Valley in the intervening years, until Osterberg called him out of the blue to join the reunion tour in the mid-2000s. But even as he drags his veritable encyclopedia into a largely self-indulgent second hour, Jarmusch still leaves things off the table; more live footage of Osterberg in full vampire mode surely would have made his case for musical mischief better than the 69-year-old’s overly heady modern-day recollections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever nebulous value defines “cool” at the end of the day, the hands-down coolest thing about \u003cem>Gimme Danger\u003c/em> is seeing how a weird, self-described “trailer park kid” from the outskirts of Ann Arbor, working with wildly differing levels of musical talent, could influence generations’ worth of the most prominent names in rock. By this value alone, The Stooges may be the biggest secret success story in music. \u003cem>Gimme Danger\u003c/em> preserves their legacy better than any fan might have dared hope: by showing how the “poor people,” imperfections and all, could shock the world through sheer force of will.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>They’re officially the coolest kids to come out of Forest Hills High in Queens, N.Y., and that’s saying something. The street where the Ramones — Joey, Johnny, Dee Dee and Tommy — went to high school is now named for them, as they beat out other former students such as Burt Bacharach, Paul Simon and Art Garfunkel.\u003c/p>\n\u003cp>It’s a natural fit for a band that personified street-tough punk rock to have a street named for it — and the band now has two in New York City alone. The new one’s at 67th Ave. and 110th, where hundreds of fans gathered for a renaming ceremony Sunday. Already on the map: Joey Ramone Place on the Lower East Side, near the former home of the CBGB club.\u003c/p>\n\u003cp>For NPR’s Newscast unit, \u003ca href=\"http://allysonmccabe.com/\" target=\"_blank\" rel=\"noopener\">Allyson Mccabe\u003c/a> reports from today’s dedication ceremony in New York:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mickey Leigh, brother of the late Joey Ramone, led the effort to commemorate the band’s origins. Although all of the Ramones’ original members have passed on, among those in attendance today were the Ramones’ former manager, Danny Fields, and the band’s long-time tour manager, Monte Melnick. Melnick, also a Forest Hills High alumnus, says the band’s legacy can be described as succinctly as their songs.\u003c/p>\n\u003cp>” ‘They did what they could with what they had, which was their music. That’s the Ramones way.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>To appreciate their feat of having their old high school’s street named for them, consider that \u003ca href=\"https://en.wikipedia.org/wiki/Forest_Hills_High_School_(New_York)#Notable_alumni\" target=\"_blank\" rel=\"noopener\">other former students\u003c/a> included Bob Keeshan (who portrayed Captain Kangaroo), Radioactive Records founder and music promoter Gary Kurfirst, and current U.S. Treasury Secretary Jack Lew.\u003c/p>\n\u003cp>Another famous product of the Forest Hills neighborhood was Peter Parker, a.k.a. Spiderman, whose Midtown High School is believed to have been based on Forest Hills High.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In honor of Halloween, here’s one of the Ramones’ later hits: “Pet Sematary” — as in “I don’t wanna be buried in a ….”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F3J0iwwsq-w\u003c/p>\n\u003cp>But if you’re thirsty for the punk-rock edge that the Ramones were famous for, it’s best to check out their London concert from 1977: \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Sp3zaeOyL7Q\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Ramones+Way%3A+Street+At+Rockers%27+High+School+Is+Renamed+For+Band&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They’re officially the coolest kids to come out of Forest Hills High in Queens, N.Y., and that’s saying something. The street where the Ramones — Joey, Johnny, Dee Dee and Tommy — went to high school is now named for them, as they beat out other former students such as Burt Bacharach, Paul Simon and Art Garfunkel.\u003c/p>\n\u003cp>It’s a natural fit for a band that personified street-tough punk rock to have a street named for it — and the band now has two in New York City alone. The new one’s at 67th Ave. and 110th, where hundreds of fans gathered for a renaming ceremony Sunday. Already on the map: Joey Ramone Place on the Lower East Side, near the former home of the CBGB club.\u003c/p>\n\u003cp>For NPR’s Newscast unit, \u003ca href=\"http://allysonmccabe.com/\" target=\"_blank\" rel=\"noopener\">Allyson Mccabe\u003c/a> reports from today’s dedication ceremony in New York:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mickey Leigh, brother of the late Joey Ramone, led the effort to commemorate the band’s origins. Although all of the Ramones’ original members have passed on, among those in attendance today were the Ramones’ former manager, Danny Fields, and the band’s long-time tour manager, Monte Melnick. Melnick, also a Forest Hills High alumnus, says the band’s legacy can be described as succinctly as their songs.\u003c/p>\n\u003cp>” ‘They did what they could with what they had, which was their music. That’s the Ramones way.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>To appreciate their feat of having their old high school’s street named for them, consider that \u003ca href=\"https://en.wikipedia.org/wiki/Forest_Hills_High_School_(New_York)#Notable_alumni\" target=\"_blank\" rel=\"noopener\">other former students\u003c/a> included Bob Keeshan (who portrayed Captain Kangaroo), Radioactive Records founder and music promoter Gary Kurfirst, and current U.S. Treasury Secretary Jack Lew.\u003c/p>\n\u003cp>Another famous product of the Forest Hills neighborhood was Peter Parker, a.k.a. Spiderman, whose Midtown High School is believed to have been based on Forest Hills High.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In honor of Halloween, here’s one of the Ramones’ later hits: “Pet Sematary” — as in “I don’t wanna be buried in a ….”\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/F3J0iwwsq-w'\n title='//www.youtube.com/embed/F3J0iwwsq-w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But if you’re thirsty for the punk-rock edge that the Ramones were famous for, it’s best to check out their London concert from 1977: \u003c/p>\n\u003cp>\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/Sp3zaeOyL7Q'\n title='//www.youtube.com/embed/Sp3zaeOyL7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Ramones+Way%3A+Street+At+Rockers%27+High+School+Is+Renamed+For+Band&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Melancholy Youth Finds Himself Under The Heavenly Glow Of 'Moonlight'",
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"content": "\u003cp>The landscape is all too familiar: Junkies, dealers, prostitution, poverty, and, here and there, spasms of violence. But \u003cem>Moonlight\u003c/em>, an incandescent second feature from Barry Jenkins (\u003cem>Medicine for Melancholy\u003c/em>), is a “black” movie more by way of Charles Burnett than John Singleton (\u003cem>Boyz n the Hood\u003c/em>) or the Hughes brothers (\u003cem>Menace II Society\u003c/em>). Adapted by Jenkins from a story by playwright Tarell Alvin McCraney and set in the down-at-heel Miami neighborhood where both men grew up, \u003cem>Moonlight\u003c/em> is an elegiac mood piece achingly reminiscent of \u003cem>Killer of Sheep\u003c/em>, Burnett’s 1978 masterpiece about a Los Angeles slaughterhouse worker. Spread over three leisurely chapters, the movie beams a passionately subjective gaze into the heart of a boy named Chiron, who’s played by three soulful actors as he grows into manhood, blindly searching for identity and safety under damaging conditions. By the end, you may long for a fourth chapter.\u003c/p>\n\u003cp>https://youtu.be/9NJj12tJzqc\u003c/p>\n\u003cp>Bullied at school and bereft of adult protection, Chiron, played as a little boy by Alex Hibbert, loves his crack-addicted mother (Naomie Harris). Knowing her limits, though, the youngster hesitantly places his trust in a kindly couple played by Mahershala Ali and R&B performer Janelle Monáe, who’s tamped herself down into a steady nurturer. The two provide him with a second home and the parenting he desperately needs. That one of them happens also to be a local drug kingpin is significant. Jenkins is a close but forgiving observer of human complication. Neither Chiron nor any of the people who orbit him as he grows into adolescence falls neatly on the side of good or evil: Not his mother or his mentor, and certainly not his far less inhibited only friend, Kevin (Jharrel Jerome), who grasps Chiron’s emerging sexuality more clearly than he does himself—and then, under duress, betrays him.\u003c/p>\n\u003cp>Small wonder that Chiron, now a skinny teenager intelligently underplayed by Ashton Sanders, has the habit of wariness down. A terrible loneliness rises from the boy. He’s still being hassled, which he bears with a sullen stoicism that threatens to boil over any minute. When it does, the consequences he suffers seem poised to shift the film into action mode. Emerging from a long spell in prison, the adult Chiron (Trevante Rhodes) is unrecognizable. Toned and muscled, he now goes by Black, drives a dealer’s limo and wears a gold chain, and carries himself with a taciturn assurance learned from the dealer who took him in as a frightened child.\u003c/p>\n\u003cp>Black might look like The Man, but Jenkins doesn’t go there. Instead, he sustains his slow externalization of the inner life of a man who may look as though he has it together, yet still reflexively hides from himself and others. Chiron’s despair and his tenuous hope are filtered through a boldly eclectic soundtrack and a lyrical sense of place. Liberty City appears as a site of cinder-blocked blight, tempered by the consoling beauty of the shimmering beach at night, where the teenage Chiron is given a taste of the man he might become.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Toward the end of \u003cem>Moonlight\u003c/em>, Chiron gets a phone call from Kevin, the friend he hasn’t heard from in years, with good reason. He thinks he’s getting one kind of signal, but when he shows up unannounced at the diner where Kevin works, their reunion plays out quite differently in a delicately realized scene with a wonderfully warm performance by André Holland. Dialogue is spare in \u003cem>Moonlight.\u003c/em> There’s little exposition and no big reveal in which a lost boy smites his forehead and cries, “Dear Lord, I’m \u003cem>that\u003c/em> guy!” Instead, as the grief Chiron has kept at bay all his life gushes forth at long last, we see that the drama we’ve been watching all along is not just (not even, really) a coming-out story, but something at once more ambitious and more generous—an inquiry into masculinity itself. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The landscape is all too familiar: Junkies, dealers, prostitution, poverty, and, here and there, spasms of violence. But \u003cem>Moonlight\u003c/em>, an incandescent second feature from Barry Jenkins (\u003cem>Medicine for Melancholy\u003c/em>), is a “black” movie more by way of Charles Burnett than John Singleton (\u003cem>Boyz n the Hood\u003c/em>) or the Hughes brothers (\u003cem>Menace II Society\u003c/em>). Adapted by Jenkins from a story by playwright Tarell Alvin McCraney and set in the down-at-heel Miami neighborhood where both men grew up, \u003cem>Moonlight\u003c/em> is an elegiac mood piece achingly reminiscent of \u003cem>Killer of Sheep\u003c/em>, Burnett’s 1978 masterpiece about a Los Angeles slaughterhouse worker. Spread over three leisurely chapters, the movie beams a passionately subjective gaze into the heart of a boy named Chiron, who’s played by three soulful actors as he grows into manhood, blindly searching for identity and safety under damaging conditions. By the end, you may long for a fourth chapter.\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/9NJj12tJzqc'\n title='//www.youtube.com/embed/9NJj12tJzqc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bullied at school and bereft of adult protection, Chiron, played as a little boy by Alex Hibbert, loves his crack-addicted mother (Naomie Harris). Knowing her limits, though, the youngster hesitantly places his trust in a kindly couple played by Mahershala Ali and R&B performer Janelle Monáe, who’s tamped herself down into a steady nurturer. The two provide him with a second home and the parenting he desperately needs. That one of them happens also to be a local drug kingpin is significant. Jenkins is a close but forgiving observer of human complication. Neither Chiron nor any of the people who orbit him as he grows into adolescence falls neatly on the side of good or evil: Not his mother or his mentor, and certainly not his far less inhibited only friend, Kevin (Jharrel Jerome), who grasps Chiron’s emerging sexuality more clearly than he does himself—and then, under duress, betrays him.\u003c/p>\n\u003cp>Small wonder that Chiron, now a skinny teenager intelligently underplayed by Ashton Sanders, has the habit of wariness down. A terrible loneliness rises from the boy. He’s still being hassled, which he bears with a sullen stoicism that threatens to boil over any minute. When it does, the consequences he suffers seem poised to shift the film into action mode. Emerging from a long spell in prison, the adult Chiron (Trevante Rhodes) is unrecognizable. Toned and muscled, he now goes by Black, drives a dealer’s limo and wears a gold chain, and carries himself with a taciturn assurance learned from the dealer who took him in as a frightened child.\u003c/p>\n\u003cp>Black might look like The Man, but Jenkins doesn’t go there. Instead, he sustains his slow externalization of the inner life of a man who may look as though he has it together, yet still reflexively hides from himself and others. Chiron’s despair and his tenuous hope are filtered through a boldly eclectic soundtrack and a lyrical sense of place. Liberty City appears as a site of cinder-blocked blight, tempered by the consoling beauty of the shimmering beach at night, where the teenage Chiron is given a taste of the man he might become.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Toward the end of \u003cem>Moonlight\u003c/em>, Chiron gets a phone call from Kevin, the friend he hasn’t heard from in years, with good reason. He thinks he’s getting one kind of signal, but when he shows up unannounced at the diner where Kevin works, their reunion plays out quite differently in a delicately realized scene with a wonderfully warm performance by André Holland. Dialogue is spare in \u003cem>Moonlight.\u003c/em> There’s little exposition and no big reveal in which a lost boy smites his forehead and cries, “Dear Lord, I’m \u003cem>that\u003c/em> guy!” Instead, as the grief Chiron has kept at bay all his life gushes forth at long last, we see that the drama we’ve been watching all along is not just (not even, really) a coming-out story, but something at once more ambitious and more generous—an inquiry into masculinity itself. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Christopher Marlowe Officially Credited as Co-Author of 3 Shakespeare Plays",
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"content": "\u003cp>Oxford University Press has announced that its new edition of the complete works of William Shakespeare will credit Christopher Marlowe as a co-author on the three \u003cem>Henry VI \u003c/em>plays.\u003c/p>\n\u003cp>Despite years of controversy about the authorship of some of Shakespeare’s work, this is the first time a major publishing house has formally named Marlowe as a co-author.\u003c/p>\n\u003cp>\u003ca href=\"http://guides.nyu.edu/c.php?g=276645&p=1848338\" target=\"_blank\" rel=\"noopener\">Christopher Marlowe\u003c/a> is a 16th century British poet and playwright. The extent of his possible influence on (or even collaboration with) William Shakespeare is the subject of much academic scholarship, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=92142217\" target=\"_blank\" rel=\"noopener\">as NPR has reported\u003c/a>, but for many years, mainstream academics had mostly derided efforts of independent scholars who challenged the authorship of plays attributed to Shakespeare.\u003c/p>\n\u003cp>The \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-modern-critical-edition-9780199591152?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">new Oxford edition\u003c/a>, which will be available in November, was edited by four Shakespeare scholars: Gary Taylor of Florida State University, John Jowett of the University of Birmingham, Terri Bourus of Indiana University and Gabriel Egan of De Montfort University.\u003c/p>\n\u003cp>Taylor tells NPR the conclusion that Marlowe should be credited as co-author is partly based on a combination of new and old research. In particular, Taylor cited \u003ca href=\"https://www.documentcloud.org/documents/3171247-14104-32558-1-PB.html\" target=\"_blank\" rel=\"noopener\">2009 research\u003c/a> by Hugh Craig and Arthur Kinney that analyzed vocabulary from the \u003cem>Henry VI\u003c/em> plays and compared it to plays known to have been written by Marlowe, and \u003ca href=\"http://www.tandfonline.com/doi/full/10.1080/17450918.2015.1102166\" target=\"_blank\" rel=\"noopener\">a 2015 article\u003c/a> by John Nance analyzing the prose of Part 2 of \u003cem>Henry VI\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taylor himself has published scholarly work on Marlowe and Shakespeare, \u003ca href=\"https://www.cambridge.org/core/books/shakespeare-survey/imitation-or-collaboration-marlowe-and-the-early-shakespeare-canon/2C00942D8A046D2AD2BC94ED9E4F4B53\" target=\"_blank\" rel=\"noopener\">including work from last year\u003c/a> titled \u003cem>Imitation or Collaboration? Marlowe and the Early Shakespeare Canon, \u003c/em>on which he collaborated with Nance.\u003c/p>\n\u003cp>“All these publications have been subjected to rigorous peer-review,” Taylor told NPR in an email.\u003c/p>\n\u003cp>He said there is also new work by Craig and another Shakespeare scholar, John Burrow, that is specifically on \u003cem>Henry VI, Part 3,\u003c/em> and will be published in a \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-authorship-companion-9780199591169?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">companion text devoted entirely to research on the authorship\u003c/a> of work attributed to Shakespeare. The chapter on the third part of \u003cem>Henry VI\u003c/em> is one of 25 chapters on authorship, written by 18 scholars in five countries, according to Taylor.\u003c/p>\n\u003cp>Oxford University Press \u003ca href=\"https://www.washingtonpost.com/entertainment/oxford-says-shakespeare-will-share-credit-for-henry-vi/2016/10/24/69912bea-99db-11e6-b552-b1f85e484086_story.html\" target=\"_blank\" rel=\"noopener\">told The Associated Press\u003c/a> that “identifying Marlowe’s hand in the \u003cem>Henry VI\u003c/em> plays is just one of the fresh features of this project.”\u003c/p>\n\u003cp>Much of the authorship analysis is quite technical because it involves analyzing every word of entire plays, looking for patterns and clues. For example, an article on Marlowe’s presence in the \u003cem>Henry VI\u003c/em> plays, due to be published in the next issue of \u003cem>Shakespeare Quarterly\u003c/em>, is a collaboration between another of the Oxford project editors, Gabriel Egan, and a team of mathematicians from the University of Pennsylvania.\u003c/p>\n\u003cp>The addition of Marlowe’s name to the \u003cem>Henry VI\u003c/em> plays does not settle the question of Shakespearean authorship. Carol Rutter, a professor of Shakespeare and performance studies at the University of Warwick, \u003ca href=\"http://www.bbc.com/news/entertainment-arts-37750558\" target=\"_blank\" rel=\"noopener\">told the BBC\u003c/a>, “It will still be open for people to make up their own minds. I don’t think [Oxford University Press] putting their brand mark on an attribution settles the issue for most people.”\u003c/p>\n\u003cp>Rutter told the BBC, “I believe Shakespeare collaborated with all kinds of people … but I would be very surprised if Marlowe was one of them.”\u003c/p>\n\u003cp>As for how Marlowe’s vocabulary and style could have made it into Shakespeare’s work without direct collaboration, Rutter said: “It’s much more likely that he started his career working for a company where he was already an actor, and collaborated not with another playwright but with the actors — who will have had Marlowe very much in their heads, on the stage, in their voices. … They were the ones putting Marlowe’s influence into the plays.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although she disagrees with the conclusion reached by Taylor and his co-editors, she told the BBC she thinks the discussion of authorship is good for Shakespearean scholarship. “We have really stopped thinking about the richness of the writing experience in the early modern theater, and by crediting Marlowe, people like Gary Taylor are making us attend to that,” she said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Christopher+Marlowe+Officially+Credited+As+Co-Author+Of+3+Shakespeare+Plays+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oxford University Press has announced that its new edition of the complete works of William Shakespeare will credit Christopher Marlowe as a co-author on the three \u003cem>Henry VI \u003c/em>plays.\u003c/p>\n\u003cp>Despite years of controversy about the authorship of some of Shakespeare’s work, this is the first time a major publishing house has formally named Marlowe as a co-author.\u003c/p>\n\u003cp>\u003ca href=\"http://guides.nyu.edu/c.php?g=276645&p=1848338\" target=\"_blank\" rel=\"noopener\">Christopher Marlowe\u003c/a> is a 16th century British poet and playwright. The extent of his possible influence on (or even collaboration with) William Shakespeare is the subject of much academic scholarship, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=92142217\" target=\"_blank\" rel=\"noopener\">as NPR has reported\u003c/a>, but for many years, mainstream academics had mostly derided efforts of independent scholars who challenged the authorship of plays attributed to Shakespeare.\u003c/p>\n\u003cp>The \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-modern-critical-edition-9780199591152?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">new Oxford edition\u003c/a>, which will be available in November, was edited by four Shakespeare scholars: Gary Taylor of Florida State University, John Jowett of the University of Birmingham, Terri Bourus of Indiana University and Gabriel Egan of De Montfort University.\u003c/p>\n\u003cp>Taylor tells NPR the conclusion that Marlowe should be credited as co-author is partly based on a combination of new and old research. In particular, Taylor cited \u003ca href=\"https://www.documentcloud.org/documents/3171247-14104-32558-1-PB.html\" target=\"_blank\" rel=\"noopener\">2009 research\u003c/a> by Hugh Craig and Arthur Kinney that analyzed vocabulary from the \u003cem>Henry VI\u003c/em> plays and compared it to plays known to have been written by Marlowe, and \u003ca href=\"http://www.tandfonline.com/doi/full/10.1080/17450918.2015.1102166\" target=\"_blank\" rel=\"noopener\">a 2015 article\u003c/a> by John Nance analyzing the prose of Part 2 of \u003cem>Henry VI\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taylor himself has published scholarly work on Marlowe and Shakespeare, \u003ca href=\"https://www.cambridge.org/core/books/shakespeare-survey/imitation-or-collaboration-marlowe-and-the-early-shakespeare-canon/2C00942D8A046D2AD2BC94ED9E4F4B53\" target=\"_blank\" rel=\"noopener\">including work from last year\u003c/a> titled \u003cem>Imitation or Collaboration? Marlowe and the Early Shakespeare Canon, \u003c/em>on which he collaborated with Nance.\u003c/p>\n\u003cp>“All these publications have been subjected to rigorous peer-review,” Taylor told NPR in an email.\u003c/p>\n\u003cp>He said there is also new work by Craig and another Shakespeare scholar, John Burrow, that is specifically on \u003cem>Henry VI, Part 3,\u003c/em> and will be published in a \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-authorship-companion-9780199591169?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">companion text devoted entirely to research on the authorship\u003c/a> of work attributed to Shakespeare. The chapter on the third part of \u003cem>Henry VI\u003c/em> is one of 25 chapters on authorship, written by 18 scholars in five countries, according to Taylor.\u003c/p>\n\u003cp>Oxford University Press \u003ca href=\"https://www.washingtonpost.com/entertainment/oxford-says-shakespeare-will-share-credit-for-henry-vi/2016/10/24/69912bea-99db-11e6-b552-b1f85e484086_story.html\" target=\"_blank\" rel=\"noopener\">told The Associated Press\u003c/a> that “identifying Marlowe’s hand in the \u003cem>Henry VI\u003c/em> plays is just one of the fresh features of this project.”\u003c/p>\n\u003cp>Much of the authorship analysis is quite technical because it involves analyzing every word of entire plays, looking for patterns and clues. For example, an article on Marlowe’s presence in the \u003cem>Henry VI\u003c/em> plays, due to be published in the next issue of \u003cem>Shakespeare Quarterly\u003c/em>, is a collaboration between another of the Oxford project editors, Gabriel Egan, and a team of mathematicians from the University of Pennsylvania.\u003c/p>\n\u003cp>The addition of Marlowe’s name to the \u003cem>Henry VI\u003c/em> plays does not settle the question of Shakespearean authorship. Carol Rutter, a professor of Shakespeare and performance studies at the University of Warwick, \u003ca href=\"http://www.bbc.com/news/entertainment-arts-37750558\" target=\"_blank\" rel=\"noopener\">told the BBC\u003c/a>, “It will still be open for people to make up their own minds. I don’t think [Oxford University Press] putting their brand mark on an attribution settles the issue for most people.”\u003c/p>\n\u003cp>Rutter told the BBC, “I believe Shakespeare collaborated with all kinds of people … but I would be very surprised if Marlowe was one of them.”\u003c/p>\n\u003cp>As for how Marlowe’s vocabulary and style could have made it into Shakespeare’s work without direct collaboration, Rutter said: “It’s much more likely that he started his career working for a company where he was already an actor, and collaborated not with another playwright but with the actors — who will have had Marlowe very much in their heads, on the stage, in their voices. … They were the ones putting Marlowe’s influence into the plays.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although she disagrees with the conclusion reached by Taylor and his co-editors, she told the BBC she thinks the discussion of authorship is good for Shakespearean scholarship. “We have really stopped thinking about the richness of the writing experience in the early modern theater, and by crediting Marlowe, people like Gary Taylor are making us attend to that,” she said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Christopher+Marlowe+Officially+Credited+As+Co-Author+Of+3+Shakespeare+Plays+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "30 Years of 'Heavy Metal Parking Lot,' the Classic 'Cult Classic' Film",
"headTitle": "30 Years of ‘Heavy Metal Parking Lot,’ the Classic ‘Cult Classic’ Film | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/498827998/498954318\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Thirty years ago this week, an unknown filmmaker walked into a club in Washington, D.C., with a videotape in his hand. It was one of those nights when anyone could screen their work … but this was the first public screening of a short documentary that’s gone on to become the very definition of a cult classic.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.heavymetalparkinglot.com/\" target=\"_blank\" rel=\"noopener\">Heavy Metal Parking Lot\u003c/a> \u003c/em>was only 16 and a half minutes long, and the concept was bare-bones: just fans and staff outside the Capital Centre arena in Largo, Md., before a concert by two metal bands, Dokken and \u003ca href=\"http://www.npr.org/artists/16328304/judas-priest\" target=\"_blank\" rel=\"noopener\">Judas Priest\u003c/a>, in May of 1986. And yet it went viral before viral was a thing: One fan would make a copy of a video and give it to a friend who would do the same thing, until it spread, literally, around the world.\u003c/p>\n\u003cp>“Nobody could have imagined that it would have taken on the life that it has,” says Jeff Krulik, one of the two directors. Over the course of 30 years, he and his partner John Heyn watched their little documentary become the subject of websites, a mural, and mainstream press coverage in \u003cem>The New Yorker\u003c/em>, \u003cem>GQ\u003c/em>, \u003cem>Spin\u003c/em> and \u003cem>Premiere\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WhRCVm-1r2k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Back in 1986, John Heyn and Jeff Krulik were aspiring filmmakers in their 20s looking for a story. “I’d heard the radio ads, so we knew it was a metal show,” Kulik says of their trip to The Cap Centre, as everyone called it. “We kind of knew what we were getting into, or hoping to get into.”\u003c/p>\n\u003cp>They paid for parking and, with gear borrowed from Krulik’s studio, started shooting. They had no plan, no list of questions. “We didn’t have a clue about how to do this the right way. But I think for what it was, it was the right way,” Krulik says.\u003c/p>\n\u003cp>Krulik and Heyn captured something: a moment in time in a particular place — suburban Maryland — and a culture, says Laura Schnitker. She’s an ethnomusicologist and an acting curator at the University of Maryland, where an \u003ca href=\"https://hornbakelibrary.wordpress.com/2016/08/02/heavy-metal-parking-lot-exhibit/\" target=\"_blank\" rel=\"noopener\">exhibition devoted to the 30th anniversary\u003c/a> of \u003cem>Heavy Metal Parking Lot\u003c/em> is on display into next year.\u003c/p>\n\u003cp>“For anyone who wants to understand what a heavy metal crowd looked like when heavy metal was at its peak popularity in the 1980s, this is a perfect document of that point in musical history,” she says. “It’s just a great snapshot of fandom.”\u003c/p>\n\u003cp>Zev Zalman Ludwick was one of those fans. Back then, Ludwick was flipping pizzas during the day and playing bass in rock bands at night. Today he builds and repairs instruments — violins, violas, and cellos. He says tailgating before concerts was half the fun.\u003c/p>\n\u003cp>“We would all get the word out to our friends: ‘Hey, meet us before the concert,’ you know? We’d go there a couple of hours beforehand,” he says. “There’s a whole feeling when you get around people for that same thing in common — all about the music, and just about having fun.”\u003c/p>\n\u003cp>But Ludwick admits the fun was sometimes fueled by drugs and alcohol. And the teens in \u003cem>Heavy Metal Parking Lot\u003c/em> are primed. Jeff Krulik rejects any suggestion the documentary is making fun of them.\u003c/p>\n\u003cfigure id=\"attachment_12248117\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_.jpg\" alt=\"Directors John Heyn (left) and Jeff Krulik.\" width=\"400\" height=\"369\" class=\"size-full wp-image-12248117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-240x221.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-375x346.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Directors John Heyn (left) and Jeff Krulik. \u003ccite>(Photo: John Heyn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Neither one of us ever set out to do that,” he says. “I mean, there is manipulation involved: You’re editing it, you’re getting right to the most entertaining content. And that \u003cem>was\u003c/em> our agenda, was to make an entertaining 15-minute video.”\u003c/p>\n\u003cp>\u003cem>Heavy Metal Parking Lot \u003c/em>would eventually be shown at the American Film Institute and other venues. But Krulik says the documentary eventually seemed to run its course.\u003c/p>\n\u003cp>“We kind of had stopped screening it in 1990 for a variety of reasons,” he says. “We couldn’t force our friends to sit through another public screening of it.”\u003c/p>\n\u003cp>Two years later, a friend was moving to California and asked for some copies to take with him. One eventually made its way to a Los Angeles store called Mondo Video A-Go-Go.\u003c/p>\n\u003cp>“When I saw it I was busting up, because what a great idea that they took a camera into a parking lot!” says the store’s then-proprietor, “Colonel” Rob Schnaffer (the title was bestowed by his mentor, filmmaker Russ Meyer). “And I started making copies of this thing, and it just started spreading on the underground like a plague.”\u003c/p>\n\u003cp>\u003cem>Heavy Metal Parking Lot\u003c/em> wound up on Nirvana’s tour bus. And Krulik says the organic way it spread, from fan to fan on physical videotapes, had a lot to do with its enduring appeal.\u003c/p>\n\u003cp>The same can’t be said of the parking lot the film immortalized. The Cap Centre was demolished in 2002 to make way for a shopping center with its own parking lots. Standing in one of them, Krulik points out a car that wouldn’t have been out of place here in 1986.\u003c/p>\n\u003cp>“That’s the last muscle car in the parking lot at the Cap Centre,” he says. “It’s the ghost of \u003cem>Heavy Metal Parking Lot\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those ghosts still walk the earth. And John Heyn and Jeff Krulik are eager to conjure them whenever they can. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=30+Years+Of+%27Heavy+Metal+Parking+Lot%2C%27+The+Classic+%27Cult+Classic%27+Film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/498827998/498954318\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Thirty years ago this week, an unknown filmmaker walked into a club in Washington, D.C., with a videotape in his hand. It was one of those nights when anyone could screen their work … but this was the first public screening of a short documentary that’s gone on to become the very definition of a cult classic.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.heavymetalparkinglot.com/\" target=\"_blank\" rel=\"noopener\">Heavy Metal Parking Lot\u003c/a> \u003c/em>was only 16 and a half minutes long, and the concept was bare-bones: just fans and staff outside the Capital Centre arena in Largo, Md., before a concert by two metal bands, Dokken and \u003ca href=\"http://www.npr.org/artists/16328304/judas-priest\" target=\"_blank\" rel=\"noopener\">Judas Priest\u003c/a>, in May of 1986. And yet it went viral before viral was a thing: One fan would make a copy of a video and give it to a friend who would do the same thing, until it spread, literally, around the world.\u003c/p>\n\u003cp>“Nobody could have imagined that it would have taken on the life that it has,” says Jeff Krulik, one of the two directors. Over the course of 30 years, he and his partner John Heyn watched their little documentary become the subject of websites, a mural, and mainstream press coverage in \u003cem>The New Yorker\u003c/em>, \u003cem>GQ\u003c/em>, \u003cem>Spin\u003c/em> and \u003cem>Premiere\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/WhRCVm-1r2k'\n title='//www.youtube.com/embed/WhRCVm-1r2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Back in 1986, John Heyn and Jeff Krulik were aspiring filmmakers in their 20s looking for a story. “I’d heard the radio ads, so we knew it was a metal show,” Kulik says of their trip to The Cap Centre, as everyone called it. “We kind of knew what we were getting into, or hoping to get into.”\u003c/p>\n\u003cp>They paid for parking and, with gear borrowed from Krulik’s studio, started shooting. They had no plan, no list of questions. “We didn’t have a clue about how to do this the right way. But I think for what it was, it was the right way,” Krulik says.\u003c/p>\n\u003cp>Krulik and Heyn captured something: a moment in time in a particular place — suburban Maryland — and a culture, says Laura Schnitker. She’s an ethnomusicologist and an acting curator at the University of Maryland, where an \u003ca href=\"https://hornbakelibrary.wordpress.com/2016/08/02/heavy-metal-parking-lot-exhibit/\" target=\"_blank\" rel=\"noopener\">exhibition devoted to the 30th anniversary\u003c/a> of \u003cem>Heavy Metal Parking Lot\u003c/em> is on display into next year.\u003c/p>\n\u003cp>“For anyone who wants to understand what a heavy metal crowd looked like when heavy metal was at its peak popularity in the 1980s, this is a perfect document of that point in musical history,” she says. “It’s just a great snapshot of fandom.”\u003c/p>\n\u003cp>Zev Zalman Ludwick was one of those fans. Back then, Ludwick was flipping pizzas during the day and playing bass in rock bands at night. Today he builds and repairs instruments — violins, violas, and cellos. He says tailgating before concerts was half the fun.\u003c/p>\n\u003cp>“We would all get the word out to our friends: ‘Hey, meet us before the concert,’ you know? We’d go there a couple of hours beforehand,” he says. “There’s a whole feeling when you get around people for that same thing in common — all about the music, and just about having fun.”\u003c/p>\n\u003cp>But Ludwick admits the fun was sometimes fueled by drugs and alcohol. And the teens in \u003cem>Heavy Metal Parking Lot\u003c/em> are primed. Jeff Krulik rejects any suggestion the documentary is making fun of them.\u003c/p>\n\u003cfigure id=\"attachment_12248117\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_.jpg\" alt=\"Directors John Heyn (left) and Jeff Krulik.\" width=\"400\" height=\"369\" class=\"size-full wp-image-12248117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-240x221.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/john-heyn-jeff-krulik_-375x346.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Directors John Heyn (left) and Jeff Krulik. \u003ccite>(Photo: John Heyn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Neither one of us ever set out to do that,” he says. “I mean, there is manipulation involved: You’re editing it, you’re getting right to the most entertaining content. And that \u003cem>was\u003c/em> our agenda, was to make an entertaining 15-minute video.”\u003c/p>\n\u003cp>\u003cem>Heavy Metal Parking Lot \u003c/em>would eventually be shown at the American Film Institute and other venues. But Krulik says the documentary eventually seemed to run its course.\u003c/p>\n\u003cp>“We kind of had stopped screening it in 1990 for a variety of reasons,” he says. “We couldn’t force our friends to sit through another public screening of it.”\u003c/p>\n\u003cp>Two years later, a friend was moving to California and asked for some copies to take with him. One eventually made its way to a Los Angeles store called Mondo Video A-Go-Go.\u003c/p>\n\u003cp>“When I saw it I was busting up, because what a great idea that they took a camera into a parking lot!” says the store’s then-proprietor, “Colonel” Rob Schnaffer (the title was bestowed by his mentor, filmmaker Russ Meyer). “And I started making copies of this thing, and it just started spreading on the underground like a plague.”\u003c/p>\n\u003cp>\u003cem>Heavy Metal Parking Lot\u003c/em> wound up on Nirvana’s tour bus. And Krulik says the organic way it spread, from fan to fan on physical videotapes, had a lot to do with its enduring appeal.\u003c/p>\n\u003cp>The same can’t be said of the parking lot the film immortalized. The Cap Centre was demolished in 2002 to make way for a shopping center with its own parking lots. Standing in one of them, Krulik points out a car that wouldn’t have been out of place here in 1986.\u003c/p>\n\u003cp>“That’s the last muscle car in the parking lot at the Cap Centre,” he says. “It’s the ghost of \u003cem>Heavy Metal Parking Lot\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those ghosts still walk the earth. And John Heyn and Jeff Krulik are eager to conjure them whenever they can. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=30+Years+Of+%27Heavy+Metal+Parking+Lot%2C%27+The+Classic+%27Cult+Classic%27+Film&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "reading-gaol-where-oscar-wilde-was-imprisoned-unlocks-its-gates-for-art",
"title": "Reading Gaol, Where Oscar Wilde was Imprisoned, Unlocks Its Gates for Art",
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"headTitle": "Reading Gaol, Where Oscar Wilde was Imprisoned, Unlocks Its Gates for Art | KQED",
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"content": "\u003cp>Beneath Gothic arches and metal walkways, a place of torment has been reclaimed as a place of creative ferment. In 1895, celebrated writer Oscar Wilde — author of \u003cem>The Importance of Being Earnest\u003c/em> and \u003cem>The Picture of Dorian Gray —\u003c/em> was convicted of homosexual activity and sentenced to two years in the infamous Reading Gaol.\u003c/p>\n\u003cp>The British prison, which was operational until 2013, has just reopened for an unusual art exhibition; \u003ca href=\"https://www.artangel.org.uk/project/inside/\" target=\"_blank\" rel=\"noopener\">“Inside”\u003c/a> features installations and texts inspired by the prison and Wilde’s experiences there.\u003c/p>\n\u003cp>Cells where solitary prisoners counted down the days are now filled with art. In one, artist and film director Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed. In another, a river flows through the torso of a woman in a diorama by American sculptor Robert Gober. In another, Wilde and his lover, Lord Alfred Douglas, known as Bosie, are reunited in a diptych by Marlene Dumas. The organization behind it all is called \u003ca href=\"https://www.artangel.org.uk/project/inside/\" target=\"_blank\" rel=\"noopener\">Artangel\u003c/a> — it specializes in bringing cutting-edge art into unused and unusual spaces.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e.jpg\" alt=\"In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed.\" width=\"200\" height=\"133\" class=\"aligncenter size-full wp-image-12236594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cfigure id=\"attachment_12236992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Gaol-1-800x533.jpg\" alt=\"In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed. \u003ccite>(Photo: Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1980s, nearly 100 years after Wilde was imprisoned in Reading Gaol, Gawain Davis spent three months in the prison for cannabis possession. Leaning over a display case of mug shots of Wilde’s fellow prisoners, Davis observes: “They look like the same sort of people that I was back in here with, 100 years later!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Wilde, Davis spent 23 hours a day in his cell. The only sanitation was a bucket he had to empty — or “slop out” — himself: “You were unlocked, let down for breakfast, locked back up again to eat it, unlocked again to slop out, to empty the bucket, then locked up again,” Davis recalls.\u003c/p>\n\u003cp>A miserable existence for sure, but Davis says Wilde had it worse — in Wilde’s day, prisoners weren’t even allowed to talk.\u003c/p>\n\u003cp>When Wilde arrived, Reading Gaol was one great Victorian machine of Christian penance, forcing prisoners to meditate on their crimes in silence, while performing physical labor amid the reek of their own waste.\u003c/p>\n\u003cp>The privations broke Wilde — but they also inspired his last work, \u003ca href=\"https://www.poets.org/poetsorg/poem/ballad-reading-gaol\" target=\"_blank\" rel=\"noopener\">“The Ballad of Reading Gaol,”\u003c/a> which was written after his release. In those two years behind bars, letters were all he was permitted to write.\u003c/p>\n\u003cp>Several cells are filled with the sounds of “Letters of Separation,” named after this form of imprisonment. In one cell, artist Ai Wei Wei is heard reading aloud a letter to his son about his imprisonment in China. In another, playwright Gillian Slovo addresses her dead mother, Ruth First, who was imprisoned and then assassinated under South Africa’s Apartheid regime.\u003c/p>\n\u003cp>All the letters honor the one that inspired them: Wilde’s \u003ca href=\"https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde\" target=\"_blank\" rel=\"noopener\">De Profundis\u003c/a> — “from the depths” — the 50,000-word letter he wrote to Bosie, his lover and betrayer.\u003c/p>\n\u003cp>Every Sunday, a different performer reads the entire 6-hour text aloud, in front of the original door to Wilde’s cell. Artangel co-director James Lingwood says it wasn’t hard to enlist an A-list cast of readers — including Ralph Fiennes, Ben Whishaw and Patti Smith; all they had to do was reach out to those who’ve cited Wilde as an influence.\u003c/p>\n\u003cfigure id=\"attachment_12236596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-800x533.jpg\" alt=\"Wilde's cell door is exhibited in the prison chapel. Every Sunday, performers read <a href="https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde" target="_blank">De Profundis</a> — Wilde's 50,000-word letter he wrote while incarcerate\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilde’s cell door is exhibited in the prison chapel. Every Sunday, performers read \u003ca href=\"https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde\" target=\"_blank\" rel=\"noopener\">De Profundis\u003c/a> — Wilde’s 50,000-word letter he wrote while incarcerate \u003ccite>(Photo: Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Almost without any exception they embraced the idea,” Lingwood says. “Because when else would you get the chance to kind of come to terms and pay homage to Oscar Wilde within the very place where he wrote this compelling, extended love letter?”\u003c/p>\n\u003cp>Lingwood has been struck by how much time visitors are spending at the exhibition. Jenny Welsh, a retired chaplain who’s worked at other prisons, traveled 40 miles to visit the jail. She found that the artwork that evoked the isolation of imprisonment was particularly powerful for her.\u003c/p>\n\u003cp>Her husband, Phillip Welsh, a retired clergyman, says the highlight for him was the renewed sense of connection with Wilde.\u003c/p>\n\u003cp>“It was standing in his cell and looking out at the same window and seeing the same patch of sky that he wrote about,” he says.\u003c/p>\n\u003cp>Wilde’s cell — number C33 — is the only one without an original art work. In one corner, visitors have left some flowers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But in a sense, this entire exhibition is a floral offering to an artist seen as a martyr for loving, and living, in the wrong time, and the wrong place. \u003c/p>\n\u003cfigure id=\"attachment_12236592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-800x533.jpg\" alt=\"Artangel co-director James Lingwood has been struck by how much time visitors are spending at the exhibition.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artangel co-director James Lingwood has been struck by how much time visitors are spending at the exhibition. \u003ccite>(Photo: Justin Tallis/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Reading+Gaol%2C+Where+Oscar+Wilde+Was+Imprisoned%2C+Unlocks+Its+Gates+For+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beneath Gothic arches and metal walkways, a place of torment has been reclaimed as a place of creative ferment. In 1895, celebrated writer Oscar Wilde — author of \u003cem>The Importance of Being Earnest\u003c/em> and \u003cem>The Picture of Dorian Gray —\u003c/em> was convicted of homosexual activity and sentenced to two years in the infamous Reading Gaol.\u003c/p>\n\u003cp>The British prison, which was operational until 2013, has just reopened for an unusual art exhibition; \u003ca href=\"https://www.artangel.org.uk/project/inside/\" target=\"_blank\" rel=\"noopener\">“Inside”\u003c/a> features installations and texts inspired by the prison and Wilde’s experiences there.\u003c/p>\n\u003cp>Cells where solitary prisoners counted down the days are now filled with art. In one, artist and film director Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed. In another, a river flows through the torso of a woman in a diorama by American sculptor Robert Gober. In another, Wilde and his lover, Lord Alfred Douglas, known as Bosie, are reunited in a diptych by Marlene Dumas. The organization behind it all is called \u003ca href=\"https://www.artangel.org.uk/project/inside/\" target=\"_blank\" rel=\"noopener\">Artangel\u003c/a> — it specializes in bringing cutting-edge art into unused and unusual spaces.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e.jpg\" alt=\"In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed.\" width=\"200\" height=\"133\" class=\"aligncenter size-full wp-image-12236594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319012_custom-ca7f26c5ccf9495f6ecfab3815e8ea5b4b59ac3e-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cfigure id=\"attachment_12236992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Gaol-1-800x533.jpg\" alt=\"In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Gaol-1.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In one cell, British director and artist Steve McQueen has draped a gold-plated mosquito net over a bare metal bunk bed. \u003ccite>(Photo: Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1980s, nearly 100 years after Wilde was imprisoned in Reading Gaol, Gawain Davis spent three months in the prison for cannabis possession. Leaning over a display case of mug shots of Wilde’s fellow prisoners, Davis observes: “They look like the same sort of people that I was back in here with, 100 years later!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Wilde, Davis spent 23 hours a day in his cell. The only sanitation was a bucket he had to empty — or “slop out” — himself: “You were unlocked, let down for breakfast, locked back up again to eat it, unlocked again to slop out, to empty the bucket, then locked up again,” Davis recalls.\u003c/p>\n\u003cp>A miserable existence for sure, but Davis says Wilde had it worse — in Wilde’s day, prisoners weren’t even allowed to talk.\u003c/p>\n\u003cp>When Wilde arrived, Reading Gaol was one great Victorian machine of Christian penance, forcing prisoners to meditate on their crimes in silence, while performing physical labor amid the reek of their own waste.\u003c/p>\n\u003cp>The privations broke Wilde — but they also inspired his last work, \u003ca href=\"https://www.poets.org/poetsorg/poem/ballad-reading-gaol\" target=\"_blank\" rel=\"noopener\">“The Ballad of Reading Gaol,”\u003c/a> which was written after his release. In those two years behind bars, letters were all he was permitted to write.\u003c/p>\n\u003cp>Several cells are filled with the sounds of “Letters of Separation,” named after this form of imprisonment. In one cell, artist Ai Wei Wei is heard reading aloud a letter to his son about his imprisonment in China. In another, playwright Gillian Slovo addresses her dead mother, Ruth First, who was imprisoned and then assassinated under South Africa’s Apartheid regime.\u003c/p>\n\u003cp>All the letters honor the one that inspired them: Wilde’s \u003ca href=\"https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde\" target=\"_blank\" rel=\"noopener\">De Profundis\u003c/a> — “from the depths” — the 50,000-word letter he wrote to Bosie, his lover and betrayer.\u003c/p>\n\u003cp>Every Sunday, a different performer reads the entire 6-hour text aloud, in front of the original door to Wilde’s cell. Artangel co-director James Lingwood says it wasn’t hard to enlist an A-list cast of readers — including Ralph Fiennes, Ben Whishaw and Patti Smith; all they had to do was reach out to those who’ve cited Wilde as an influence.\u003c/p>\n\u003cfigure id=\"attachment_12236596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-800x533.jpg\" alt=\"Wilde's cell door is exhibited in the prison chapel. Every Sunday, performers read <a href="https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde" target="_blank">De Profundis</a> — Wilde's 50,000-word letter he wrote while incarcerate\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598319000_enl-f81274317cae4db93d04844b835a1d1b7d1fd7dd-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilde’s cell door is exhibited in the prison chapel. Every Sunday, performers read \u003ca href=\"https://www.bl.uk/collection-items/manuscript-of-de-profundis-by-oscar-wilde\" target=\"_blank\" rel=\"noopener\">De Profundis\u003c/a> — Wilde’s 50,000-word letter he wrote while incarcerate \u003ccite>(Photo: Dan Kitwood/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Almost without any exception they embraced the idea,” Lingwood says. “Because when else would you get the chance to kind of come to terms and pay homage to Oscar Wilde within the very place where he wrote this compelling, extended love letter?”\u003c/p>\n\u003cp>Lingwood has been struck by how much time visitors are spending at the exhibition. Jenny Welsh, a retired chaplain who’s worked at other prisons, traveled 40 miles to visit the jail. She found that the artwork that evoked the isolation of imprisonment was particularly powerful for her.\u003c/p>\n\u003cp>Her husband, Phillip Welsh, a retired clergyman, says the highlight for him was the renewed sense of connection with Wilde.\u003c/p>\n\u003cp>“It was standing in his cell and looking out at the same window and seeing the same patch of sky that he wrote about,” he says.\u003c/p>\n\u003cp>Wilde’s cell — number C33 — is the only one without an original art work. In one corner, visitors have left some flowers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But in a sense, this entire exhibition is a floral offering to an artist seen as a martyr for loving, and living, in the wrong time, and the wrong place. \u003c/p>\n\u003cfigure id=\"attachment_12236592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-800x533.jpg\" alt=\"Artangel co-director James Lingwood has been struck by how much time visitors are spending at the exhibition.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12236592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/gettyimages-598309882_custom-08c460c90fec2c285ffd4f0985cad5a0fdb97307-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artangel co-director James Lingwood has been struck by how much time visitors are spending at the exhibition. \u003ccite>(Photo: Justin Tallis/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Reading+Gaol%2C+Where+Oscar+Wilde+Was+Imprisoned%2C+Unlocks+Its+Gates+For+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Christine': A Shocking Act, Plus Traffic And Weather, After The Break",
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"content": "\u003cp>On July 15, 1974, Christine Chubbuck, a field reporter for a small news station in Sarasota, Fla., requested and received a rare on-camera appearance during a live broadcast. She read a couple of stories, including a report about a shooting the previous day at a local restaurant, but the footage queued up for segment jammed, leaving Chubbuck to move on to the next page in the stack. “In keeping with Channel 40’s policy of bringing you the latest in ‘blood and guts,'” she said, “and in living color, you are going to see another first — attempted suicide.” She then raised a pistol to her head and shot herself on air.\u003c/p>\n\u003cp>The question of why haunts Antonio Campos’ scrupulous biopic, \u003cem>Christine,\u003c/em> but as a symbolic gesture, Chubbuck’s words and actions continue to reverberate through the media — so much so that two thoughtful but very different films about her, \u003cem>Christine\u003c/em> and Robert Greene’s documentary \u003cem>Kate Plays Christine,\u003c/em> premiered at the Sundance Film Festival earlier this year. Her on-screen death both presaged and embodied the media carnival satirized two years later in \u003cem>Network\u003c/em> and stands as a lonely bulwark against the sensationalistic, “if it bleeds, it leads” credo of the modern newsroom. Chubbuck’s frustrated ambitions as a broadcast journalist are only one aspect of a much more complicated story, but the fact that she chose to end her life in this gruesome public display represents a chilling act of protest.\u003c/p>\n\u003cp>https://youtu.be/grpEVD0TU8U\u003c/p>\n\u003cp>Though it has the cold, formalist rigor of his previous films, \u003cem>Afterschool\u003c/em> and \u003cem>Simon Killer\u003c/em> — the Austrian director Michael Haneke, of \u003cem>Funny Games,\u003c/em> \u003cem>Caché\u003c/em> and \u003cem>Amour\u003c/em> fame, is a major influence — in \u003cem>Christine, \u003c/em>Campos offers a broader, more approachable look at mid-’70s culture, in and out of the newsroom. Rebecca Hall plays Chubbuck as acutely uncomfortable in her own skin, a serious and detail-obsessed reporter who struggles to connect with her colleagues and the citizens and officials in front of her camera. When she approaches a happy couple over lunch to pitch them on a lighter-side-of-the-news story, she looks like an anthropologist discovering a new species.\u003c/p>\n\u003cp>At Channel 40, Chubbuck hosts a segment called “Suncoast Digest,” where she ruminates on topics ranging from zoning disputes to the annual strawberry harvest. Her station manager (Tracy Letts) hounds her to pursue juicier scoops, and the pressure increases when the owner sweeps through with the thought of plucking one or two of the best broadcasters for a new station in Baltimore. She nurses a crush on the anchor, George (Michael C. Hall), but her moodiness and social anxiety undercut her at every turn. Chubbuck tries to hide the depths of her inner turmoil at work, but her bouts of severe depression and abdominal pain flare up at the home she and her mother (J. Smith-Cameron) share.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With \u003cem>Afterschool\u003c/em>, Campos plugged into the isolation and madness of a Columbine-like killer, but while Chubbuck is a threat only to herself, the film has the same commitment to defining the suffocating limits of her world — physical, professional, and psychological. Campos respects the integrity of her point of view while understanding how the broader culture might reject it: When Chubbuck interviews a burn victim in close-up while neglecting to include a shot of his mobile home on fire, it’s the type of decision that would get an indie filmmaker like Campos kicked off the studio lot. Her vision and her standards make her a misfit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With a ’70s album-oriented rock soundtrack setting a yearning tone, \u003cem>Christine\u003c/em> also works hard to evoke the period, particularly a small-time, understaffed newsroom that labors to give the viewers what they want. Campos obsesses over the process of cutting together stories on film and reeling them up for broadcast, and that tedium feeds into the slow progress the station is taking toward modernity. As much as it signals the dawn of a more exploitative brand of journalism, the film also sees Chubbuck as the victim of a sexist newsroom culture that punished women of substance. She fights against it, and herself, until arriving at the one shocking moment when she knows that her voice will be heard.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On July 15, 1974, Christine Chubbuck, a field reporter for a small news station in Sarasota, Fla., requested and received a rare on-camera appearance during a live broadcast. She read a couple of stories, including a report about a shooting the previous day at a local restaurant, but the footage queued up for segment jammed, leaving Chubbuck to move on to the next page in the stack. “In keeping with Channel 40’s policy of bringing you the latest in ‘blood and guts,'” she said, “and in living color, you are going to see another first — attempted suicide.” She then raised a pistol to her head and shot herself on air.\u003c/p>\n\u003cp>The question of why haunts Antonio Campos’ scrupulous biopic, \u003cem>Christine,\u003c/em> but as a symbolic gesture, Chubbuck’s words and actions continue to reverberate through the media — so much so that two thoughtful but very different films about her, \u003cem>Christine\u003c/em> and Robert Greene’s documentary \u003cem>Kate Plays Christine,\u003c/em> premiered at the Sundance Film Festival earlier this year. Her on-screen death both presaged and embodied the media carnival satirized two years later in \u003cem>Network\u003c/em> and stands as a lonely bulwark against the sensationalistic, “if it bleeds, it leads” credo of the modern newsroom. Chubbuck’s frustrated ambitions as a broadcast journalist are only one aspect of a much more complicated story, but the fact that she chose to end her life in this gruesome public display represents a chilling act of protest.\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/grpEVD0TU8U'\n title='//www.youtube.com/embed/grpEVD0TU8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though it has the cold, formalist rigor of his previous films, \u003cem>Afterschool\u003c/em> and \u003cem>Simon Killer\u003c/em> — the Austrian director Michael Haneke, of \u003cem>Funny Games,\u003c/em> \u003cem>Caché\u003c/em> and \u003cem>Amour\u003c/em> fame, is a major influence — in \u003cem>Christine, \u003c/em>Campos offers a broader, more approachable look at mid-’70s culture, in and out of the newsroom. Rebecca Hall plays Chubbuck as acutely uncomfortable in her own skin, a serious and detail-obsessed reporter who struggles to connect with her colleagues and the citizens and officials in front of her camera. When she approaches a happy couple over lunch to pitch them on a lighter-side-of-the-news story, she looks like an anthropologist discovering a new species.\u003c/p>\n\u003cp>At Channel 40, Chubbuck hosts a segment called “Suncoast Digest,” where she ruminates on topics ranging from zoning disputes to the annual strawberry harvest. Her station manager (Tracy Letts) hounds her to pursue juicier scoops, and the pressure increases when the owner sweeps through with the thought of plucking one or two of the best broadcasters for a new station in Baltimore. She nurses a crush on the anchor, George (Michael C. Hall), but her moodiness and social anxiety undercut her at every turn. Chubbuck tries to hide the depths of her inner turmoil at work, but her bouts of severe depression and abdominal pain flare up at the home she and her mother (J. Smith-Cameron) share.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With \u003cem>Afterschool\u003c/em>, Campos plugged into the isolation and madness of a Columbine-like killer, but while Chubbuck is a threat only to herself, the film has the same commitment to defining the suffocating limits of her world — physical, professional, and psychological. Campos respects the integrity of her point of view while understanding how the broader culture might reject it: When Chubbuck interviews a burn victim in close-up while neglecting to include a shot of his mobile home on fire, it’s the type of decision that would get an indie filmmaker like Campos kicked off the studio lot. Her vision and her standards make her a misfit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With a ’70s album-oriented rock soundtrack setting a yearning tone, \u003cem>Christine\u003c/em> also works hard to evoke the period, particularly a small-time, understaffed newsroom that labors to give the viewers what they want. Campos obsesses over the process of cutting together stories on film and reeling them up for broadcast, and that tedium feeds into the slow progress the station is taking toward modernity. As much as it signals the dawn of a more exploitative brand of journalism, the film also sees Chubbuck as the victim of a sexist newsroom culture that punished women of substance. She fights against it, and herself, until arriving at the one shocking moment when she knows that her voice will be heard.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pearl Jam, Tupac Shakur Nominated for Rock & Roll Hall of Fame",
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"content": "\u003cp>After much criticism around last year’s round of ’70s rockers and no women, the Rock & Roll Hall of Fame announced its nominees for the class of 2017 Tuesday morning, which include first-time nominees \u003ca href=\"http://www.npr.org/artists/88479205/tupac-shakur\" target=\"_blank\" rel=\"noopener\">Tupac Shakur\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15664595/pearl-jam\">Pearl Jam\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15397821/bad-brains\" target=\"_blank\" rel=\"noopener\">Bad Brains\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15199189/joan-baez\" target=\"_blank\" rel=\"noopener\">Joan Baez\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener\">Depeche Mode\u003c/a>. Shakur, who died 20 years ago and has been the focus of \u003ca href=\"http://www.npr.org/2016/09/13/493671606/tupac-shakurs-legacy-20-years-on\" target=\"_blank\" rel=\"noopener\">many\u003c/a> \u003ca href=\"http://www.npr.org/2016/09/11/493176227/tough-love-kwame-alexander-remembers-tupac\" target=\"_blank\" rel=\"noopener\">legacy\u003c/a> \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/09/14/493014365/realizing-tupac-wasnt-cool-20-years-later\" target=\"_blank\" rel=\"noopener\">pieces\u003c/a> in recent months, was nominated in his first year of eligibility and would be the sixth hip-hop artist to be admitted to the hall. Like Shakur, Pearl Jam is also in its first year of eligibility, and if \u003ca href=\"http://www.npr.org/artists/15446165/nirvana\" target=\"_blank\" rel=\"noopener\">Nirvana\u003c/a>‘s (2014) and \u003ca href=\"http://www.npr.org/artists/15283543/green-day\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a>‘s (2015) swift inductions were any indication, the long-running and still very active Seattle band seems like a sure bet as well.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15817903/janet-jackson\" target=\"_blank\" rel=\"noopener\">Janet Jackson\u003c/a>, The Cars, \u003ca href=\"http://www.npr.org/artists/158576917/the-zombies\" target=\"_blank\" rel=\"noopener\">The Zombies\u003c/a>, \u003ca href=\"http://www.npr.org/artists/124958625/mc5\" target=\"_blank\" rel=\"noopener\">MC5\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15322004/chaka-khan\">Chaka Khan\u003c/a> are all on their second nods, and Chic — whose co-founder and lead guitarist Niles Rodgers continues to be an in-demand producer for the likes of \u003ca href=\"http://www.npr.org/artists/15414420/daft-punk\">Daft Punk\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\">Sam Smith\u003c/a>, \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\">Lady Gaga\u003c/a> and \u003ca href=\"http://www.npr.org/artists/184223571/laura-mvula\">Laura Mvula\u003c/a> — received its 11\u003csup>th\u003c/sup> nomination.\u003c/p>\n\u003cp>See the full list of nominees below:\u003c/p>\n\u003cul>\n\u003cli>Bad Brains*\u003c/li>\n\u003cli>Chaka Khan\u003c/li>\n\u003cli>Chic\u003c/li>\n\u003cli>Depeche Mode*\u003c/li>\n\u003cli>ELO*\u003c/li>\n\u003cli>The J. Geils Band\u003c/li>\n\u003cli>Jane’s Addicition*\u003c/li>\n\u003cli>Janet Jackson\u003c/li>\n\u003cli>Joan Baez*\u003c/li>\n\u003cli>Joe Tex\u003c/li>\n\u003cli>Journey*\u003c/li>\n\u003cli>Kraftwerk\u003c/li>\n\u003cli>MC5\u003c/li>\n\u003cli>Pearl Jam*\u003c/li>\n\u003cli>Steppenwolf*\u003c/li>\n\u003cli>The Cars\u003c/li>\n\u003cli>The Zombies\u003c/li>\n\u003cli>Tupac Shakur*\u003c/li>\n\u003cli>Yes\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem> *First-time nominees.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pearl+Jam%2C+Tupac+Shakur+Nominated+For+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After much criticism around last year’s round of ’70s rockers and no women, the Rock & Roll Hall of Fame announced its nominees for the class of 2017 Tuesday morning, which include first-time nominees \u003ca href=\"http://www.npr.org/artists/88479205/tupac-shakur\" target=\"_blank\" rel=\"noopener\">Tupac Shakur\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15664595/pearl-jam\">Pearl Jam\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15397821/bad-brains\" target=\"_blank\" rel=\"noopener\">Bad Brains\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15199189/joan-baez\" target=\"_blank\" rel=\"noopener\">Joan Baez\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener\">Depeche Mode\u003c/a>. Shakur, who died 20 years ago and has been the focus of \u003ca href=\"http://www.npr.org/2016/09/13/493671606/tupac-shakurs-legacy-20-years-on\" target=\"_blank\" rel=\"noopener\">many\u003c/a> \u003ca href=\"http://www.npr.org/2016/09/11/493176227/tough-love-kwame-alexander-remembers-tupac\" target=\"_blank\" rel=\"noopener\">legacy\u003c/a> \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/09/14/493014365/realizing-tupac-wasnt-cool-20-years-later\" target=\"_blank\" rel=\"noopener\">pieces\u003c/a> in recent months, was nominated in his first year of eligibility and would be the sixth hip-hop artist to be admitted to the hall. Like Shakur, Pearl Jam is also in its first year of eligibility, and if \u003ca href=\"http://www.npr.org/artists/15446165/nirvana\" target=\"_blank\" rel=\"noopener\">Nirvana\u003c/a>‘s (2014) and \u003ca href=\"http://www.npr.org/artists/15283543/green-day\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a>‘s (2015) swift inductions were any indication, the long-running and still very active Seattle band seems like a sure bet as well.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15817903/janet-jackson\" target=\"_blank\" rel=\"noopener\">Janet Jackson\u003c/a>, The Cars, \u003ca href=\"http://www.npr.org/artists/158576917/the-zombies\" target=\"_blank\" rel=\"noopener\">The Zombies\u003c/a>, \u003ca href=\"http://www.npr.org/artists/124958625/mc5\" target=\"_blank\" rel=\"noopener\">MC5\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15322004/chaka-khan\">Chaka Khan\u003c/a> are all on their second nods, and Chic — whose co-founder and lead guitarist Niles Rodgers continues to be an in-demand producer for the likes of \u003ca href=\"http://www.npr.org/artists/15414420/daft-punk\">Daft Punk\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\">Sam Smith\u003c/a>, \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\">Lady Gaga\u003c/a> and \u003ca href=\"http://www.npr.org/artists/184223571/laura-mvula\">Laura Mvula\u003c/a> — received its 11\u003csup>th\u003c/sup> nomination.\u003c/p>\n\u003cp>See the full list of nominees below:\u003c/p>\n\u003cul>\n\u003cli>Bad Brains*\u003c/li>\n\u003cli>Chaka Khan\u003c/li>\n\u003cli>Chic\u003c/li>\n\u003cli>Depeche Mode*\u003c/li>\n\u003cli>ELO*\u003c/li>\n\u003cli>The J. Geils Band\u003c/li>\n\u003cli>Jane’s Addicition*\u003c/li>\n\u003cli>Janet Jackson\u003c/li>\n\u003cli>Joan Baez*\u003c/li>\n\u003cli>Joe Tex\u003c/li>\n\u003cli>Journey*\u003c/li>\n\u003cli>Kraftwerk\u003c/li>\n\u003cli>MC5\u003c/li>\n\u003cli>Pearl Jam*\u003c/li>\n\u003cli>Steppenwolf*\u003c/li>\n\u003cli>The Cars\u003c/li>\n\u003cli>The Zombies\u003c/li>\n\u003cli>Tupac Shakur*\u003c/li>\n\u003cli>Yes\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem> *First-time nominees.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pearl+Jam%2C+Tupac+Shakur+Nominated+For+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Tower\u003c/em> is an animated documentary that tells the story of a massacre that happened 50 years ago and was a historic first: A man with no record of violence shot at people at random for no logical reason.\u003c/p>\n\u003cp>It was Aug. 1, 1966, in the middle of a 100-degree day at the University of Texas at Austin. The shots came from the clock tower at the center of the campus. A woman eight months pregnant was the first to fall, soon to be followed by her boyfriend and a boy delivering newspapers on his bicycle. It’s not the usual subject for a cartoon.\u003c/p>\n\u003cp>The animation is rotoscoped, meaning laid over real actors who went through the paces. Those actors also narrate, their words taken directly from transcripts or interviews with the real people conducted by the director, Keith Maitland.\u003c/p>\n\u003cp>Sometimes Maitland cuts to actual footage from that day. Sometimes he puts animated figures in the foreground against grainy, black-and-white news coverage.\u003c/p>\n\u003cp>The effect is extraordinary. Rather than distancing us, the animation brings us closer, as news footage or talking heads alone never could. It puts what’s happening in the present tense. The rifle cracks seem to slice through you — and Maitland cuts to negative images, strobe-like, as the victims fall to the ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The sheer beauty of the animation also makes \u003cem>Tower\u003c/em> surreal and drenched in emotion. The soundscape is layered, a collage of traffic noise, real radio and TV broadcasts, and the sound of Top 40 hits like “(What a Day For a) Daydream” over tinny AM radios.\u003c/p>\n\u003cp>At no point do we see the shooter or hear his name — well, it’s uttered once, at the end, by Walter Cronkite in a broadcast. What’s hard for us to imagine is that the people on the University of Texas campus that day had no context for this event, nothing to compare it to.\u003c/p>\n\u003cp>The event is decentralized, seen from multiple incomplete perspectives: people who were shot; policemen and civilians who risked their lives to climb the tower; and even a woman who said she knew while she was watching there was a “moment that separate[d] the brave people from the scared people. I realized,” she says, “that I was a coward.”\u003c/p>\n\u003cp>The most wrenching figure is the pregnant woman, Claire, who lies on the plaza, the concrete, she tells us, in her narration, burning the backs of her thighs, her blood leaking out. People watch helplessly, afraid at first to enter the plaza to help.\u003c/p>\n\u003cp>The word you sometimes hear about films like \u003cem>Tower\u003c/em> from documentary purists is “over-aestheticized,” which means they think it’s false to the reality, manipulative. Director Keith Maitland sometimes does go too far: I could have done without the psychedelic love montage when Claire speaks of her dead boyfriend, even though it’s true to her feelings. But I love when nonfiction filmmakers stretch the form, giving us animated docs as powerful as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=98689131\">Waltz with Bashir\u003c/a>, \u003cem>Persepolis\u003c/em> and, now, \u003cem>Tower\u003c/em>.\u003c/p>\n\u003cp>We’re on such intimate terms with Maitland’s subjects that when the faces of the real, aged people burn in over their younger animated counterparts, the effect is unspeakably moving. This was well before we understood such things as \u003ca href=\"http://www.npr.org/tags/143046636/post-traumatic-stress-disorder\">post-traumatic stress disorder\u003c/a>, and many survivors have never wanted to talk about what happened. Some are baring their feelings only now, for this film.\u003c/p>\n\u003cp>I was on the documentary jury that gave \u003cem>Tower\u003c/em> its top prize at this year’s South by Southwest Film Festival in Austin. When it premiered, there was a section in the film about other gun massacres and a pointed digression about the need for gun control. That’s largely gone now, trimmed down to brief images of Columbine and Aurora and other sites of carnage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ironically, some people might even see \u003cem>Tower\u003c/em> in its present form as an example of what happens when not \u003cem>enough\u003c/em> people are armed. Maybe we’ll know who’s right soon enough. On the 50th anniversary of the Austin shooting — Aug. 1, 2016 — it became legal for students at the University of Texas to carry guns. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Documentary+Offers+A+Wrenching+Look+At+America%27s+First+Modern+Gun+Massacre+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The sheer beauty of the animation also makes \u003cem>Tower\u003c/em> surreal and drenched in emotion. The soundscape is layered, a collage of traffic noise, real radio and TV broadcasts, and the sound of Top 40 hits like “(What a Day For a) Daydream” over tinny AM radios.\u003c/p>\n\u003cp>At no point do we see the shooter or hear his name — well, it’s uttered once, at the end, by Walter Cronkite in a broadcast. What’s hard for us to imagine is that the people on the University of Texas campus that day had no context for this event, nothing to compare it to.\u003c/p>\n\u003cp>The event is decentralized, seen from multiple incomplete perspectives: people who were shot; policemen and civilians who risked their lives to climb the tower; and even a woman who said she knew while she was watching there was a “moment that separate[d] the brave people from the scared people. I realized,” she says, “that I was a coward.”\u003c/p>\n\u003cp>The most wrenching figure is the pregnant woman, Claire, who lies on the plaza, the concrete, she tells us, in her narration, burning the backs of her thighs, her blood leaking out. People watch helplessly, afraid at first to enter the plaza to help.\u003c/p>\n\u003cp>The word you sometimes hear about films like \u003cem>Tower\u003c/em> from documentary purists is “over-aestheticized,” which means they think it’s false to the reality, manipulative. Director Keith Maitland sometimes does go too far: I could have done without the psychedelic love montage when Claire speaks of her dead boyfriend, even though it’s true to her feelings. But I love when nonfiction filmmakers stretch the form, giving us animated docs as powerful as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=98689131\">Waltz with Bashir\u003c/a>, \u003cem>Persepolis\u003c/em> and, now, \u003cem>Tower\u003c/em>.\u003c/p>\n\u003cp>We’re on such intimate terms with Maitland’s subjects that when the faces of the real, aged people burn in over their younger animated counterparts, the effect is unspeakably moving. This was well before we understood such things as \u003ca href=\"http://www.npr.org/tags/143046636/post-traumatic-stress-disorder\">post-traumatic stress disorder\u003c/a>, and many survivors have never wanted to talk about what happened. Some are baring their feelings only now, for this film.\u003c/p>\n\u003cp>I was on the documentary jury that gave \u003cem>Tower\u003c/em> its top prize at this year’s South by Southwest Film Festival in Austin. When it premiered, there was a section in the film about other gun massacres and a pointed digression about the need for gun control. That’s largely gone now, trimmed down to brief images of Columbine and Aurora and other sites of carnage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ironically, some people might even see \u003cem>Tower\u003c/em> in its present form as an example of what happens when not \u003cem>enough\u003c/em> people are armed. Maybe we’ll know who’s right soon enough. On the 50th anniversary of the Austin shooting — Aug. 1, 2016 — it became legal for students at the University of Texas to carry guns. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Documentary+Offers+A+Wrenching+Look+At+America%27s+First+Modern+Gun+Massacre+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the heady political maelstrom of the late 1960s, Italian filmmaker Gillo Pontecorvo released one of the most controversial and acclaimed films of modern cinema. \u003cem>The Battle of Algiers\u003c/em> was a big-screen recreation of the bloody mid 1950s Algerian uprising against French rule. The film was made on a shoestring budget with non-actors recruited from the streets of Algiers. It told the story of an insurrection against colonialism from the rare vantage point of the colonized. That shift in perspective was provocative enough to lead France to ban the film on political grounds. Elsewhere, it opened to rapturous acclaim.\u003c/p>\n\u003cp>\u003cem>The Battle of Algiers\u003c/em> won the Golden Lion at the Venice Film Festival in 1966 and eventually earned three Oscar nominations including Best Director and Best Foreign Language film. Today it is considered both a seminal work of world cinema and a textbook example of protest art. Fifty years after it was first released, \u003cem>The Battle of Algiers\u003c/em> is returning to movie theaters in an new digital restoration.\u003c/p>\n\u003cp>Seeing it in 2016, it is remarkable how much \u003cem>The Battle of Algiers\u003c/em> has influenced the vocabulary of modern Hollywood war movies. From the use of shaky hand-held cameras to shooting in real-life locations with real people, the influence of Pontecorvo’s style is evident in films ranging from \u003cem>Traffic\u003c/em> to \u003cem>Jason Bourne.\u003c/em> By using black and white film stock to mirror newsreels of the 1950s, the artifice of Pontecorvo’s frames bristles with an air of documented urgency. Directors from Steven Soderbergh to Mira Nair to Spike Lee have admitted borrowing from Pontecorvo’s techniques to infuse their own stories with greater authenticity. But more than form, \u003cem>The Battle of Algiers\u003c/em> has endured because of its politics.\u003c/p>\n\u003cp>In its crisp two-hour running time, the film includes brutal scenes of torture, police brutality and racial profiling that seem ripped from this week’s headlines. In the winding alleyways of Algiers, Pontecorvo recreates the unleashing of guerilla warfare on a city-wide scale. The fact that it is the story of a mostly Muslim uprising against Western forces gives the proceedings an even more eerie resonance. The Algerians set off bombs at cafes that kill scores of civilians and the brutal French retaliations lead to countless executions and reprisals. It is not surprising that the Black Panthers and the IRA once studied \u003cem>The Battle of Algiers \u003c/em>as a roadmap to resistance. It is equally understandable why the Pentagon famously screened the film in 2003 as a toolkit to wage a better and more informed “war on terror.”\u003c/p>\n\u003cp>But the film’s Algerian producer and co-star Saadi Yacef says it is inappropriate to see the violence on screen through our current prism of terrorism. “What the film is showing is really different for me. Here you have people who are in a struggle against colonialism. Their struggle is to get the colonial power out of their country. To me this has a far greater difference than some terrorist who sets off a bomb or kills children in the name of having an Islamic State. It is not a human being who goes into a school and kills children. These are not human beings,” he says. Applying the film’s empathy for insurgents to today’s context would be irresponsible and fatal, he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Middle East and North Africa have fundamentally changed from the anti-colonial uprisings of the 1950s and 1960s to a new age of Islamist politics and violence. While Gillo Pontecorvo’s landmark film may draw our minds to contemporary unrest, Saadi Yacef says the film has endured because it is a great work of realist cinema. Pontecorvo was already one of the most celebrated filmmakers in Europe when he was approached by Yacef to make the movie. His collaborators and cast were mostly non-actors who had lived through the real Battle of Algiers. The film emerged from a rare creative and cross-cultural alchemy between Europe and North Africa. Fifty years after the broader context that clearly gave \u003cem>The Battle of Algiers\u003c/em> urgency and currency in its day, the film now stands on its own as a work of cinema. Now, technology has allowed a new generation to see the film in a version that is as close as possible to the one audiences saw in 1966 … and to experience this landmark piece of cinema about resistance on its own terms. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Cinematic+Classic+Of+Resistance+Returns+To+The+Big+Screen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the heady political maelstrom of the late 1960s, Italian filmmaker Gillo Pontecorvo released one of the most controversial and acclaimed films of modern cinema. \u003cem>The Battle of Algiers\u003c/em> was a big-screen recreation of the bloody mid 1950s Algerian uprising against French rule. The film was made on a shoestring budget with non-actors recruited from the streets of Algiers. It told the story of an insurrection against colonialism from the rare vantage point of the colonized. That shift in perspective was provocative enough to lead France to ban the film on political grounds. Elsewhere, it opened to rapturous acclaim.\u003c/p>\n\u003cp>\u003cem>The Battle of Algiers\u003c/em> won the Golden Lion at the Venice Film Festival in 1966 and eventually earned three Oscar nominations including Best Director and Best Foreign Language film. Today it is considered both a seminal work of world cinema and a textbook example of protest art. Fifty years after it was first released, \u003cem>The Battle of Algiers\u003c/em> is returning to movie theaters in an new digital restoration.\u003c/p>\n\u003cp>Seeing it in 2016, it is remarkable how much \u003cem>The Battle of Algiers\u003c/em> has influenced the vocabulary of modern Hollywood war movies. From the use of shaky hand-held cameras to shooting in real-life locations with real people, the influence of Pontecorvo’s style is evident in films ranging from \u003cem>Traffic\u003c/em> to \u003cem>Jason Bourne.\u003c/em> By using black and white film stock to mirror newsreels of the 1950s, the artifice of Pontecorvo’s frames bristles with an air of documented urgency. Directors from Steven Soderbergh to Mira Nair to Spike Lee have admitted borrowing from Pontecorvo’s techniques to infuse their own stories with greater authenticity. But more than form, \u003cem>The Battle of Algiers\u003c/em> has endured because of its politics.\u003c/p>\n\u003cp>In its crisp two-hour running time, the film includes brutal scenes of torture, police brutality and racial profiling that seem ripped from this week’s headlines. In the winding alleyways of Algiers, Pontecorvo recreates the unleashing of guerilla warfare on a city-wide scale. The fact that it is the story of a mostly Muslim uprising against Western forces gives the proceedings an even more eerie resonance. The Algerians set off bombs at cafes that kill scores of civilians and the brutal French retaliations lead to countless executions and reprisals. It is not surprising that the Black Panthers and the IRA once studied \u003cem>The Battle of Algiers \u003c/em>as a roadmap to resistance. It is equally understandable why the Pentagon famously screened the film in 2003 as a toolkit to wage a better and more informed “war on terror.”\u003c/p>\n\u003cp>But the film’s Algerian producer and co-star Saadi Yacef says it is inappropriate to see the violence on screen through our current prism of terrorism. “What the film is showing is really different for me. Here you have people who are in a struggle against colonialism. Their struggle is to get the colonial power out of their country. To me this has a far greater difference than some terrorist who sets off a bomb or kills children in the name of having an Islamic State. It is not a human being who goes into a school and kills children. These are not human beings,” he says. Applying the film’s empathy for insurgents to today’s context would be irresponsible and fatal, he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Middle East and North Africa have fundamentally changed from the anti-colonial uprisings of the 1950s and 1960s to a new age of Islamist politics and violence. While Gillo Pontecorvo’s landmark film may draw our minds to contemporary unrest, Saadi Yacef says the film has endured because it is a great work of realist cinema. Pontecorvo was already one of the most celebrated filmmakers in Europe when he was approached by Yacef to make the movie. His collaborators and cast were mostly non-actors who had lived through the real Battle of Algiers. The film emerged from a rare creative and cross-cultural alchemy between Europe and North Africa. Fifty years after the broader context that clearly gave \u003cem>The Battle of Algiers\u003c/em> urgency and currency in its day, the film now stands on its own as a work of cinema. Now, technology has allowed a new generation to see the film in a version that is as close as possible to the one audiences saw in 1966 … and to experience this landmark piece of cinema about resistance on its own terms. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Cinematic+Classic+Of+Resistance+Returns+To+The+Big+Screen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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