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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",
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"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>\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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"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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"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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"title": "A Cinematic Classic of Resistance Returns to the Big Screen",
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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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"title": "Artist David Hockney Says the Drive to Create Pictures 'Is Deep Within Us'",
"headTitle": "Artist David Hockney Says the Drive to Create Pictures ‘Is Deep Within Us’ | KQED",
"content": "\u003cp>Artist David Hockney is obsessed with looking. He looks and looks; and then, in his works, he makes \u003cem>us\u003c/em> see what \u003cem>he\u003c/em> sees.\u003c/p>\n\u003cp>The artist says looking and showing are as old as time. “I think the first person to draw an animal on a wall would have perhaps been watched by someone. And then, when he’d got the animal down, the person would’ve grunted or something, and said, ‘I’ve seen something like that.’ ”\u003c/p>\n\u003cp>At nearly 80 years old, Hockney is busier than ever: He’s the subject of a \u003ca href=\"http://www.imdb.com/title/tt4008606/?ref_=ref_ext_NYT\" target=\"_blank\" rel=\"noopener\">new documentary\u003c/a>; he has \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/david-hockney\" target=\"_blank\" rel=\"noopener\">a big retrospective\u003c/a> in the works at Tate Britain; and he has a new book, \u003cem>A History of Pictures: From the Cave to the Computer Screen\u003c/em>.\u003c/p>\n\u003cp>Hockney believes making pictures is part of human DNA. “Very young people pick up a crayon and start to draw, don’t they? Very, very young people,” he says. ” … I think the idea of making pictures is deep within us.”\u003c/p>\n\u003cp>Today, swap crayons for smart phones and everyone’s making pictures. They may not be artistic, but technically they’re aces. “You can’t take a bad picture, really,” Hockney says. “You can’t take an underexposed picture; you can’t even take an out of focus picture now. My father’s pictures were — he used to take a lot of photographs and they were always a bit out of focus and underexposed. Always. And he died just before the automatic camera came in and the automatic focus. And he’d have been in his element then.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Picking Favorites\u003c/strong>\u003c/p>\n\u003cp>Hockney’s \u003cem>A History of Pictures\u003c/em> is chock-full of images — a few photos, but mostly reproductions of paintings he’s loved looking at over the years. His favorite is a quick pen and ink drawing Rembrandt made in 1656. (\u003ca href=\"http://www.britishmuseum.org/research/publications/online_research_catalogues/catalogue_image.aspx?objectId=765074&partId=1&orig=%2fresearch%2fpublications%2fonline_research_catalogues%2frussian_icons%2fcatalogue_of_russian_icons.aspx&sortBy=catNumber&numPages=10¤tPage=1&catalogueOnly=True&catparentPageId=27094&output=bibliography%2f!!%2fOR%2f!!%2f5806%2f!%2f%2f!%2fCatalogue+of+Drawings+by+Rembrandt+and+his+School+in+the+British+Museum%2f!%2f%2f!!%2f%2f!!!%2f&asset_id=18374001\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) It shows a mother, a father and a sister teaching a little child to walk. The jot of a curve makes a shoulder; a flick of the brush shows the father squatting, encouraging the child. Hockney thinks it’s a virtuoso piece.\u003c/p>\n\u003cp>“You see the tenderness of the drawing, I think. But you also see … the marks that made the drawing as well,” he says. “I mean, you can look at the mother and see the little ragged dress she has on, but then you see the marks that were made to do this and how few there are.”\u003c/p>\n\u003cp>The drawing is minimal and universal. “Any person anywhere in the world has seen something like this and experienced it,” Hockney says.\u003c/p>\n\u003cp>In addition to Rembrandt, Hockney is crazy for Pablo Picasso (his hero) and Caravaggio. He credits the late 16th-century Italian painter with inventing Hollywood lighting. For example, Caravaggio’s 1599 painting \u003cem>Judith Beheading Holofernes\u003c/em>: “I mean, this is lighting that’s not natural,” he says. No sun could shine so brightly on Judith’s breast and then disappear to make such dark velvety shadows right behind her. Only movies can illuminate like that.\u003c/p>\n\u003cfigure id=\"attachment_12199182\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg\" alt='Hockney says late 16th century Italian painter Caravaggio \"invented Hollywood lighting.\" Above is his 1599 work, \"Judith Beheading Holofernes.\"' width=\"798\" height=\"600\" class=\"size-medium wp-image-12199182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1180x888.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1920x1444.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-960x722.jpg 960w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Hockney says late 16th century Italian painter Caravaggio “invented Hollywood lighting.” Above is his 1599 work, “Judith Beheading Holofernes.” \u003ccite>(Photo: Galleria Nazionale d'Arte Antica, Barberini Palace, Rome/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I Do Get A Deep Pleasure From Looking”\u003c/strong>\u003c/p>\n\u003cp>Light, and where it comes from, is every painter’s preoccupation. And for Hockney, light on water is a particular fascination. “Say a swimming pool: The water is transparent. How do you paint transparency?” he asks. “It’s always a nice problem to me. … Water in a swimming pool is transparent and it has reflections and things. That’s what [it’s] all about — reflections.”\u003c/p>\n\u003cp>Hockney is known for bright, flat paintings of Los Angeles and vivid English landscapes. His best-known painting — 1967’s \u003cem>A Bigger Splash\u003c/em> — shows a California swimming pool the moment after someone has jumped in. (\u003ca href=\"http://www.tate.org.uk/art/artworks/hockney-a-bigger-splash-t03254\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) A tan diving board angles in from the bottom right and a lively white splash rises up from the aquamarine water.\u003c/p>\n\u003cp>“I spent longer on the splash than on any other thing in the painting,” Hockney says. “I spent about a week painting it because it’s painted with small brushes. … I mean I didn’t want to just take a brush and splash it like that. I wanted to paint it slowly, and I thought, \u003cem>Then it contradicts the splash, really\u003c/em>.”\u003c/p>\n\u003cp>So many of Hockney’s works are joyful. They feature sundrenched California scenes, British woodlands brimming with fuchsia and neon-green trees, the Grand Canyon in vivid oranges. (When he showed the canyon pieces in London, he put big mirrors in the gallery corners to add dimension to the paintings.)\u003c/p>\n\u003cp>Hockney says the first thing he looks at in anyone’s painting is the surface, “the paint itself and so on. And then you might then see a figure; then you might see something else. But I think, first of all, you see the surface.” It’s a painter’s way of looking. Someone else might look first at the pear, the face, the horse — but not Hockney.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That artist believes painting can change the world. In the midst of all our miseries, he says, art lets us see the world as beautiful, thrilling and mysterious. “I do get a deep pleasure from looking,” he says. “I mean, I can look at a little puddle on a road in Yorkshire and just have the rain falling on it and think it’s marvelous. … I see the world as very beautiful.” \u003c/p>\n\u003cfigure id=\"attachment_12199183\" class=\"wp-caption aligncenter\" style=\"max-width: 717px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg\" alt='Hockney painted \"Self-Portrait with Blue Guitar\" in 1977.' width=\"717\" height=\"600\" class=\"size-medium wp-image-12199183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg 717w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-400x335.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-768x643.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1180x987.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1920x1607.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-960x803.jpg 960w\" sizes=\"(max-width: 717px) 100vw, 717px\">\u003cfigcaption class=\"wp-caption-text\">Hockney painted “Self-Portrait with Blue Guitar” in 1977. \u003ccite>(Photo: Richard Schmidt/Museum of Modern Art, Ludwig Foundation, Vienna/Abrams Books)\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=Artist+David+Hockney+Says+The+Drive+To+Create+Pictures+%27Is+Deep+Within+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The nearly 80-year-old artist has written a book called 'A History of Pictures.' It's chock-full of art he's loved looking at, including one painter he credits with inventing Hollywood lighting.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist David Hockney is obsessed with looking. He looks and looks; and then, in his works, he makes \u003cem>us\u003c/em> see what \u003cem>he\u003c/em> sees.\u003c/p>\n\u003cp>The artist says looking and showing are as old as time. “I think the first person to draw an animal on a wall would have perhaps been watched by someone. And then, when he’d got the animal down, the person would’ve grunted or something, and said, ‘I’ve seen something like that.’ ”\u003c/p>\n\u003cp>At nearly 80 years old, Hockney is busier than ever: He’s the subject of a \u003ca href=\"http://www.imdb.com/title/tt4008606/?ref_=ref_ext_NYT\" target=\"_blank\" rel=\"noopener\">new documentary\u003c/a>; he has \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/david-hockney\" target=\"_blank\" rel=\"noopener\">a big retrospective\u003c/a> in the works at Tate Britain; and he has a new book, \u003cem>A History of Pictures: From the Cave to the Computer Screen\u003c/em>.\u003c/p>\n\u003cp>Hockney believes making pictures is part of human DNA. “Very young people pick up a crayon and start to draw, don’t they? Very, very young people,” he says. ” … I think the idea of making pictures is deep within us.”\u003c/p>\n\u003cp>Today, swap crayons for smart phones and everyone’s making pictures. They may not be artistic, but technically they’re aces. “You can’t take a bad picture, really,” Hockney says. “You can’t take an underexposed picture; you can’t even take an out of focus picture now. My father’s pictures were — he used to take a lot of photographs and they were always a bit out of focus and underexposed. Always. And he died just before the automatic camera came in and the automatic focus. And he’d have been in his element then.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Picking Favorites\u003c/strong>\u003c/p>\n\u003cp>Hockney’s \u003cem>A History of Pictures\u003c/em> is chock-full of images — a few photos, but mostly reproductions of paintings he’s loved looking at over the years. His favorite is a quick pen and ink drawing Rembrandt made in 1656. (\u003ca href=\"http://www.britishmuseum.org/research/publications/online_research_catalogues/catalogue_image.aspx?objectId=765074&partId=1&orig=%2fresearch%2fpublications%2fonline_research_catalogues%2frussian_icons%2fcatalogue_of_russian_icons.aspx&sortBy=catNumber&numPages=10¤tPage=1&catalogueOnly=True&catparentPageId=27094&output=bibliography%2f!!%2fOR%2f!!%2f5806%2f!%2f%2f!%2fCatalogue+of+Drawings+by+Rembrandt+and+his+School+in+the+British+Museum%2f!%2f%2f!!%2f%2f!!!%2f&asset_id=18374001\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) It shows a mother, a father and a sister teaching a little child to walk. The jot of a curve makes a shoulder; a flick of the brush shows the father squatting, encouraging the child. Hockney thinks it’s a virtuoso piece.\u003c/p>\n\u003cp>“You see the tenderness of the drawing, I think. But you also see … the marks that made the drawing as well,” he says. “I mean, you can look at the mother and see the little ragged dress she has on, but then you see the marks that were made to do this and how few there are.”\u003c/p>\n\u003cp>The drawing is minimal and universal. “Any person anywhere in the world has seen something like this and experienced it,” Hockney says.\u003c/p>\n\u003cp>In addition to Rembrandt, Hockney is crazy for Pablo Picasso (his hero) and Caravaggio. He credits the late 16th-century Italian painter with inventing Hollywood lighting. For example, Caravaggio’s 1599 painting \u003cem>Judith Beheading Holofernes\u003c/em>: “I mean, this is lighting that’s not natural,” he says. No sun could shine so brightly on Judith’s breast and then disappear to make such dark velvety shadows right behind her. Only movies can illuminate like that.\u003c/p>\n\u003cfigure id=\"attachment_12199182\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg\" alt='Hockney says late 16th century Italian painter Caravaggio \"invented Hollywood lighting.\" Above is his 1599 work, \"Judith Beheading Holofernes.\"' width=\"798\" height=\"600\" class=\"size-medium wp-image-12199182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1180x888.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1920x1444.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-960x722.jpg 960w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Hockney says late 16th century Italian painter Caravaggio “invented Hollywood lighting.” Above is his 1599 work, “Judith Beheading Holofernes.” \u003ccite>(Photo: Galleria Nazionale d'Arte Antica, Barberini Palace, Rome/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I Do Get A Deep Pleasure From Looking”\u003c/strong>\u003c/p>\n\u003cp>Light, and where it comes from, is every painter’s preoccupation. And for Hockney, light on water is a particular fascination. “Say a swimming pool: The water is transparent. How do you paint transparency?” he asks. “It’s always a nice problem to me. … Water in a swimming pool is transparent and it has reflections and things. That’s what [it’s] all about — reflections.”\u003c/p>\n\u003cp>Hockney is known for bright, flat paintings of Los Angeles and vivid English landscapes. His best-known painting — 1967’s \u003cem>A Bigger Splash\u003c/em> — shows a California swimming pool the moment after someone has jumped in. (\u003ca href=\"http://www.tate.org.uk/art/artworks/hockney-a-bigger-splash-t03254\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) A tan diving board angles in from the bottom right and a lively white splash rises up from the aquamarine water.\u003c/p>\n\u003cp>“I spent longer on the splash than on any other thing in the painting,” Hockney says. “I spent about a week painting it because it’s painted with small brushes. … I mean I didn’t want to just take a brush and splash it like that. I wanted to paint it slowly, and I thought, \u003cem>Then it contradicts the splash, really\u003c/em>.”\u003c/p>\n\u003cp>So many of Hockney’s works are joyful. They feature sundrenched California scenes, British woodlands brimming with fuchsia and neon-green trees, the Grand Canyon in vivid oranges. (When he showed the canyon pieces in London, he put big mirrors in the gallery corners to add dimension to the paintings.)\u003c/p>\n\u003cp>Hockney says the first thing he looks at in anyone’s painting is the surface, “the paint itself and so on. And then you might then see a figure; then you might see something else. But I think, first of all, you see the surface.” It’s a painter’s way of looking. Someone else might look first at the pear, the face, the horse — but not Hockney.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That artist believes painting can change the world. In the midst of all our miseries, he says, art lets us see the world as beautiful, thrilling and mysterious. “I do get a deep pleasure from looking,” he says. “I mean, I can look at a little puddle on a road in Yorkshire and just have the rain falling on it and think it’s marvelous. … I see the world as very beautiful.” \u003c/p>\n\u003cfigure id=\"attachment_12199183\" class=\"wp-caption aligncenter\" style=\"max-width: 717px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg\" alt='Hockney painted \"Self-Portrait with Blue Guitar\" in 1977.' width=\"717\" height=\"600\" class=\"size-medium wp-image-12199183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg 717w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-400x335.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-768x643.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1180x987.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1920x1607.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-960x803.jpg 960w\" sizes=\"(max-width: 717px) 100vw, 717px\">\u003cfigcaption class=\"wp-caption-text\">Hockney painted “Self-Portrait with Blue Guitar” in 1977. \u003ccite>(Photo: Richard Schmidt/Museum of Modern Art, Ludwig Foundation, Vienna/Abrams Books)\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=Artist+David+Hockney+Says+The+Drive+To+Create+Pictures+%27Is+Deep+Within+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bob Dylan, Titan Of American Music, Wins 2016 Nobel Prize In Literature",
"headTitle": "Bob Dylan, Titan Of American Music, Wins 2016 Nobel Prize In Literature | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> has won the 2016 Nobel Prize in literature. The prolific musician is the first Nobel winner to have forged a career primarily as a singer-songwriter. What’s more, he’s also the first American to have won the prize in more than two decades. Not since novelist Toni Morrison won in 1993 has an American claimed the prize.\u003c/p>\n\u003cp>Dylan earned the prize “for having created new poetic expressions within the great American song tradition,” according to the citation by the Swedish Academy, the committee that annually decides the recipient of the Nobel Prize. The academy’s permanent secretary, Sara Danius, announced the news Thursday.\u003c/p>\n\u003cp>The win comes as something of a shock. As usual, the Swedish Academy did not announce a shortlist of nominees, leaving the betting markets to their best guesses. And while Dylan has enjoyed perennial favor as an outside shot for the award, the prospect that the musician would be the one to break the Americans’ long dry spell was \u003ca href=\"https://newrepublic.com/article/137496/will-win-2016-nobel-prize-literature\">regarded as far-fetched\u003c/a> — not least because he made his career foremost on the stage, not the printed page.\u003c/p>\n\u003cp>Yet few would argue Dylan has been anything but influential, both in the U.S. and beyond its borders. The prolific singer, songwriter and multi-instrumentalist has produced dozens of albums, including \u003cem>The Freewheelin’ Bob Dylan\u003c/em>, \u003cem>Highway 61 Revisited\u003c/em> and \u003cem>Blood on the Tracks\u003c/em>. His track “Like a Rolling Stone” has taken on mythic standing in the decades since its release; many, including Dylan himself, have pointed to it as emblematic of \u003ca href=\"http://www.npr.org/2000/11/09/1113686/like-a-rolling-stone\">a sea change\u003c/a> in American music.\u003c/p>\n\u003cp>“Tin Pan Alley is gone,” Dylan proclaimed in 1985, referring the dominant conventions established by music publishers of the early 20th century. “I put an end to it. People can record their own songs now.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dylan, who was born Robert Allen Zimmerman in 1941, “has the status of an icon,” the Swedish Academy wrote in a \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2016/bio-bibl.pdf\">biographical note\u003c/a>. “His influence on contemporary music is profound, and he is the object of a steady stream of secondary literature.”\u003c/p>\n\u003cp>In an interview following the announcement, Danius elaborated on the Swedish Academy’s decision: “He is a great poet in the English-speaking tradition, and he is a wonderful sampler — a very original sampler,” Danius explained. “For 54 years now he has been at it and reinventing himself, constantly creating a new identity.”\u003c/p>\n\u003cp>And for his work, he has been amply recognized by critical community. Dylan has won Grammys, an Academy Award, a Golden Globe and a Medal of Freedom, the highest civilian honor in the U.S. Now, to that trove of honors Dylan has added a Nobel.\u003c/p>\n\u003cp>The Nobel Prize in literature has been awarded since 1901 to writers who have produced “the most outstanding work in an ideal direction.” In that time, 109 prizes have been distributed to 113 writers. This year, the prize carries with it a purse of approximately $900,000 and, as usual, inclusion on literature’s most illustrious list — the pantheon of Nobel winners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 75-year-old artist will receive his award in Stockholm on Dec. 10.\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=Bob+Dylan%2C+Titan+Of+American+Music%2C+Wins+2016+Nobel+Prize+In+Literature&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The prolific musician is the first American to win the prize for lifetime literary achievement in 23 years. While Dylan long enjoyed favor as an outside shot for the award, few expected him to win.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> has won the 2016 Nobel Prize in literature. The prolific musician is the first Nobel winner to have forged a career primarily as a singer-songwriter. What’s more, he’s also the first American to have won the prize in more than two decades. Not since novelist Toni Morrison won in 1993 has an American claimed the prize.\u003c/p>\n\u003cp>Dylan earned the prize “for having created new poetic expressions within the great American song tradition,” according to the citation by the Swedish Academy, the committee that annually decides the recipient of the Nobel Prize. The academy’s permanent secretary, Sara Danius, announced the news Thursday.\u003c/p>\n\u003cp>The win comes as something of a shock. As usual, the Swedish Academy did not announce a shortlist of nominees, leaving the betting markets to their best guesses. And while Dylan has enjoyed perennial favor as an outside shot for the award, the prospect that the musician would be the one to break the Americans’ long dry spell was \u003ca href=\"https://newrepublic.com/article/137496/will-win-2016-nobel-prize-literature\">regarded as far-fetched\u003c/a> — not least because he made his career foremost on the stage, not the printed page.\u003c/p>\n\u003cp>Yet few would argue Dylan has been anything but influential, both in the U.S. and beyond its borders. The prolific singer, songwriter and multi-instrumentalist has produced dozens of albums, including \u003cem>The Freewheelin’ Bob Dylan\u003c/em>, \u003cem>Highway 61 Revisited\u003c/em> and \u003cem>Blood on the Tracks\u003c/em>. His track “Like a Rolling Stone” has taken on mythic standing in the decades since its release; many, including Dylan himself, have pointed to it as emblematic of \u003ca href=\"http://www.npr.org/2000/11/09/1113686/like-a-rolling-stone\">a sea change\u003c/a> in American music.\u003c/p>\n\u003cp>“Tin Pan Alley is gone,” Dylan proclaimed in 1985, referring the dominant conventions established by music publishers of the early 20th century. “I put an end to it. People can record their own songs now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dylan, who was born Robert Allen Zimmerman in 1941, “has the status of an icon,” the Swedish Academy wrote in a \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2016/bio-bibl.pdf\">biographical note\u003c/a>. “His influence on contemporary music is profound, and he is the object of a steady stream of secondary literature.”\u003c/p>\n\u003cp>In an interview following the announcement, Danius elaborated on the Swedish Academy’s decision: “He is a great poet in the English-speaking tradition, and he is a wonderful sampler — a very original sampler,” Danius explained. “For 54 years now he has been at it and reinventing himself, constantly creating a new identity.”\u003c/p>\n\u003cp>And for his work, he has been amply recognized by critical community. Dylan has won Grammys, an Academy Award, a Golden Globe and a Medal of Freedom, the highest civilian honor in the U.S. Now, to that trove of honors Dylan has added a Nobel.\u003c/p>\n\u003cp>The Nobel Prize in literature has been awarded since 1901 to writers who have produced “the most outstanding work in an ideal direction.” In that time, 109 prizes have been distributed to 113 writers. This year, the prize carries with it a purse of approximately $900,000 and, as usual, inclusion on literature’s most illustrious list — the pantheon of Nobel winners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 75-year-old artist will receive his award in Stockholm on Dec. 10.\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=Bob+Dylan%2C+Titan+Of+American+Music%2C+Wins+2016+Nobel+Prize+In+Literature&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Wednesday, Amazon announced the debut of an on-demand music-streaming service called Amazon Music Unlimited. With a subscription model like Spotify and Apple Music, Amazon will charge standard subscribers $10 per month; for Amazon Prime subscribers, just $8 a month; and for users of its Echo devices, only $4 a month.\u003c/p>\n\u003cp>Amazon has been a first-stop destination for serious music fans wanting to buy physical albums, especially as brick-and-mortar music retailers’ fortunes turned — in part because of the rise of Amazon. In more recent memory, however, Amazon’s grip on the market has been challenged, first by download services like iTunes and then by streaming platforms like Spotify, YouTube and Apple Music.\u003c/p>\n\u003cp>The \u003cem>New York Times\u003c/em> reported this morning that Amazon’s unlimited service will offer \u003ca href=\"http://www.nytimes.com/2016/10/12/business/amazon-music-apple-spotify.html\" target=\"_blank\" rel=\"noopener\">“tens of millions”\u003c/a> of tracks on-demand, which will make it a much more reliable platform for music fans than its previous, \u003ca href=\"http://www.npr.org/sections/therecord/2015/06/04/411963624/why-cant-streaming-services-get-classical-music-right\" target=\"_blank\" rel=\"noopener\">playlist-driven\u003c/a> Prime Music offerings. That service included only 2 million songs.\u003c/p>\n\u003cp>The $8 price point for Amazon Prime users could have been enough to trigger a price war between existing subscription services. Previously, record labels have been \u003ca href=\"http://www.nytimes.com/2015/03/26/technology/apple-and-beats-developing-streaming-music-service-to-rival-spotify.html\">unwilling\u003c/a> to lower their licensing costs, which meant that all the competing ad-free services were stuck at about $10 per month.\u003c/p>\n\u003cp>But Amazon is sweetening the deal even more for owners of its Echo system, a speaker and voice-controlled household computer. For Echo users, the monthly price of Amazon Music Unlimited is just $4 (though it is usable on just one Echo device). Echo is already compatible with other streaming services like Spotify, iHeartRadio and Pandora, as well as with speakers made by other companies like Sonos. However, Amazon Music Unlimited has additional benefits for Echo users, including the ability to request certain songs by lyrics or incomplete song titles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That Echo tie-in is key. The Amazon Music Unlimited announcement seems to be more than a bid to reclaim market share in music — it’s a way of making the Echo a more central gadget in consumers’ everyday lives. Now, along with resetting thermostats (on purpose or \u003ca href=\"http://www.npr.org/2016/03/06/469383361/listen-up-your-ai-assistant-goes-crazy-for-npr-too\" target=\"_blank\" rel=\"noopener\">inadvertently\u003c/a>), playing the news headlines from NPR, reordering detergent and starting a car, the Echo will pull up some tunes on Amazon’s own service. For the smart-home savvy, a music streaming feature might be just a fun add-on, but for other music services competing for consumers’ monthly subscription dollars, this new Amazon foray could be a game-changer. \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=Amazon+Seeks+To+Recapture+Music+Fans+With+New+Streaming+Service&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday, Amazon announced the debut of an on-demand music-streaming service called Amazon Music Unlimited. With a subscription model like Spotify and Apple Music, Amazon will charge standard subscribers $10 per month; for Amazon Prime subscribers, just $8 a month; and for users of its Echo devices, only $4 a month.\u003c/p>\n\u003cp>Amazon has been a first-stop destination for serious music fans wanting to buy physical albums, especially as brick-and-mortar music retailers’ fortunes turned — in part because of the rise of Amazon. In more recent memory, however, Amazon’s grip on the market has been challenged, first by download services like iTunes and then by streaming platforms like Spotify, YouTube and Apple Music.\u003c/p>\n\u003cp>The \u003cem>New York Times\u003c/em> reported this morning that Amazon’s unlimited service will offer \u003ca href=\"http://www.nytimes.com/2016/10/12/business/amazon-music-apple-spotify.html\" target=\"_blank\" rel=\"noopener\">“tens of millions”\u003c/a> of tracks on-demand, which will make it a much more reliable platform for music fans than its previous, \u003ca href=\"http://www.npr.org/sections/therecord/2015/06/04/411963624/why-cant-streaming-services-get-classical-music-right\" target=\"_blank\" rel=\"noopener\">playlist-driven\u003c/a> Prime Music offerings. That service included only 2 million songs.\u003c/p>\n\u003cp>The $8 price point for Amazon Prime users could have been enough to trigger a price war between existing subscription services. Previously, record labels have been \u003ca href=\"http://www.nytimes.com/2015/03/26/technology/apple-and-beats-developing-streaming-music-service-to-rival-spotify.html\">unwilling\u003c/a> to lower their licensing costs, which meant that all the competing ad-free services were stuck at about $10 per month.\u003c/p>\n\u003cp>But Amazon is sweetening the deal even more for owners of its Echo system, a speaker and voice-controlled household computer. For Echo users, the monthly price of Amazon Music Unlimited is just $4 (though it is usable on just one Echo device). Echo is already compatible with other streaming services like Spotify, iHeartRadio and Pandora, as well as with speakers made by other companies like Sonos. However, Amazon Music Unlimited has additional benefits for Echo users, including the ability to request certain songs by lyrics or incomplete song titles.\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>That Echo tie-in is key. The Amazon Music Unlimited announcement seems to be more than a bid to reclaim market share in music — it’s a way of making the Echo a more central gadget in consumers’ everyday lives. Now, along with resetting thermostats (on purpose or \u003ca href=\"http://www.npr.org/2016/03/06/469383361/listen-up-your-ai-assistant-goes-crazy-for-npr-too\" target=\"_blank\" rel=\"noopener\">inadvertently\u003c/a>), playing the news headlines from NPR, reordering detergent and starting a car, the Echo will pull up some tunes on Amazon’s own service. For the smart-home savvy, a music streaming feature might be just a fun add-on, but for other music services competing for consumers’ monthly subscription dollars, this new Amazon foray could be a game-changer. \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=Amazon+Seeks+To+Recapture+Music+Fans+With+New+Streaming+Service&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In theory, the two new movies dealing with America’s racial history ought to describe a cinematic straight line: Nate Parker’s provocatively titled drama \u003cem>The Birth of a Nation\u003c/em> imagines the events leading up to an 1831 slave revolt, while Ava DuVernay’s documentary, \u003cem>13th\u003c/em>, examines the legacy of the constitutional amendment that outlawed slavery. A matched set…yes?\u003c/p>\n\u003cp>In practice, the underlying social narrative is twisty, and the films intersect in complicated ways.\u003c/p>\n\u003cp>\u003cem>The Birth of a Nation\u003c/em> begins with a young and inquisitive 1820s slave who discovers almost as soon as he learns to read, that there will be limits to his reading.\u003c/p>\n\u003cp>“These books are for white folks,” the plantation’s mistress tells him. “They’re full of things your kind wouldn’t understand.”\u003c/p>\n\u003cp>What his “kind” would understand, she figures, is the Bible. And indeed, young Nat Turner takes to the Good Book as he grows up, and shares its teachings with his fellow slaves in sermons that interpret biblical passages about slavery (“submit yourselves to your masters”) in a light that pleases neighboring slaveholders.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nat’s master (Armie Hammer) realizes there’ll be profit in renting Nat out to preach. But as the comparatively well-treated Nat sees brutality in his travels, he starts to doubt that the Bible could endorse it, and his sermonizing changes in tone (“execute vengeance on the demonic nations, to bind their kings in chains”) as he decides God wants him to lead a slave revolt.\u003c/p>\n\u003cp>Filmmaker Nate Parker, who wrote, directed, produced and stars in \u003cem>The Birth of a Nation\u003c/em>, has been nurturing this passion project for the better part of a decade, and it shows in imagery that can turn oddly haunting even as the story lacerates — light streaming through slats in a barn, ripe cotton floating cloud-like in a field.\u003c/p>\n\u003cp>Parker’s directing style, though, while thoroughly accomplished for a first-timer, can sometimes feel over-emphatic, and as in-your-face as his script. He hammers home one slavery horror with a literal hammer, he leans far too hard on soaring strings, and his own performance is so central that it diminishes the surrounding characters.\u003c/p>\n\u003cp>All of which contributes to making \u003cem>The Birth of a Nation\u003c/em> feel more solid than shattering. Talk of Oscars would seem optimistic even if Parker didn’t have personal, off-screen controversies swirling around him. Still, it’s an impressive first feature.\u003c/p>\n\u003cfigure id=\"attachment_12174946\" 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/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg\" alt=\"Author Michelle Alexander in '13th.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12174946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc.jpg 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Michelle Alexander in ’13th.’ \u003ccite>(Photo: Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her documentary, \u003cem>13th\u003c/em>, Ava DuVernay cites the wording of the 13th amendment, which outlawed slavery and involuntary servitude “except as a punishment for crime,” and then forcefully argues that that loophole has been used for politics and for profit.\u003c/p>\n\u003cp>This will come as no surprise to those who’ve read Michelle Alexander’s 2010 bestseller, \u003cem>The New Jim Crow\u003c/em>, but DuVernay gives the argument enormous cinematic force.\u003c/p>\n\u003cp>She uses scenes from D.W. Griffith’s original \u003cem>The Birth of a Nation\u003c/em>, a 1915 epic whose cinematic brilliance is irrevocably tarnished by its racism, to establish how discriminatory attitudes were deliberately shaped after the end of slavery — blacks depicted as monsters, rapists, criminals. Also how, in an age of mass-incarceration, that characterization has helped turn prisons into this era’s plantations.\u003c/p>\n\u003cp>DuVernay uses a number of techniques to bring this argument alive on screen, none more effective than a surprisingly simple device: nearly every time someone utters the word “criminal” — whether the speaker is a president, a professor, neighbor, newscaster, anyone at all — the screen fills with the word “criminal” in huge block letters. The effect is to mark how often and how casually, criminality gets linked with black men in public discourse.\u003c/p>\n\u003cp>Another point made repeatedly: That the resulting incarceration of black men has been monetized, with black men put to work against their will. Think roadside chain gangs, or more recently, corporations helping “rehabilitate” inmates by paying them pennies to make sports uniforms. The movie’s list of companies that have benefited from cheap inmate labor is long, and damning.\u003c/p>\n\u003cp>That’s also true of its recounting of how the War on Drugs created imbalances after “separate but equal” was otherwise banned. Mandatory sentences identical for one ounce of crack cocaine (used mostly in inner cities), and 100 ounces of powdered cocaine (the drug of choice in white suburbs). It’s a policy now condemned not just by prison-reform activists, but by such unexpected voices as law-and-order advocates as Newt Gingrich.\u003c/p>\n\u003cfigure id=\"attachment_12174947\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg\" alt=\"Newt Gingrich in '13th.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12174947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b.jpg 1438w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newt Gingrich in ’13th.’\u003c/figcaption>\u003c/figure>\n\u003cp>Matching archival footage that’s hard to watch, with political pronouncements that scald, DuVernay brings the same force to \u003cem>13th\u003c/em>, that she did to her Martin Luther King drama, \u003cem>Selma\u003c/em>. Only this time, she’s mapping the twisty road we’ve traveled since the events depicted in \u003cem>The Birth of a Nation\u003c/em>.\u003c/p>\n\u003cp>“They called the end of slavery ‘Jubilee,’ we thought we were done then,” says lawyer/activist Van Jones. “And then you had a hundred years of Jim Crow, terror and lynching. Dr. King, Ella Jo Baker, Fanny Lou Hamer come on the scene. We get the bills passed, to vote, and then they break out the handcuffs.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A hundred eighty-five years after Nat Turner’s slave revolt, a century and a half after the 13th amendment, and still, laments this powerful documentary, a people in chains. \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+Man+And+An+Amendment+Are+Re-Examined+In+%27The+Birth+Of+A+Nation%27+And+%2713th%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Nate Parker's rebellion film 'The Birth of A Nation' and Ava DuVernay's documentary '13th' tackle America's racial history, but intersect in complicated ways.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In theory, the two new movies dealing with America’s racial history ought to describe a cinematic straight line: Nate Parker’s provocatively titled drama \u003cem>The Birth of a Nation\u003c/em> imagines the events leading up to an 1831 slave revolt, while Ava DuVernay’s documentary, \u003cem>13th\u003c/em>, examines the legacy of the constitutional amendment that outlawed slavery. A matched set…yes?\u003c/p>\n\u003cp>In practice, the underlying social narrative is twisty, and the films intersect in complicated ways.\u003c/p>\n\u003cp>\u003cem>The Birth of a Nation\u003c/em> begins with a young and inquisitive 1820s slave who discovers almost as soon as he learns to read, that there will be limits to his reading.\u003c/p>\n\u003cp>“These books are for white folks,” the plantation’s mistress tells him. “They’re full of things your kind wouldn’t understand.”\u003c/p>\n\u003cp>What his “kind” would understand, she figures, is the Bible. And indeed, young Nat Turner takes to the Good Book as he grows up, and shares its teachings with his fellow slaves in sermons that interpret biblical passages about slavery (“submit yourselves to your masters”) in a light that pleases neighboring slaveholders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nat’s master (Armie Hammer) realizes there’ll be profit in renting Nat out to preach. But as the comparatively well-treated Nat sees brutality in his travels, he starts to doubt that the Bible could endorse it, and his sermonizing changes in tone (“execute vengeance on the demonic nations, to bind their kings in chains”) as he decides God wants him to lead a slave revolt.\u003c/p>\n\u003cp>Filmmaker Nate Parker, who wrote, directed, produced and stars in \u003cem>The Birth of a Nation\u003c/em>, has been nurturing this passion project for the better part of a decade, and it shows in imagery that can turn oddly haunting even as the story lacerates — light streaming through slats in a barn, ripe cotton floating cloud-like in a field.\u003c/p>\n\u003cp>Parker’s directing style, though, while thoroughly accomplished for a first-timer, can sometimes feel over-emphatic, and as in-your-face as his script. He hammers home one slavery horror with a literal hammer, he leans far too hard on soaring strings, and his own performance is so central that it diminishes the surrounding characters.\u003c/p>\n\u003cp>All of which contributes to making \u003cem>The Birth of a Nation\u003c/em> feel more solid than shattering. Talk of Oscars would seem optimistic even if Parker didn’t have personal, off-screen controversies swirling around him. Still, it’s an impressive first feature.\u003c/p>\n\u003cfigure id=\"attachment_12174946\" 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/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg\" alt=\"Author Michelle Alexander in '13th.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12174946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc.jpg 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Michelle Alexander in ’13th.’ \u003ccite>(Photo: Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her documentary, \u003cem>13th\u003c/em>, Ava DuVernay cites the wording of the 13th amendment, which outlawed slavery and involuntary servitude “except as a punishment for crime,” and then forcefully argues that that loophole has been used for politics and for profit.\u003c/p>\n\u003cp>This will come as no surprise to those who’ve read Michelle Alexander’s 2010 bestseller, \u003cem>The New Jim Crow\u003c/em>, but DuVernay gives the argument enormous cinematic force.\u003c/p>\n\u003cp>She uses scenes from D.W. Griffith’s original \u003cem>The Birth of a Nation\u003c/em>, a 1915 epic whose cinematic brilliance is irrevocably tarnished by its racism, to establish how discriminatory attitudes were deliberately shaped after the end of slavery — blacks depicted as monsters, rapists, criminals. Also how, in an age of mass-incarceration, that characterization has helped turn prisons into this era’s plantations.\u003c/p>\n\u003cp>DuVernay uses a number of techniques to bring this argument alive on screen, none more effective than a surprisingly simple device: nearly every time someone utters the word “criminal” — whether the speaker is a president, a professor, neighbor, newscaster, anyone at all — the screen fills with the word “criminal” in huge block letters. The effect is to mark how often and how casually, criminality gets linked with black men in public discourse.\u003c/p>\n\u003cp>Another point made repeatedly: That the resulting incarceration of black men has been monetized, with black men put to work against their will. Think roadside chain gangs, or more recently, corporations helping “rehabilitate” inmates by paying them pennies to make sports uniforms. The movie’s list of companies that have benefited from cheap inmate labor is long, and damning.\u003c/p>\n\u003cp>That’s also true of its recounting of how the War on Drugs created imbalances after “separate but equal” was otherwise banned. Mandatory sentences identical for one ounce of crack cocaine (used mostly in inner cities), and 100 ounces of powdered cocaine (the drug of choice in white suburbs). It’s a policy now condemned not just by prison-reform activists, but by such unexpected voices as law-and-order advocates as Newt Gingrich.\u003c/p>\n\u003cfigure id=\"attachment_12174947\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg\" alt=\"Newt Gingrich in '13th.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12174947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b.jpg 1438w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newt Gingrich in ’13th.’\u003c/figcaption>\u003c/figure>\n\u003cp>Matching archival footage that’s hard to watch, with political pronouncements that scald, DuVernay brings the same force to \u003cem>13th\u003c/em>, that she did to her Martin Luther King drama, \u003cem>Selma\u003c/em>. Only this time, she’s mapping the twisty road we’ve traveled since the events depicted in \u003cem>The Birth of a Nation\u003c/em>.\u003c/p>\n\u003cp>“They called the end of slavery ‘Jubilee,’ we thought we were done then,” says lawyer/activist Van Jones. “And then you had a hundred years of Jim Crow, terror and lynching. Dr. King, Ella Jo Baker, Fanny Lou Hamer come on the scene. We get the bills passed, to vote, and then they break out the handcuffs.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A hundred eighty-five years after Nat Turner’s slave revolt, a century and a half after the 13th amendment, and still, laments this powerful documentary, a people in chains. \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+Man+And+An+Amendment+Are+Re-Examined+In+%27The+Birth+Of+A+Nation%27+And+%2713th%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "With 'The Girl On The Train,' A Best-Selling Novel Jumps The Track",
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"content": "\u003cp>Based on the Paula Hawkins’ bestselling novel, \u003cem>The Girl on the Train\u003c/em> is a whodunit constructed through an ornate latticework of multiple narrators, temporal jumps, blackouts, constant misdirection, and out-and-out red herrings. There are a good four or five possible suspects, each waved at the audience like a red cape in front of a bull, with the lance awaiting on the other side. Perhaps it’s only fitting that a film about infidelity would rely on so many narrative cheats, but director Tate Taylor (\u003cem>The Help\u003c/em>) and his screenwriter, Erin Cressida Wilson, twist themselves out of the meaningful themes they’re attempting to develop.\u003c/p>\n\u003cp>Transplanting the action from England to New York, Taylor and Wilson have essentially made \u003cem>Rear Window\u003c/em> on rails, which is a sad testament to the pokiness of American commuter trains. En route from the suburbs to the city and back every day, Rachel (Emily Blunt) positions herself to gawk at the same upscale Westchester homes every day, imagining what might be going on inside. Nursing a water bottle filled with vodka, Rachel mingles bitter memories of her previous life with fantasies about the beautiful young woman she spots from the train, who surely appreciates all the blessings she lost.\u003c/p>\n\u003cp>Or not. It turns out that Megan (Haley Bennett), the object of her obsession, isn’t the least bit basking in suburban bliss. She feels tethered to a domestic life she never wanted, shelving her ambitions for the sake of her controlling husband Scott (Luke Evans) and a nanny job that summons painful revelations from her past. Megan’s resentment spills over to her employers, Tom (Justin Theroux) and Anna (Rebecca Ferguson), who have their own narratively convenient history, and into her therapy sessions with Kamal (Édgar Ramírez), who has trouble maintaining his professional distance. When Rachel steps off the train and intervenes in their lives, she gets knocked unconscious and becomes a prime suspect in a missing persons case.\u003c/p>\n\u003cp>The time between when Rachel loses consciousness and when she wakes up on her bathroom floor, bloodied and confused about what happened to her, recalls the recent HBO series \u003cem>The Night Of\u003c/em>, which is also about a suspect who blacks out during a period where a crime is committed. The question for both is the same: Is our hero capable of such heinous violence? \u003cem>The Night Of\u003c/em> allowed that question to linger even after revealing the answer, but \u003cem>The Girl on the Train\u003c/em> isn’t as interested in exploring the dark consequences of Rachel’s jealousy and rage. It’s too busy teasing out other scenarios for the sake of it.\u003c/p>\n\u003cp>Along with a touch of voyeuristic kink, \u003cem>The Girl on the Train\u003c/em> smuggles a potent motif about women wriggling under the expectations men have for them and how it can chip away at their ambitions, their self-esteem, and even their grip on reality. In that, it bears an unmistakable likeness to \u003cem>Gone Girl\u003c/em>, which shrewdly rebelled against the “cool girl” acquiescence that forces women to play roles that don’t necessarily suit them. But it isn’t as purposeful or provocative, because it never challenges our sympathy for Rachel or the extreme measures she’s compelled to take.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In many respects, \u003cem>The Girl on the Train\u003c/em> feels like one of the sexy thrillers that flooded the marketplace in the mid-’90s after \u003cem>Basic Instinct\u003c/em>, only with the tawdry kick of eroticism and violence classed up by a feminist theme and an overqualified cast. Beneath all that gloss, Blunt’s unvarnished performance channels Gena Rowlands as a woman-under-the-influence type, perched between righteousness and madness, coming to terms with painful truths about herself and the life she left behind. But like everyone else in the film, her character gets chewed up by the plot machinery, martyred to a mystery that isn’t worthy of her. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Based on the Paula Hawkins’ bestselling novel, \u003cem>The Girl on the Train\u003c/em> is a whodunit constructed through an ornate latticework of multiple narrators, temporal jumps, blackouts, constant misdirection, and out-and-out red herrings. There are a good four or five possible suspects, each waved at the audience like a red cape in front of a bull, with the lance awaiting on the other side. Perhaps it’s only fitting that a film about infidelity would rely on so many narrative cheats, but director Tate Taylor (\u003cem>The Help\u003c/em>) and his screenwriter, Erin Cressida Wilson, twist themselves out of the meaningful themes they’re attempting to develop.\u003c/p>\n\u003cp>Transplanting the action from England to New York, Taylor and Wilson have essentially made \u003cem>Rear Window\u003c/em> on rails, which is a sad testament to the pokiness of American commuter trains. En route from the suburbs to the city and back every day, Rachel (Emily Blunt) positions herself to gawk at the same upscale Westchester homes every day, imagining what might be going on inside. Nursing a water bottle filled with vodka, Rachel mingles bitter memories of her previous life with fantasies about the beautiful young woman she spots from the train, who surely appreciates all the blessings she lost.\u003c/p>\n\u003cp>Or not. It turns out that Megan (Haley Bennett), the object of her obsession, isn’t the least bit basking in suburban bliss. She feels tethered to a domestic life she never wanted, shelving her ambitions for the sake of her controlling husband Scott (Luke Evans) and a nanny job that summons painful revelations from her past. Megan’s resentment spills over to her employers, Tom (Justin Theroux) and Anna (Rebecca Ferguson), who have their own narratively convenient history, and into her therapy sessions with Kamal (Édgar Ramírez), who has trouble maintaining his professional distance. When Rachel steps off the train and intervenes in their lives, she gets knocked unconscious and becomes a prime suspect in a missing persons case.\u003c/p>\n\u003cp>The time between when Rachel loses consciousness and when she wakes up on her bathroom floor, bloodied and confused about what happened to her, recalls the recent HBO series \u003cem>The Night Of\u003c/em>, which is also about a suspect who blacks out during a period where a crime is committed. The question for both is the same: Is our hero capable of such heinous violence? \u003cem>The Night Of\u003c/em> allowed that question to linger even after revealing the answer, but \u003cem>The Girl on the Train\u003c/em> isn’t as interested in exploring the dark consequences of Rachel’s jealousy and rage. It’s too busy teasing out other scenarios for the sake of it.\u003c/p>\n\u003cp>Along with a touch of voyeuristic kink, \u003cem>The Girl on the Train\u003c/em> smuggles a potent motif about women wriggling under the expectations men have for them and how it can chip away at their ambitions, their self-esteem, and even their grip on reality. In that, it bears an unmistakable likeness to \u003cem>Gone Girl\u003c/em>, which shrewdly rebelled against the “cool girl” acquiescence that forces women to play roles that don’t necessarily suit them. But it isn’t as purposeful or provocative, because it never challenges our sympathy for Rachel or the extreme measures she’s compelled to take.\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>In many respects, \u003cem>The Girl on the Train\u003c/em> feels like one of the sexy thrillers that flooded the marketplace in the mid-’90s after \u003cem>Basic Instinct\u003c/em>, only with the tawdry kick of eroticism and violence classed up by a feminist theme and an overqualified cast. Beneath all that gloss, Blunt’s unvarnished performance channels Gena Rowlands as a woman-under-the-influence type, perched between righteousness and madness, coming to terms with painful truths about herself and the life she left behind. But like everyone else in the film, her character gets chewed up by the plot machinery, martyred to a mystery that isn’t worthy of her. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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