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"content": "\u003cp>Seventeen years and at least as many parodies have passed since the release of \u003cem>The Blair Witch Project, \u003c/em>the nanobudget horror hoaxumentary that did blockbuster numbers and landed the three unknown actors who comprised its main cast on the cover of \u003cem>Newsweek. \u003c/em>(Writer-directors Daniel Myrick and Eduardo Sánchez had to settle for the cover of \u003cem>Time.\u003c/em>) It wasn’t the first found-footage spook-flick, but it was by far the most successful, thanks to its pioneering use of viral marketing.\u003cem> The Blair Witch Project\u003c/em> website — one of the first built to shill for a movie — presented phony police reports and news clippings to burnish the Blair Witch legend. The actors, who had supposedly vanished in the woods of Burkittsville, Maryland while shooting their “documentary” in 1994, were briefly the subject of a bogus missing persons campaign.\u003c/p>\n\u003cp>Even after Myrick and Sánchez admitted the whole thing was made up, much of the public remained credulous, or at least confused. You can’t entirely blame them. \u003cem>The Blair Witch Project\u003c/em>‘s marketing was ingenious, the web stuff propped up by the Sci-Fi channel’s “uncensored investigation” special \u003cem>Curse of the Blair Witch, \u003c/em>which\u003cem> \u003c/em>aired a few weeks before the feature’s theatrical release.\u003c/p>\n\u003cp>Recognizing that this particular iron couldn’t stay hot for long, distributor Artisan Entertainment rushed a quickie follow-up into theaters 15 months later. \u003cem>Blair Witch 2: Book of Shadows \u003c/em>wasn’t very good, but it was more ambitious than the frightfully lame new remake-quel \u003cem>Blair Witch,\u003c/em> from director Adam Wingard and screenwriter Simon Barrett. This pair, which has made several thrifty horror pictures together including the well-received \u003cem>You’re Next, \u003c/em>clearly have great affection for the original, and they express this fealty by replicating the Napster-era sensation almost beat for beat. But why? Unlike, say, Orson Welles’ groundbreaking hoaxumentary\u003cem> F for Fake, \u003c/em>which remains provocative and beguiling long after its initial gimmick has been revealed, or many of Christopher Guest’s fauxumentaries, which get funnier with repetition, that original \u003cem>Blair Witch\u003c/em> film\u003cem> \u003c/em>offers little incentive for you to return once you’ve heard the punchline.\u003c/p>\n\u003cp>Remember how\u003cem> Star Wars: The Force Awakens\u003c/em> was gently chided in some quarters for reprising \u003cem>Star Wars: A New Hope \u003c/em>a little too closely? Imagine if \u003cem>The Force Awakens \u003c/em>had not conjured up any members of the original \u003cem>Star Wars\u003c/em> cast, featured only bland new personalities instead of Daisey Ridley and John Boyega, and also looked no more lavish or impressive than \u003cem>A New Hope,\u003c/em> a picture made 40 years earlier.\u003c/p>\n\u003cp>That’s \u003cem>Blair Witch.\u003c/em> Tedious in its early going and all but unwatchable in its final half-hour, the movie feels interminable at a barely-feature-length 89 minutes. Maybe it’ll play better on Netflix, but it’s deeply unpleasant to experience on the big screen, where shaky handheld digital video is a lot more nauseating than when you’re watching it online. I’ll cop to having squinted and squirmed through much of the second half, but that’s just an autonomic response to shaky-cam-coupled with-loud-noises, not a tribute to Wingard’s ability to create tension. Spraying the audience with water while playing distorted audio recordings of people screaming would achieve the same effect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The premise is that paramedic James (James Allen McCune), who was a tyke when his big sister Heather went missing in 1994, has spent years trawling YouTube for evidence she might still be alive. (We’re told authorities combed the Burkittsville woods for the haunted house seen in the finale of \u003cem>The Blair Witch Project\u003c/em> but never found it.) When he finds a video that he believes to contain her image, he grabs his friend Lisa (Callie Hernandez), who needs to a make a documentary for a college course, and pals Corbin Reid and Brandon Scott (who come along though they hate camping), and tramps off into the forest with the two Burkittsville locals who uploaded the YouTube clip, played by Wes Robinson and Valerie Curry.\u003c/p>\n\u003cp>The addition of those latter two characters is the film’s sole stab at altering the formula: For it moment, it appears we’re going to have two rival camps of witch-hunters. But this isn’t nearly variety enough to justify a return trip. Even if you didn’t see \u003cem>The Blair Witch Project,\u003c/em> nothing that happens after sundown in the forbidding woods of Western Maryland (as played by Western Canada this time) will surprise you. This is a cursed place. Wristwatches and compasses and GPS trackers can find no purchase here. (Nor, apparently, can the image-stabilization software that didn’t exist in 1994, but has been standard in most digital cameras and smartphones for years.) Mysterious sigils appear overnight, hung from tree branches. There is something ancient and angry in these woods… and it’s really,\u003cem> really\u003c/em> into arts and crafts.\u003c/p>\n\u003cp>Found-footage horror pictures are an unbeatable investment; even the most polished (like 2008’s \u003cem>Cloverfield\u003c/em>) are still so cheap it’s virtually impossible for them not to turn a profit. And the format insulates the filmmakers from any criticism of their technical or narrative acuity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Blair Witch Project\u003c/em> certainly benefited from these relaxed standards. Pivoting between tedium and terror, the movie was easier to admire than to like, and more fun to dissect than to watch. \u003cem>Blair Witch\u003c/em> 2016 isn’t fun to sit through or to ponder. 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"content": "\u003cp>\u003cem>London Road\u003c/em> is not the first musical to be made about a real-life serial killer. But it may be the first to draw its poetic life-blood from the testimony of residents of a rural English town where five prostitutes were found murdered in 2006. Aside from a wicked moment or two when a leering movie star known for playing unsavory fellows shows up to throw us off the scent, this is not about the murderer. It’s about the undoing — and remaking — of a community in its own words, owing more to Shirley Jackson than \u003cem>Masterpiece Theater\u003c/em>.\u003c/p>\n\u003cp>As it happens, the film was worked up from a National Theater workshop that grew into a hit stage play. This is not Shakespeare or Sheridan though, nor is it one of those lofty-lefty bits by West End playwrights with their gun sights fixed on the ruling class. \u003cem>London Road\u003c/em> beams its sympathy, as well as an irreverent eye, on one lower-middle-class street in Ipswich, Suffolk, whose residents have long resented the sex workers plying their trade under the noses of the righteous and respectable. It helps to know going in that the cultural gulf between the British lower-middle and working class is wide and deep, in no small measure because only a smidgen of bad luck separates the one from the other.\u003c/p>\n\u003cp>When the five women are found dead and the chief suspect — a transient truck driver dubbed the Ipswich Ripper — is arrested in a neglected house on the same street, London Road quickly becomes the focus of a media circus, followed by painful introspection within the community about its own claims to good character. All the residents are played by actors, one or two of whom you’ll be able to name. Every line they utter — the script is by Alecky Blythe, who specializes in “verbatim theatre,” a la Anna Deavere Smith — is taken from recorded interviews. So there’s a documentary impulse at work here that’s integral to British realism. But \u003cem>London Road\u003c/em> is an entirely different animal from any film by Mike Leigh or Ken Loach or Stephen Frears.\u003c/p>\n\u003cp>Based on the play by director Rufus Norris (\u003cem>Broken\u003c/em>), \u003cem>London Road\u003c/em> fairly bristles with visible technique. This is because it’s a famously hellish prospect to adapt a stage play for the screen: You have to get the action out of the house, and you have to put a stop to all that declaiming. As with other filmed versions of National Theater productions that have brought the best of British theater to North America, a swooping, restless camera follows the players around their hitherto obscure town as they wring their hands about the identity of their resident serial killer. Paranoia blooms, and suspects appear in sinister close-ups that make you wonder not simply who the perp might be, but who the women’s regular customers were.\u003c/p>\n\u003cp>Once you get used to the film’s most potent strategy — the incantatory repetition of dialogue in song and sing-song — it takes on the cadence of hypnotic poetry, a Greek chorus that picks out a billowing unease that only begins to spread following a trial verdict that was meant to bring closure. Yes, London Road will spruce itself up with a riot of color in hanging baskets and bunting and block parties and doors thrown open to neighbors. Yes, there will be jubilant togetherness — for everyone but the now under-employed prostitutes, who sound a desolate, lonely voice from the gasworks at the end of the street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the climax, \u003cem>London Road\u003c/em> administers a well-aimed kick to complacent liberalism when the heroic organizer of the community’s rebirth, a single parent named Julie played by Olivia Colman, delivers a frank opinion about the streetwalkers’ fate, while her teenaged daughter squirms on the couch beside her. As Shirley Jackson so well understood in her masterpiece, \u003cem>The Lottery\u003c/em>, no community coheres without its sacrificial lamb. \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=On+%27London+Road%2C%27+Murder%2C+Music+And+British+Lower-Middle-Class+Manners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>London Road\u003c/em> is not the first musical to be made about a real-life serial killer. But it may be the first to draw its poetic life-blood from the testimony of residents of a rural English town where five prostitutes were found murdered in 2006. Aside from a wicked moment or two when a leering movie star known for playing unsavory fellows shows up to throw us off the scent, this is not about the murderer. It’s about the undoing — and remaking — of a community in its own words, owing more to Shirley Jackson than \u003cem>Masterpiece Theater\u003c/em>.\u003c/p>\n\u003cp>As it happens, the film was worked up from a National Theater workshop that grew into a hit stage play. This is not Shakespeare or Sheridan though, nor is it one of those lofty-lefty bits by West End playwrights with their gun sights fixed on the ruling class. \u003cem>London Road\u003c/em> beams its sympathy, as well as an irreverent eye, on one lower-middle-class street in Ipswich, Suffolk, whose residents have long resented the sex workers plying their trade under the noses of the righteous and respectable. It helps to know going in that the cultural gulf between the British lower-middle and working class is wide and deep, in no small measure because only a smidgen of bad luck separates the one from the other.\u003c/p>\n\u003cp>When the five women are found dead and the chief suspect — a transient truck driver dubbed the Ipswich Ripper — is arrested in a neglected house on the same street, London Road quickly becomes the focus of a media circus, followed by painful introspection within the community about its own claims to good character. All the residents are played by actors, one or two of whom you’ll be able to name. Every line they utter — the script is by Alecky Blythe, who specializes in “verbatim theatre,” a la Anna Deavere Smith — is taken from recorded interviews. So there’s a documentary impulse at work here that’s integral to British realism. But \u003cem>London Road\u003c/em> is an entirely different animal from any film by Mike Leigh or Ken Loach or Stephen Frears.\u003c/p>\n\u003cp>Based on the play by director Rufus Norris (\u003cem>Broken\u003c/em>), \u003cem>London Road\u003c/em> fairly bristles with visible technique. This is because it’s a famously hellish prospect to adapt a stage play for the screen: You have to get the action out of the house, and you have to put a stop to all that declaiming. As with other filmed versions of National Theater productions that have brought the best of British theater to North America, a swooping, restless camera follows the players around their hitherto obscure town as they wring their hands about the identity of their resident serial killer. Paranoia blooms, and suspects appear in sinister close-ups that make you wonder not simply who the perp might be, but who the women’s regular customers were.\u003c/p>\n\u003cp>Once you get used to the film’s most potent strategy — the incantatory repetition of dialogue in song and sing-song — it takes on the cadence of hypnotic poetry, a Greek chorus that picks out a billowing unease that only begins to spread following a trial verdict that was meant to bring closure. Yes, London Road will spruce itself up with a riot of color in hanging baskets and bunting and block parties and doors thrown open to neighbors. Yes, there will be jubilant togetherness — for everyone but the now under-employed prostitutes, who sound a desolate, lonely voice from the gasworks at the end of the street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For \u003cem>Star Trek\u003c/em>‘s George Takei, it was one of the worst predictions he ever made, and one of the best strokes of luck in his life: Takei, known to fans worldwide as helmsman Hikaru Sulu, originally thought the show would last only one season.\u003c/p>\n\u003cp>“When we were shooting the pilot, Jimmy Doohan [who played engineer Montgomery “Scotty” Scott] said to me, ‘Well, George, what do you think about this? What kind of run do you think we’ll have?'” says Takei. “And I said, ‘I smell quality. And that means we’re in trouble.’ ”\u003c/p>\n\u003cp>Already a bit cynical about the way TV worked, Takei figured any series he liked wouldn’t last long — including the one he was appearing in. He feared Star Trek creator Gene Roddenberry had developed a show too sophisticated for mass audiences; a show that disguised social commentary with space action.\u003c/p>\n\u003cp>Fifty years later, relaxing in his comfortable Los Angeles home with a long career as an actor, author and activist, Takei is happy to admit his instincts were off the mark.\u003c/p>\n\u003cp>“The Starship Enterprise was a metaphor for Starship Earth,” he adds, referencing an acronym Roddenberry cited often to describe his approach: IDIC, or Infinite Diversity in Infinite Combinations. “It was the diversity of this planet — people of different backgrounds, different cultures, different races … all coming together in concert and working as a team … I think that’s why, even a half century later, it’s as popular as it is.”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“… people of different backgrounds, different cultures, different races … all coming together in concert and working as a team … I think that’s why, even a half century later, it’s as popular as it is.”\u003cbr>\n\u003ccite>George Takei\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>On Sept. 8, one of the most enduring franchises in TV and movie history celebrates its 50th birthday. \u003cem>Star Trek\u003c/em> debuted on NBC in 1966, developed by Roddenberry, a former Los Angeles cop who wanted to make a TV series that could sneak past the rampant escapism of most programs back then.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a time when scripted TV rarely dealt directly with the turbulence of the times, \u003cem>Star Trek\u003c/em> set its social messages against a space opera backdrop. Swashbuckling Captain Kirk ran the Enterprise, backed by cerebral first officer Mr. Spock and emotional Southern medical officer Dr. Leonard McCoy.\u003c/p>\n\u003cp>On the surface, the show’s plots dealt with exotic alien worlds in a future where space travel was commonplace. But Roddenberry and his writers slipped in subtle messages.\u003c/p>\n\u003cp>One classic story pointed out the absurdity of racism by depicting a war among members of an alien race, where one faction was colored black on the left side of their face and body and white on the right. The other faction had the colors reversed.\u003c/p>\n\u003cp>And as the end of state-sanctioned segregation rattled the U.S., Roddenberry featured American TV’s first interracial kiss: Aliens forced Captain Kirk to smooch his African-American communications officer Lt. Uhura, portrayed by Nichelle Nichols.\u003c/p>\n\u003cp>After that episode aired, Takei — who is gay but was not public about it back then — asked Roddenberry if he would consider addressing gay issues on \u003cem>Star Trek.\u003c/em>\u003c/p>\n\u003cp>“He said to me that the episode in which we had a black/white kiss, that show was literally blacked out in the American South,” Takei says. “And that meant the ratings plummeted to the very rock bottom. [Roddenberry said] ‘If that happens again, I’ll be off the air. I’m afraid that issue [gay rights] will do that.'”\u003c/p>\n\u003cp>In a way, Takei wasn’t far off in his original prediction. Plagued by high production costs and middling ratings, \u003cem>Star Trek\u003c/em> was canceled by NBC after two seasons.\u003c/p>\n\u003cp>A cadre of devoted fans organized a letter-writing campaign that pushed the network to bring the show back. Still, NBC canceled \u003cem>Trek\u003c/em> for good after its third season. But by then, the show had made enough episodes to play in syndicated reruns, and its fan base grew.\u003c/p>\n\u003cp>“Gene’s litmus test for what made a great \u003cem>Star Trek\u003c/em> story was, ‘Can you tell it today? Can you tell it 100 years ago? Can you tell it in the future?'” says Richard Arnold, a fan who became Roddenberry’s assistant in the 1970s.\u003c/p>\n\u003cp>“Does it require science fiction hardware to make it work?” Arnold continued. “Because if it does, it’s not a good \u003cem>Star Trek\u003c/em> story. It has to be about people. It has to be about the human condition … It’s one of the few places you can go to get those positive visions of the future.”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“Gene’s litmus test for what made a great ‘Star Trek’ story was, ‘Can you tell it today? Can you tell it 100 years ago? Can you tell it in the future?”\u003cbr>\n\u003ccite>Richard Arnold\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Arnold met Roddenberry at one of the first \u003cem>Star Trek\u003c/em> conventions in the ’70s. He wound up serving as his assistant and \u003cem>Trek\u003c/em> archivist until Roddenberry died in 1991.\u003c/p>\n\u003cp>Arnold says that in the ’70s, Paramount Studios, which then owned \u003cem>Star Trek\u003c/em>, couldn’t decide how to take advantage of the show’s enduring popularity. Ideas like a new TV series, a new TV movie or a low budget movie came and went.\u003c/p>\n\u003cp>Then, in May 1977, \u003cem>Star Wars\u003c/em> hit theaters. Its success convinced Paramount executives they could create their own blockbuster science fiction franchise by releasing a big budget \u003cem>Star Trek\u003c/em> film.\u003c/p>\n\u003cp>“Gene used to say this: If it hadn’t been for \u003cem>Star Wars\u003c/em>, they never would have gone big budget on the first movie,” Arnold says. “It was hard to get it across to the network executives and the studio executives that \u003cem>Star Trek\u003c/em> had any value other than [as] a kids’ show.”\u003c/p>\n\u003cp>After the first \u003cem>Star Trek\u003c/em> film with the original cast debuted as a commercial hit, the franchise blossomed on screen.\u003c/p>\n\u003cp>There were movies with the original cast from the classic series. Then a new series launched on syndicated TV, \u003cem>Star Trek: The Next Generation\u003c/em>. There were spin-offs from the Next Generation universe. And there were even more movies, including three recent “reboot” films with younger actors playing the characters from the classic series.\u003c/p>\n\u003cp>Over the years, \u003cem>Star Trek\u003c/em> became a pop culture institution because fans demanded it. Their support often allowed Roddenberry’s vision to triumph over the objections of clueless TV or film executives.\u003c/p>\n\u003cp>George Takei faced a conflict of his own over the fate of Sulu, the character he once played. Actor John Cho, who plays Sulu in the newest films, told Takei they would show Sulu with a male romantic partner in the latest movie, \u003cem>Star Trek: Beyond.\u003c/em>\u003c/p>\n\u003cp>The decision was intended as a tribute to Takei’s current fame as an advocate on gay issues. But Takei suggested they create a new gay character, instead.\u003c/p>\n\u003cp>“Gene Roddenberry created Sulu as a heterosexual,” Takei says, noting that the Star Trek creator spent lots of time thinking about the character’s personal details, including basing his name on the Sulu Sea instead of using a name connected to a specific nationality in Asia. “That, too, reflected the times we were in, in the ’60s … It’s not about me and it’s not about Sulu. This is the 50th anniversary of Gene’s vision.”\u003c/p>\n\u003cp>When Takei finally saw the film, he noted that Sulu and his partner were shown in the briefest of moments. “That’s it?” he remembered thinking. “They didn’t even kiss? And John told me that they did shoot that kissing scene.” Cho said \u003ca href=\"http://www.vulture.com/2016/07/john-cho-star-trek-beyond-c-v-r.html\" target=\"_blank\" rel=\"noopener\">in an interview with Vulture.com\u003c/a> that the scene was cut from the final film. Paramount didn’t respond to requests for comment on Takei’s statements.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Those discussions, however they are resolved, are the true legacy of \u003cem>Star Trek\u003c/em> — which set a groundbreaking example five decades ago that modern TV and film producers are still trying to match. \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=Much+More+Than+A+5-Year+Mission%3A+%27Star+Trek%27+Turns+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a time when scripted TV rarely dealt directly with the turbulence of the times, \u003cem>Star Trek\u003c/em> set its social messages against a space opera backdrop. Swashbuckling Captain Kirk ran the Enterprise, backed by cerebral first officer Mr. Spock and emotional Southern medical officer Dr. Leonard McCoy.\u003c/p>\n\u003cp>On the surface, the show’s plots dealt with exotic alien worlds in a future where space travel was commonplace. But Roddenberry and his writers slipped in subtle messages.\u003c/p>\n\u003cp>One classic story pointed out the absurdity of racism by depicting a war among members of an alien race, where one faction was colored black on the left side of their face and body and white on the right. The other faction had the colors reversed.\u003c/p>\n\u003cp>And as the end of state-sanctioned segregation rattled the U.S., Roddenberry featured American TV’s first interracial kiss: Aliens forced Captain Kirk to smooch his African-American communications officer Lt. Uhura, portrayed by Nichelle Nichols.\u003c/p>\n\u003cp>After that episode aired, Takei — who is gay but was not public about it back then — asked Roddenberry if he would consider addressing gay issues on \u003cem>Star Trek.\u003c/em>\u003c/p>\n\u003cp>“He said to me that the episode in which we had a black/white kiss, that show was literally blacked out in the American South,” Takei says. “And that meant the ratings plummeted to the very rock bottom. [Roddenberry said] ‘If that happens again, I’ll be off the air. I’m afraid that issue [gay rights] will do that.'”\u003c/p>\n\u003cp>In a way, Takei wasn’t far off in his original prediction. Plagued by high production costs and middling ratings, \u003cem>Star Trek\u003c/em> was canceled by NBC after two seasons.\u003c/p>\n\u003cp>A cadre of devoted fans organized a letter-writing campaign that pushed the network to bring the show back. Still, NBC canceled \u003cem>Trek\u003c/em> for good after its third season. But by then, the show had made enough episodes to play in syndicated reruns, and its fan base grew.\u003c/p>\n\u003cp>“Gene’s litmus test for what made a great \u003cem>Star Trek\u003c/em> story was, ‘Can you tell it today? Can you tell it 100 years ago? Can you tell it in the future?'” says Richard Arnold, a fan who became Roddenberry’s assistant in the 1970s.\u003c/p>\n\u003cp>“Does it require science fiction hardware to make it work?” Arnold continued. “Because if it does, it’s not a good \u003cem>Star Trek\u003c/em> story. It has to be about people. It has to be about the human condition … It’s one of the few places you can go to get those positive visions of the future.”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“Gene’s litmus test for what made a great ‘Star Trek’ story was, ‘Can you tell it today? Can you tell it 100 years ago? Can you tell it in the future?”\u003cbr>\n\u003ccite>Richard Arnold\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Arnold met Roddenberry at one of the first \u003cem>Star Trek\u003c/em> conventions in the ’70s. He wound up serving as his assistant and \u003cem>Trek\u003c/em> archivist until Roddenberry died in 1991.\u003c/p>\n\u003cp>Arnold says that in the ’70s, Paramount Studios, which then owned \u003cem>Star Trek\u003c/em>, couldn’t decide how to take advantage of the show’s enduring popularity. Ideas like a new TV series, a new TV movie or a low budget movie came and went.\u003c/p>\n\u003cp>Then, in May 1977, \u003cem>Star Wars\u003c/em> hit theaters. Its success convinced Paramount executives they could create their own blockbuster science fiction franchise by releasing a big budget \u003cem>Star Trek\u003c/em> film.\u003c/p>\n\u003cp>“Gene used to say this: If it hadn’t been for \u003cem>Star Wars\u003c/em>, they never would have gone big budget on the first movie,” Arnold says. “It was hard to get it across to the network executives and the studio executives that \u003cem>Star Trek\u003c/em> had any value other than [as] a kids’ show.”\u003c/p>\n\u003cp>After the first \u003cem>Star Trek\u003c/em> film with the original cast debuted as a commercial hit, the franchise blossomed on screen.\u003c/p>\n\u003cp>There were movies with the original cast from the classic series. Then a new series launched on syndicated TV, \u003cem>Star Trek: The Next Generation\u003c/em>. There were spin-offs from the Next Generation universe. And there were even more movies, including three recent “reboot” films with younger actors playing the characters from the classic series.\u003c/p>\n\u003cp>Over the years, \u003cem>Star Trek\u003c/em> became a pop culture institution because fans demanded it. Their support often allowed Roddenberry’s vision to triumph over the objections of clueless TV or film executives.\u003c/p>\n\u003cp>George Takei faced a conflict of his own over the fate of Sulu, the character he once played. Actor John Cho, who plays Sulu in the newest films, told Takei they would show Sulu with a male romantic partner in the latest movie, \u003cem>Star Trek: Beyond.\u003c/em>\u003c/p>\n\u003cp>The decision was intended as a tribute to Takei’s current fame as an advocate on gay issues. But Takei suggested they create a new gay character, instead.\u003c/p>\n\u003cp>“Gene Roddenberry created Sulu as a heterosexual,” Takei says, noting that the Star Trek creator spent lots of time thinking about the character’s personal details, including basing his name on the Sulu Sea instead of using a name connected to a specific nationality in Asia. “That, too, reflected the times we were in, in the ’60s … It’s not about me and it’s not about Sulu. This is the 50th anniversary of Gene’s vision.”\u003c/p>\n\u003cp>When Takei finally saw the film, he noted that Sulu and his partner were shown in the briefest of moments. “That’s it?” he remembered thinking. “They didn’t even kiss? And John told me that they did shoot that kissing scene.” Cho said \u003ca href=\"http://www.vulture.com/2016/07/john-cho-star-trek-beyond-c-v-r.html\" target=\"_blank\" rel=\"noopener\">in an interview with Vulture.com\u003c/a> that the scene was cut from the final film. Paramount didn’t respond to requests for comment on Takei’s statements.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those discussions, however they are resolved, are the true legacy of \u003cem>Star Trek\u003c/em> — which set a groundbreaking example five decades ago that modern TV and film producers are still trying to match. \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=Much+More+Than+A+5-Year+Mission%3A+%27Star+Trek%27+Turns+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’re like me, somewhere in your house you imagine there must be a pile of lost white iPhone earbuds. The pile is probably right next to the stack of single socks. It’s one of several reasons I never liked wireless Bluetooth headphones. They’re smaller and even easier to lose.\u003c/p>\n\u003cp>But, if \u003ca href=\"http://www.nytimes.com/2016/09/06/technology/will-the-new-iphone-have-a-headphone-jack-rumormongers-say-it-wont.html?_r=0\" target=\"_blank\" rel=\"noopener\">the rumors\u003c/a> are true — and most likely they are — Apple is about to get rid of the headphone jack on its latest smartphone, the iPhone 7, and tip the scales toward wireless Bluetooth headphones. The company has scheduled a press event in San Francisco on Wednesday.\u003c/p>\n\u003cp>“Getting rid of the headphone jack is panic worthy,” says usability expert Joshua Porter of the design firm Rocket Insights. “It’s going to be a hard argument to make.”\u003c/p>\n\u003cp>Porter says like a lot of iPhone users, he personally has several headsets that will immediately become obsolete unless there is a way to connect them to the new iPhone.\u003c/p>\n\u003cp>Apple is likely to make an adapter that lets users plug their earbuds into the lightning jack. But Apple users with headphones aren’t going to like it if they have to drop extra cash on buying a special adapter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Porter thinks Apple could entice them into buying the iPhone 7 with some nice extras in the box like a free adapter. “That would be a really amazing gesture … and would do a lot in terms of goodwill.”\u003c/p>\n\u003cp>Porter isn’t the only usability expert scratching his head over Apple getting rid of the headphone jack. Kara Pernice, a senior vice president at the user experience research firm Nielsen Norman Group, thinks this change could really sit badly even with loyal Apple users.\u003c/p>\n\u003cp>“When it looks to the customer like this change is not benefiting me and only benefiting Apple, that’s when people snap,” she says.\u003c/p>\n\u003cp>Pernice thinks Apple may be getting rid of the headphone jack to make important internal changes to the phone — like longer battery life. “But, most end users don’t think that way,” she says. “Most people don’t understand why the change is happening.”\u003c/p>\n\u003cp>Pernice predicts that a lot of people won’t upgrade if it means spending extra money on adapters and Bluetooth headsets.\u003c/p>\n\u003cp>But Apple does have a track record of phasing out what seem like popular technologies at the time. The company was among the first to get rid of \u003ca href=\"http://www.techrepublic.com/blog/cracking-open/apples-next-generation-macbook-pro-drops-ethernet-optical-drive/\" target=\"_blank\" rel=\"noopener\">CD drives and Ethernet cables\u003c/a>. It nixed its \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2012/09/12/161013923/new-iphone-plug-spells-inconvenience-for-users-change-for-accessory-makers\" target=\"_blank\" rel=\"noopener\">30-pin connector\u003c/a> for the lightning connector. And none of that seems to have hurt the company’s sales.\u003c/p>\n\u003cp>“Apple has a very strong history of doing whatever it wants,” says Julie Ask, an analyst with Forrester Research. “And they typically still do OK. They typically do a pretty good job of telling consumers what they need and what they don’t need and leading the way into the future.”\u003c/p>\n\u003cp>Bluetooth headphones are making headway. In June, sales of Bluetooth headsets brought in more revenue than non-Bluetooth for the first time, \u003ca href=\"https://www.npd.com/wps/portal/npd/us/news/press-releases/2016/bluetooth-capable-headphone-sales-surpass-non-bluetooth-sales/\" target=\"_blank\" rel=\"noopener\">according to NPD\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple has sold over a billion iPhones worldwide. Still, since the death of founder Steve Jobs in 2011, many critics say Apple has lost its edge. A decade ago, Nokia and BlackBerry were the leaders in smartphone technology. Usability expert Pernice says getting rid of the headphone jack “could be the straw that breaks the camel’s back.” \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=Apple+May+Test+iPhone+Users%27+Loyalty+If+It+Dumps+The+Headphone+Jack&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re like me, somewhere in your house you imagine there must be a pile of lost white iPhone earbuds. The pile is probably right next to the stack of single socks. It’s one of several reasons I never liked wireless Bluetooth headphones. They’re smaller and even easier to lose.\u003c/p>\n\u003cp>But, if \u003ca href=\"http://www.nytimes.com/2016/09/06/technology/will-the-new-iphone-have-a-headphone-jack-rumormongers-say-it-wont.html?_r=0\" target=\"_blank\" rel=\"noopener\">the rumors\u003c/a> are true — and most likely they are — Apple is about to get rid of the headphone jack on its latest smartphone, the iPhone 7, and tip the scales toward wireless Bluetooth headphones. The company has scheduled a press event in San Francisco on Wednesday.\u003c/p>\n\u003cp>“Getting rid of the headphone jack is panic worthy,” says usability expert Joshua Porter of the design firm Rocket Insights. “It’s going to be a hard argument to make.”\u003c/p>\n\u003cp>Porter says like a lot of iPhone users, he personally has several headsets that will immediately become obsolete unless there is a way to connect them to the new iPhone.\u003c/p>\n\u003cp>Apple is likely to make an adapter that lets users plug their earbuds into the lightning jack. But Apple users with headphones aren’t going to like it if they have to drop extra cash on buying a special adapter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Porter thinks Apple could entice them into buying the iPhone 7 with some nice extras in the box like a free adapter. “That would be a really amazing gesture … and would do a lot in terms of goodwill.”\u003c/p>\n\u003cp>Porter isn’t the only usability expert scratching his head over Apple getting rid of the headphone jack. Kara Pernice, a senior vice president at the user experience research firm Nielsen Norman Group, thinks this change could really sit badly even with loyal Apple users.\u003c/p>\n\u003cp>“When it looks to the customer like this change is not benefiting me and only benefiting Apple, that’s when people snap,” she says.\u003c/p>\n\u003cp>Pernice thinks Apple may be getting rid of the headphone jack to make important internal changes to the phone — like longer battery life. “But, most end users don’t think that way,” she says. “Most people don’t understand why the change is happening.”\u003c/p>\n\u003cp>Pernice predicts that a lot of people won’t upgrade if it means spending extra money on adapters and Bluetooth headsets.\u003c/p>\n\u003cp>But Apple does have a track record of phasing out what seem like popular technologies at the time. The company was among the first to get rid of \u003ca href=\"http://www.techrepublic.com/blog/cracking-open/apples-next-generation-macbook-pro-drops-ethernet-optical-drive/\" target=\"_blank\" rel=\"noopener\">CD drives and Ethernet cables\u003c/a>. It nixed its \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2012/09/12/161013923/new-iphone-plug-spells-inconvenience-for-users-change-for-accessory-makers\" target=\"_blank\" rel=\"noopener\">30-pin connector\u003c/a> for the lightning connector. And none of that seems to have hurt the company’s sales.\u003c/p>\n\u003cp>“Apple has a very strong history of doing whatever it wants,” says Julie Ask, an analyst with Forrester Research. “And they typically still do OK. They typically do a pretty good job of telling consumers what they need and what they don’t need and leading the way into the future.”\u003c/p>\n\u003cp>Bluetooth headphones are making headway. In June, sales of Bluetooth headsets brought in more revenue than non-Bluetooth for the first time, \u003ca href=\"https://www.npd.com/wps/portal/npd/us/news/press-releases/2016/bluetooth-capable-headphone-sales-surpass-non-bluetooth-sales/\" target=\"_blank\" rel=\"noopener\">according to NPD\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple has sold over a billion iPhones worldwide. Still, since the death of founder Steve Jobs in 2011, many critics say Apple has lost its edge. A decade ago, Nokia and BlackBerry were the leaders in smartphone technology. Usability expert Pernice says getting rid of the headphone jack “could be the straw that breaks the camel’s back.” \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=Apple+May+Test+iPhone+Users%27+Loyalty+If+It+Dumps+The+Headphone+Jack&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Asteroid Named for Freddie Mercury is Announced on His Birthday",
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"content": "\u003cp>“It’s just a dot of light, but it’s a very special dot of light.” That’s how Queen guitarist Brian May describes the asteroid named for his late friend and bandmate Freddie Mercury.\u003c/p>\n\u003cp>Official designation: Asteroid 17473 Freddiemercury.\u003c/p>\n\u003cp>“Happy Birthday Freddie!” May wrote on Twitter. “They already named a planet after you, but this little ROCK is a bonus! ha ha.”\u003c/p>\n\u003cp>The celestial body was discovered in the same year Mercury died at age 45. It was dedicated to the singer in honor of what would have been his 70th birthday, in a move that May announced in a video shown at a party for Mercury’s Sept. 5 birthday in Montreux, Switzerland.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o2vo6VR51eA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Viewed from the Earth it is more than 10,000 times fainter than you can see by eye,” \u003ca href=\"http://www.brianmay.com/brian/brianssb/brianssbsep16a.html#05\" target=\"_blank\" rel=\"noopener\">May says\u003c/a>, “so you need a fair-sized telescope to see it … and that’s why it wasn’t discovered until 1991.”\u003c/p>\n\u003cp>\u003ca href=\"http://minorplanetcenter.net/db_search/show_object?utf8=%E2%9C%93&object_id=17473\" target=\"_blank\" rel=\"noopener\">The official citation\u003c/a> includes Mercury’s birth name — Farrokh Bulsara — and says of the pop star, “His distinctive sound and large vocal range were hallmarks of his performance style, and he is regarded as one of the greatest rock singers of all time.”\u003c/p>\n\u003cp>This is the second asteroid to be named for a Queen member: May — who went on to a career as an astrophysicist after the band’s heyday — was honored with his own asteroid back in 2008.\u003c/p>\n\u003cp>Mercury’s asteroid orbits the sun on a path between Mars and Jupiter. Before it got a new name, it was called asteroid 1991 FM3, with the number 17473. It measures around 2 miles across, \u003ca href=\"http://brianmay.com/brian/brianssb/brianssbsep16a.html\">May wrote\u003c/a>.\u003c/p>\n\u003cp>May also thanked U.S. astronomer Joel Parker, of the Southwest Research Institute in Boulder, Colo., for his help in getting an asteroid named for the singer.\u003c/p>\n\u003cp>“The Beatles have asteroids, Jimi Hendrix has an asteroid, I thought for sure Freddie Mercury would have one,” Parker says, according to the \u003cem>Daily Camera\u003c/em>. “I brought it up with Brian, and he thought it was a great idea.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>May quotes Parker as saying, “even if you can’t see Freddiemercury leaping through the sky, you can be sure he’s there — ‘floating around in ecstasy’, as he might sing — for millennia to come.” \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=Asteroid+Named+For+Freddie+Mercury+Is+Announced+On+His+Birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It’s just a dot of light, but it’s a very special dot of light.” That’s how Queen guitarist Brian May describes the asteroid named for his late friend and bandmate Freddie Mercury.\u003c/p>\n\u003cp>Official designation: Asteroid 17473 Freddiemercury.\u003c/p>\n\u003cp>“Happy Birthday Freddie!” May wrote on Twitter. “They already named a planet after you, but this little ROCK is a bonus! ha ha.”\u003c/p>\n\u003cp>The celestial body was discovered in the same year Mercury died at age 45. It was dedicated to the singer in honor of what would have been his 70th birthday, in a move that May announced in a video shown at a party for Mercury’s Sept. 5 birthday in Montreux, Switzerland.\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/o2vo6VR51eA'\n title='//www.youtube.com/embed/o2vo6VR51eA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Viewed from the Earth it is more than 10,000 times fainter than you can see by eye,” \u003ca href=\"http://www.brianmay.com/brian/brianssb/brianssbsep16a.html#05\" target=\"_blank\" rel=\"noopener\">May says\u003c/a>, “so you need a fair-sized telescope to see it … and that’s why it wasn’t discovered until 1991.”\u003c/p>\n\u003cp>\u003ca href=\"http://minorplanetcenter.net/db_search/show_object?utf8=%E2%9C%93&object_id=17473\" target=\"_blank\" rel=\"noopener\">The official citation\u003c/a> includes Mercury’s birth name — Farrokh Bulsara — and says of the pop star, “His distinctive sound and large vocal range were hallmarks of his performance style, and he is regarded as one of the greatest rock singers of all time.”\u003c/p>\n\u003cp>This is the second asteroid to be named for a Queen member: May — who went on to a career as an astrophysicist after the band’s heyday — was honored with his own asteroid back in 2008.\u003c/p>\n\u003cp>Mercury’s asteroid orbits the sun on a path between Mars and Jupiter. Before it got a new name, it was called asteroid 1991 FM3, with the number 17473. It measures around 2 miles across, \u003ca href=\"http://brianmay.com/brian/brianssb/brianssbsep16a.html\">May wrote\u003c/a>.\u003c/p>\n\u003cp>May also thanked U.S. astronomer Joel Parker, of the Southwest Research Institute in Boulder, Colo., for his help in getting an asteroid named for the singer.\u003c/p>\n\u003cp>“The Beatles have asteroids, Jimi Hendrix has an asteroid, I thought for sure Freddie Mercury would have one,” Parker says, according to the \u003cem>Daily Camera\u003c/em>. “I brought it up with Brian, and he thought it was a great idea.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>May quotes Parker as saying, “even if you can’t see Freddiemercury leaping through the sky, you can be sure he’s there — ‘floating around in ecstasy’, as he might sing — for millennia to come.” \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=Asteroid+Named+For+Freddie+Mercury+Is+Announced+On+His+Birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Where Did TV's Villains Go? Monsters, Anti-Heroes and Alexis Colby Carrington",
"headTitle": "Where Did TV’s Villains Go? Monsters, Anti-Heroes and Alexis Colby Carrington | KQED",
"content": "\u003cp>\u003cem>This summer, NPR has been thinking about villains in popular culture. Critic Bob Mondello explored \u003ca href=\"http://www.npr.org/2016/07/28/486074615/from-hal-9000-to-harley-quinn-screen-villains-sow-chaos-because-they-can\" target=\"_blank\" rel=\"noopener\">what makes a great screen villain tick\u003c/a>. NPR Books’ Petra Mayer looked at \u003ca href=\"http://www.npr.org/2016/08/22/490524269/better-to-reign-in-hell-literatures-unpunished-villains\" target=\"_blank\" rel=\"noopener\">how and why so many of literature’s greatest villains get away with it\u003c/a>. Today, NPR Pop Culture Happy Hour’s Glen Weldon looks at how portrayals of villainy on television continue to evolve.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cbsnews.com/news/welcome-to-tvs-second-golden-age/\" target=\"_blank\" rel=\"noopener\">New Golden Age of Television\u003c/a> in which we find ourselves is marked by a few spots of tarnish. There’s a sameness of tone (i.e. grim) and skin color (i.e. white), a tendency to confuse violence (i.e. brutally assaulted women) for plot, and a mystifying reluctance to let villains be villains.\u003c/p>\n\u003cp>A quick definition of terms: I’m talking about true \u003cem>villains\u003c/em>, here. Not bad guys — those gun-toting heavies who show up every week to supply a given episode with its necessary conflict. Bad guys say things like “get in the car” and “you gotta smart mouth” and “the boss wants them taken care of.” They’re interchangeable, predictable, boring.\u003c/p>\n\u003cp>And let’s take monsters off the table while we’re at it. Television has always loved its monsters, on shows like \u003cem>Kolchak: The Night Stalker, The X-Files, Buffy The Vampire Slayer, Angel, True Blood, Teen Wolf, Grimm, Supernatura\u003c/em>l and \u003cem>Sleepy Hollow\u003c/em>.\u003c/p>\n\u003cp>It was the old David Lynch/Mark Frost series \u003cem>Twin Peaks\u003c/em>, which will return next year following a 26-year hiatus, that featured easily the single-most terrifying monster in TV history: Killer Bob.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Who it turned out was actually a sort of murderous … forest … spirit?\u003c/p>\n\u003cp>… In stone-washed denim.\u003c/p>\n\u003cp>Look, it was the 90s.\u003c/p>\n\u003cp>Like all the werewolves and vampires and ghosts that haunt TV shows today, Bob was a fairy-tale boogeyman, a metaphor, a larger-than-life \u003cem>symbol\u003c/em> of pure evil. Not a villain.\u003c/p>\n\u003cp>The thing about villains is that they are entirely human, outfitted with understandably human motivations.\u003c/p>\n\u003cp>What’s more, they have a plan. That’s what \u003cem>truly\u003c/em> separates them from generic bad guys and monsters: TV’s best villains play the long game. Episode after episode, season after season, they plot and scheme and wait, tenting their fingers.\u003c/p>\n\u003cp>And not only do they have a plan, they’re only too happy to share it with anyone in earshot.\u003c/p>\n\u003cp>Take Alexis Colby — technically Alexis Carrington Colby Dexter Rowan — of the 80s nighttime soap \u003cem>Dynasty\u003c/em>, played with scenery-chomping relish by Joan Collins:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>The past is \u003c/em>over\u003cem> and nothing can change it, but let me tell you something, Krystle. The future is going to be \u003c/em>very\u003cem> different, because in a very short time, this faultless family is going to be hearing from me — including you! And you \u003c/em>especially\u003cem> are going to \u003c/em>cringe\u003cem> at what you hear! Krystle Jennings Carrington! The oh-so-sterling once — and maybe \u003c/em>future\u003cem> — secretary!\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>TV used to be lousy with villains like Alexis. Villains who sat at the very center of the spider web, patiently spinning plans within plans.\u003c/p>\n\u003cp>But then something happened.\u003c/p>\n\u003cp>Tony Soprano happened. And Vic Mackey. And Walter White. And Don Draper, Francis Underwood, Nancy Botwin, Jax Teller, and…\u003c/p>\n\u003cp>Anti-heroes happened; the bad guys became our good guys. We started building shows around ruthless mobsters, drug kingpins, womanizing cads. They do lots of villainous things — Tony Soprano murdered his own nephew, for pity’s sake — but now they’re the characters with whom we’re meant to identify.\u003c/p>\n\u003cp>To be sure to keep our sympathies, writers are careful to show these anti-heroes forever struggling with their actions. But villains — true villains — don’t \u003cem>struggle\u003c/em> with the evil that they do. They \u003cem>bask\u003c/em> in it. Here’s Alexis again:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>If I ever hear of another time when she has breathed a \u003c/em>word\u003cem> about Fallon’s paternity, I will personally attach tiny hand grenades to each of the wheels on her roller skates, watch her do one of her ever-loving pirouettes, and \u003c/em>applaud\u003cem> as she \u003c/em>explodes\u003cem> into a thousand smithereens!\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>Trust me, you can hear it in her voice: Evil is her bubble bath, and she’s luxuriating in it up to her neck.\u003c/p>\n\u003cp>Granted, the many anti-hero shows we have today are a \u003cem>lot\u003c/em> more nuanced and wise about the human condition than a show like \u003cem>Dynasty\u003c/em> ever was. Of course they are. But they’re also a \u003cem>lot\u003c/em> less fun.\u003c/p>\n\u003cp>That’s because we intellectually empathize with an anti-hero … but we \u003cem>love \u003c/em>a hiss-worthy villain.\u003c/p>\n\u003cp>That’s key to understanding why \u003cem>The Walking Dead\u003c/em> and \u003cem>Game of Thrones\u003c/em> are two of TV’s most-watched programs right now. Not because of their monsters — the zombies and fire-breathing dragons are gimmicks — but because they both feature old-fashioned villains: men and women with elaborate plans, who are fun to watch.\u003c/p>\n\u003cp>For two seasons on \u003cem>The Walking Dead\u003c/em> a character called The Governor proved himself a unimaginably nasty villain to the show’s main characters; when it returns in October, look for a character called Negan to fill that slot, in a particularly brutal fashion.\u003c/p>\n\u003cp>And of all the many characters on \u003cem>Game of Thrones\u003c/em>, it’s only Cersei Lannister, Queen of the Seven Kingdoms, who positively revels in the kind scheming, self-satisfied, unapologetic villainy TV used to do so well:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>The only way to keep the small folk loyal is to make certain they fear you more than they do the enemy. Remember that, if you ever hope to become queen.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>See? \u003cem>That’s\u003c/em> more like it. I perhaps don’t need to point out that as she says all that, she swirls and guzzles a huge goblet of red wine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Alexis would be proud. \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=Where+Did+TV%27s+Villains+Go%3F+Monsters%2C+Anti-Heroes+And+Alexis+Colby+Carrington&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "TV has a bad guy problem. The rise of morally ambiguous anti-heroes like Tony Soprano has pushed chewier, more melodramatic villains aside. What we gained in nuance, we lost in sheer, hiss-worthy fun.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This summer, NPR has been thinking about villains in popular culture. Critic Bob Mondello explored \u003ca href=\"http://www.npr.org/2016/07/28/486074615/from-hal-9000-to-harley-quinn-screen-villains-sow-chaos-because-they-can\" target=\"_blank\" rel=\"noopener\">what makes a great screen villain tick\u003c/a>. NPR Books’ Petra Mayer looked at \u003ca href=\"http://www.npr.org/2016/08/22/490524269/better-to-reign-in-hell-literatures-unpunished-villains\" target=\"_blank\" rel=\"noopener\">how and why so many of literature’s greatest villains get away with it\u003c/a>. Today, NPR Pop Culture Happy Hour’s Glen Weldon looks at how portrayals of villainy on television continue to evolve.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.cbsnews.com/news/welcome-to-tvs-second-golden-age/\" target=\"_blank\" rel=\"noopener\">New Golden Age of Television\u003c/a> in which we find ourselves is marked by a few spots of tarnish. There’s a sameness of tone (i.e. grim) and skin color (i.e. white), a tendency to confuse violence (i.e. brutally assaulted women) for plot, and a mystifying reluctance to let villains be villains.\u003c/p>\n\u003cp>A quick definition of terms: I’m talking about true \u003cem>villains\u003c/em>, here. Not bad guys — those gun-toting heavies who show up every week to supply a given episode with its necessary conflict. Bad guys say things like “get in the car” and “you gotta smart mouth” and “the boss wants them taken care of.” They’re interchangeable, predictable, boring.\u003c/p>\n\u003cp>And let’s take monsters off the table while we’re at it. Television has always loved its monsters, on shows like \u003cem>Kolchak: The Night Stalker, The X-Files, Buffy The Vampire Slayer, Angel, True Blood, Teen Wolf, Grimm, Supernatura\u003c/em>l and \u003cem>Sleepy Hollow\u003c/em>.\u003c/p>\n\u003cp>It was the old David Lynch/Mark Frost series \u003cem>Twin Peaks\u003c/em>, which will return next year following a 26-year hiatus, that featured easily the single-most terrifying monster in TV history: Killer Bob.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who it turned out was actually a sort of murderous … forest … spirit?\u003c/p>\n\u003cp>… In stone-washed denim.\u003c/p>\n\u003cp>Look, it was the 90s.\u003c/p>\n\u003cp>Like all the werewolves and vampires and ghosts that haunt TV shows today, Bob was a fairy-tale boogeyman, a metaphor, a larger-than-life \u003cem>symbol\u003c/em> of pure evil. Not a villain.\u003c/p>\n\u003cp>The thing about villains is that they are entirely human, outfitted with understandably human motivations.\u003c/p>\n\u003cp>What’s more, they have a plan. That’s what \u003cem>truly\u003c/em> separates them from generic bad guys and monsters: TV’s best villains play the long game. Episode after episode, season after season, they plot and scheme and wait, tenting their fingers.\u003c/p>\n\u003cp>And not only do they have a plan, they’re only too happy to share it with anyone in earshot.\u003c/p>\n\u003cp>Take Alexis Colby — technically Alexis Carrington Colby Dexter Rowan — of the 80s nighttime soap \u003cem>Dynasty\u003c/em>, played with scenery-chomping relish by Joan Collins:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>The past is \u003c/em>over\u003cem> and nothing can change it, but let me tell you something, Krystle. The future is going to be \u003c/em>very\u003cem> different, because in a very short time, this faultless family is going to be hearing from me — including you! And you \u003c/em>especially\u003cem> are going to \u003c/em>cringe\u003cem> at what you hear! Krystle Jennings Carrington! The oh-so-sterling once — and maybe \u003c/em>future\u003cem> — secretary!\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>TV used to be lousy with villains like Alexis. Villains who sat at the very center of the spider web, patiently spinning plans within plans.\u003c/p>\n\u003cp>But then something happened.\u003c/p>\n\u003cp>Tony Soprano happened. And Vic Mackey. And Walter White. And Don Draper, Francis Underwood, Nancy Botwin, Jax Teller, and…\u003c/p>\n\u003cp>Anti-heroes happened; the bad guys became our good guys. We started building shows around ruthless mobsters, drug kingpins, womanizing cads. They do lots of villainous things — Tony Soprano murdered his own nephew, for pity’s sake — but now they’re the characters with whom we’re meant to identify.\u003c/p>\n\u003cp>To be sure to keep our sympathies, writers are careful to show these anti-heroes forever struggling with their actions. But villains — true villains — don’t \u003cem>struggle\u003c/em> with the evil that they do. They \u003cem>bask\u003c/em> in it. Here’s Alexis again:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>If I ever hear of another time when she has breathed a \u003c/em>word\u003cem> about Fallon’s paternity, I will personally attach tiny hand grenades to each of the wheels on her roller skates, watch her do one of her ever-loving pirouettes, and \u003c/em>applaud\u003cem> as she \u003c/em>explodes\u003cem> into a thousand smithereens!\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>Trust me, you can hear it in her voice: Evil is her bubble bath, and she’s luxuriating in it up to her neck.\u003c/p>\n\u003cp>Granted, the many anti-hero shows we have today are a \u003cem>lot\u003c/em> more nuanced and wise about the human condition than a show like \u003cem>Dynasty\u003c/em> ever was. Of course they are. But they’re also a \u003cem>lot\u003c/em> less fun.\u003c/p>\n\u003cp>That’s because we intellectually empathize with an anti-hero … but we \u003cem>love \u003c/em>a hiss-worthy villain.\u003c/p>\n\u003cp>That’s key to understanding why \u003cem>The Walking Dead\u003c/em> and \u003cem>Game of Thrones\u003c/em> are two of TV’s most-watched programs right now. Not because of their monsters — the zombies and fire-breathing dragons are gimmicks — but because they both feature old-fashioned villains: men and women with elaborate plans, who are fun to watch.\u003c/p>\n\u003cp>For two seasons on \u003cem>The Walking Dead\u003c/em> a character called The Governor proved himself a unimaginably nasty villain to the show’s main characters; when it returns in October, look for a character called Negan to fill that slot, in a particularly brutal fashion.\u003c/p>\n\u003cp>And of all the many characters on \u003cem>Game of Thrones\u003c/em>, it’s only Cersei Lannister, Queen of the Seven Kingdoms, who positively revels in the kind scheming, self-satisfied, unapologetic villainy TV used to do so well:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>The only way to keep the small folk loyal is to make certain they fear you more than they do the enemy. Remember that, if you ever hope to become queen.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>See? \u003cem>That’s\u003c/em> more like it. I perhaps don’t need to point out that as she says all that, she swirls and guzzles a huge goblet of red wine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Alexis would be proud. \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=Where+Did+TV%27s+Villains+Go%3F+Monsters%2C+Anti-Heroes+And+Alexis+Colby+Carrington&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Light Between Oceans' Richly Illuminates A Couple's Moral Dilemma",
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"content": "\u003cp>Janus Island, despite its rocky hilltops, patches of farmland, and ample beaches, can’t be found on a map. That’s because it doesn’t exist. But to be fair to Janus, most real-life remote islands aren’t easy to find on maps either, unless you know what you’re looking for.\u003c/p>\n\u003cp>The gorgeous new period drama \u003cem>The Light Between Oceans\u003c/em> does know what it’s looking for. Set on the fictitious Janus, which lies some distance from the Australian coast, the film understands the romance and the mystique that arises from picturesque isolation. Literature’s greatest names have long routed their heroes to islands, and the movie demonstrates the setting’s great durability. It builds a gripping morality play, with characters as fierce and hardened as the choppy waves that crash onto the shore from all directions.\u003c/p>\n\u003cp>https://youtu.be/w51IR_BFGyc\u003c/p>\n\u003cp>The lighthouse keeper on this godforsaken paradise is Tom, played by Michael Fassbender with tight lips and a weary stare. He’s a stoic WWI veteran with no family and a fat ton of survivor’s remorse. These qualities would seem to make him the ideal candidate for such a solitary gig, but lighthouse keepers, we’re told, fare better when they have companions to help tend to the chores. (The previous one had conjured images of his dead wife to keep him company.) So it’s good for work when Tom quickly falls for Isabel (Alicia Vikander), the pretty young woman in the closest port town who’s OK with the isolation—and the broken piano in the keeper’s house—but desperately wants a family. Two heartbreaking miscarriages follow, with silent funerals as the island wind rattles the plain wooden crosses. The edge of the world seems to reject all attempts to populate it.\u003c/p>\n\u003cp>An unexpected gift soon washes ashore. It would be foolish to give away too much of what follows this divine intervention, but don’t believe the ads for this movie billing it as a mere romance. Readers of the novel by M.L. Stedman, from which the film is adapted, will know what sorts of decisions await Tom and Isabel, both out on Janus where only God is around to judge, and back in town where the repercussions will grow over the years. The story is airtight, with not an action or background detail wasted. As a grieving mother on the mainland (Rachel Weisz) begins to factor into things, a fascinating spiritual element takes shape: What is the just and righteous decision, and what is the self-serving decision, and what if they are secretly the same?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The skill of the leads is such that we can ask these questions without straying too far from the film itself. Any number of readings are possible in the performances of the red-hot, perfectly cast Fassbender and Vikander, who each depict their characters as withdrawn even when they’re being intimate, and who can open up deep rifts in their relationship without saying a word. At one crucial moment Vikander lets out a scream of such primal fury, a wail of possession, that it shatters the bones. It’s a selfish, even childlike reaction to something she herself did wrong, yet we never think of Isabel as a cheat. She’s human, and her wounds are deep, and she’s chosen the wrong way to fill them.\u003c/p>\n\u003cp>Director Derek Cianfrance previously made \u003cem>Blue Valentine\u003c/em>, a time-scrambled tale of love gone wrong,\u003cem> \u003c/em>and \u003ca href=\"http://www.npr.org/2013/03/28/175284851/the-place-beyond-the-pines-its-a-far-piece\" target=\"_blank\" rel=\"noopener\">\u003cem>The Place Beyond the Pines\u003c/em>\u003c/a>, a multi-generational crime saga. In the past, he has favored an intense, often furious brand of imagery that uses showy technique to approximate deep human emotion without ever quite arriving at real humanity. (Feel Ryan Gosling’s pain! \u003cem>Feel\u003c/em> it!) But here, Cianfrance has found material that complements him well, because the stripped-down story forces him to put his visual style to good use. He does wonders with close-ups from behind, in three-quarter profile, setting the relationships between his leads off-kilter in subtle ways. And because setting your movie on an island is a waste if you can’t bathe everything in natural light, he turns the film (shot on Tasmania and New Zealand) into magic-hour playtime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Light Between Oceans\u003c/em> drifts off-course in the ending, which drags on for one epilogue too many and operates under the ancient Hollywood sailor’s mistaken belief that a touch of schmaltz cures all wounds. Yet the film remains an uncharted island of gripping narrative power and visual splendor, beckoning us to dock at its shore.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Janus Island, despite its rocky hilltops, patches of farmland, and ample beaches, can’t be found on a map. That’s because it doesn’t exist. But to be fair to Janus, most real-life remote islands aren’t easy to find on maps either, unless you know what you’re looking for.\u003c/p>\n\u003cp>The gorgeous new period drama \u003cem>The Light Between Oceans\u003c/em> does know what it’s looking for. Set on the fictitious Janus, which lies some distance from the Australian coast, the film understands the romance and the mystique that arises from picturesque isolation. Literature’s greatest names have long routed their heroes to islands, and the movie demonstrates the setting’s great durability. It builds a gripping morality play, with characters as fierce and hardened as the choppy waves that crash onto the shore from all directions.\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/w51IR_BFGyc'\n title='//www.youtube.com/embed/w51IR_BFGyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The lighthouse keeper on this godforsaken paradise is Tom, played by Michael Fassbender with tight lips and a weary stare. He’s a stoic WWI veteran with no family and a fat ton of survivor’s remorse. These qualities would seem to make him the ideal candidate for such a solitary gig, but lighthouse keepers, we’re told, fare better when they have companions to help tend to the chores. (The previous one had conjured images of his dead wife to keep him company.) So it’s good for work when Tom quickly falls for Isabel (Alicia Vikander), the pretty young woman in the closest port town who’s OK with the isolation—and the broken piano in the keeper’s house—but desperately wants a family. Two heartbreaking miscarriages follow, with silent funerals as the island wind rattles the plain wooden crosses. The edge of the world seems to reject all attempts to populate it.\u003c/p>\n\u003cp>An unexpected gift soon washes ashore. It would be foolish to give away too much of what follows this divine intervention, but don’t believe the ads for this movie billing it as a mere romance. Readers of the novel by M.L. Stedman, from which the film is adapted, will know what sorts of decisions await Tom and Isabel, both out on Janus where only God is around to judge, and back in town where the repercussions will grow over the years. The story is airtight, with not an action or background detail wasted. As a grieving mother on the mainland (Rachel Weisz) begins to factor into things, a fascinating spiritual element takes shape: What is the just and righteous decision, and what is the self-serving decision, and what if they are secretly the same?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The skill of the leads is such that we can ask these questions without straying too far from the film itself. Any number of readings are possible in the performances of the red-hot, perfectly cast Fassbender and Vikander, who each depict their characters as withdrawn even when they’re being intimate, and who can open up deep rifts in their relationship without saying a word. At one crucial moment Vikander lets out a scream of such primal fury, a wail of possession, that it shatters the bones. It’s a selfish, even childlike reaction to something she herself did wrong, yet we never think of Isabel as a cheat. She’s human, and her wounds are deep, and she’s chosen the wrong way to fill them.\u003c/p>\n\u003cp>Director Derek Cianfrance previously made \u003cem>Blue Valentine\u003c/em>, a time-scrambled tale of love gone wrong,\u003cem> \u003c/em>and \u003ca href=\"http://www.npr.org/2013/03/28/175284851/the-place-beyond-the-pines-its-a-far-piece\" target=\"_blank\" rel=\"noopener\">\u003cem>The Place Beyond the Pines\u003c/em>\u003c/a>, a multi-generational crime saga. In the past, he has favored an intense, often furious brand of imagery that uses showy technique to approximate deep human emotion without ever quite arriving at real humanity. (Feel Ryan Gosling’s pain! \u003cem>Feel\u003c/em> it!) But here, Cianfrance has found material that complements him well, because the stripped-down story forces him to put his visual style to good use. He does wonders with close-ups from behind, in three-quarter profile, setting the relationships between his leads off-kilter in subtle ways. And because setting your movie on an island is a waste if you can’t bathe everything in natural light, he turns the film (shot on Tasmania and New Zealand) into magic-hour playtime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Light Between Oceans\u003c/em> drifts off-course in the ending, which drags on for one epilogue too many and operates under the ancient Hollywood sailor’s mistaken belief that a touch of schmaltz cures all wounds. Yet the film remains an uncharted island of gripping narrative power and visual splendor, beckoning us to dock at its shore.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "How Art Transformed a Remote Japanese Island | KQED",
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"content": "\u003cp>Art can enlighten, soothe, challenge and provoke. Sometimes it can transform a community.\u003c/p>\n\u003cp>Case in point: a 5.5-square-mile island called \u003ca href=\"https://www.google.com/maps/@34.4740175,133.9523345,13z\" target=\"_blank\" rel=\"noopener\">Naoshima\u003c/a> in Japan’s Seto Inland Sea.\u003c/p>\n\u003cp>Once upon a time, the biggest employer on Naoshima was a \u003ca href=\"http://www.mmc.co.jp/corporate/en/\" target=\"_blank\" rel=\"noopener\">Mitsubishi\u003c/a> metals processing plant. Actually, it’s still the biggest employer, just not nearly as big as it once was.\u003c/p>\n\u003cp>Blame automation. The population of the island has dropped from around 8,000 in the 1950s and 1960s to a little over 3,000 now.\u003c/p>\n\u003cp>In Japan, this is not that strange. Populations of small towns are declining all over the country. Some towns are disappearing altogether. The reasons are a combination of the country’s overall shrinking population and an increase in the number of people moving from rural areas to big cities.\u003c/p>\n\u003cfigure id=\"attachment_12005667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Japan1-800x541.jpg\" alt=\"Hiroshi Sugimoto's "Time Exposed" seascape is exhibited at the Benesse House Museum.\" width=\"800\" height=\"541\" class=\"size-medium wp-image-12005667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan1-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan1-768x519.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiroshi Sugimoto’s “Time Exposed” seascape is exhibited at the Benesse House Museum. \u003ccite>(Photo: Shigeo Anzai Courtesy of Benesse Art Site Naoshima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naoshima might have been headed for the same relentless decline.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.benesse-hd.co.jp/en/\" target=\"_blank\" rel=\"noopener\">Benesse Holdings\u003c/a>, an education and publishing conglomerate based in the nearby city of Okayama. Its best-known brand is Berlitz, the language school company. Benesse’s other claim to fame is its world-class modern art collection, including paintings by Claude Monet, Frank Stella and Andy Warhol, as well as many Japanese artists less famous in the U.S.\u003c/p>\n\u003cp>The former head of Benesse Holdings, \u003ca href=\"http://www.forbes.com/profile/soichiro-fukutake/\" target=\"_blank\" rel=\"noopener\">Soichiro Fukutake\u003c/a>, wanted a special home for the collection, someplace where it would have a local impact and could also be shared with the wider world.\u003c/p>\n\u003cp>So, nearly 30 years ago, Benesse bought a big hunk of land on Naoshima’s south side. It hired world-famous architect \u003ca href=\"http://www.pritzkerprize.com/laureates/1995\" target=\"_blank\" rel=\"noopener\">Tadao Ando,\u003c/a> and over the next two decades, he designed \u003ca href=\"http://benesse-artsite.jp/en/\" target=\"_blank\" rel=\"noopener\">museums and adjacent luxury lodgings\u003c/a>. The buildings follow the natural contours of the landscape. \u003ca href=\"http://benesse-artsite.jp/en/art/chichu.html\" target=\"_blank\" rel=\"noopener\">One museum is mostly underground\u003c/a>, with open courtyards and skylights bringing in natural light.\u003c/p>\n\u003cp>And if you build it, they will come. This year, Naoshima’s \u003ca href=\"http://setouchi-artfest.jp/en/\" target=\"_blank\" rel=\"noopener\">triennial arts festival\u003c/a> is expected to attract at least 800,000 tourists to the island.\u003c/p>\n\u003cfigure id=\"attachment_12005670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Japan2-800x542.jpg\" alt=\"Visitors to the island can stay at Benesse House, a hotel with direct museum access.\" width=\"800\" height=\"542\" class=\"size-medium wp-image-12005670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan2-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan2-768x520.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors to the island can stay at Benesse House, a hotel with direct museum access. \u003ccite>(Photo: Seiichi Ohsawa Courtesy of Benesse Art Site Naoshima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Now that we have tourists and a very active tourist industry, some people have moved here to open shops on our island,” says Naoshima Mayor Michiru Hamanaka. “Last year, we even saw a little bit of a rise in the population.”\u003c/p>\n\u003cp>Masaaki Yamagishi, 38, is one of the island’s new shop owners. His place, \u003ca href=\"http://shimacoya.com/form/\" target=\"_blank\" rel=\"noopener\">Shimacoya\u003c/a>, is part cafe, part bookstore, part campground and part community center, where neighbors gather to learn English or watch movies.\u003c/p>\n\u003cp>Yamagishi first came to Naoshima from Tokyo as an art tourist. “I was so struck by the kindness of the people and fell in love with the whole island,” he says. “And I thought, ‘What a wonderful place to be.’ ”\u003c/p>\n\u003cp>His cafe is in the village of Honmura. The narrow streets are dotted with abandoned houses. Benesse Holdings bought a few of them and turned them over to artists, who transformed the houses into permanent installations.\u003c/p>\n\u003cp>The “\u003ca href=\"http://benesse-artsite.jp/en/art/arthouse.html\" target=\"_blank\" rel=\"noopener\">Art Houses\u003c/a>” draw tourists from the museum campus into the village. And it has turned Naoshima residents into enthusiastic supporters of contemporary art.\u003c/p>\n\u003cp>One of them is 74-year-old Morohiro Nambara. He’s a docent at a house where locals used to meet to play \u003ca href=\"https://gogameguru.com/what-is-go/\" target=\"_blank\" rel=\"noopener\">the board game Go\u003c/a>. Artist \u003ca href=\"http://asiasociety.org/yoshihiro-suda-focus\" target=\"_blank\" rel=\"noopener\">Yoshihiro Suda\u003c/a> has replaced the Go parlor with his camellia sculpture. It’s juxtaposed with a real camellia tree and with an empty space. You’re supposed to contemplate what is real, what is fake, what is art.\u003c/p>\n\u003cp>Nambara likes discussing this with visitors.\u003c/p>\n\u003cp>“At the beginning, I had no idea how to appreciate [contemporary art],” he says. “But little by little, you become comfortable with it and start to grow very close to the artwork here in the town. So I feel like I understand it a little bit better.”\u003c/p>\n\u003cp>It seems like you can bump into art anywhere on this island. Benesse has commissioned several site-specific works. Visitors can see a couple of sculptures near the harbor before they even get off of the ferry. A giant red pumpkin covered in \u003ca href=\"http://www.yayoi-kusama.jp/e/biography/index.html\" target=\"_blank\" rel=\"noopener\">Yayoi Kusama’s\u003c/a> signature polka dots has become a Naoshima icon. A similar piece of hers — a yellow pumpkin on an undeveloped beach — perches at the end of an old concrete pier.\u003c/p>\n\u003cfigure id=\"attachment_12005669\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Japan3-594x600.jpg\" alt=\"Yayoi Kusama's work "Pumpkin" perches at the end of an old concrete pier.\" width=\"594\" height=\"600\" class=\"size-medium wp-image-12005669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-594x600.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-768x776.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3.jpg 800w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Yayoi Kusama’s work “Pumpkin” perches at the end of an old concrete pier. \u003ccite>(Photo: Seiichi Ohsawa Courtesy of Benesse Art Site Naoshima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Toshihiko Okuda, 80, who retired last year as head of the \u003ca href=\"http://www.naoshima.net/en/\" target=\"_blank\" rel=\"noopener\">Naoshima Tourism Association\u003c/a>, says art tourism has brought big changes to the island and the lives of its residents. In the beginning, he says, some were skeptical about the Benesse art projects. But they’ve now had years to see the many benefits.\u003c/p>\n\u003cp>For example, “We’re making conscientious efforts to learn other languages,” says Okuda. “Even young children in elementary schools are starting to learn English. We want to be able to respond [to a visitor] if asked a question.”\u003c/p>\n\u003cp>Naoshima residents are even dressing better, says Okuda, emulating the foreign visitors.\u003c/p>\n\u003cp>‘We feel that we’re starting to see things we never knew existed,” he says. “The level of our sophistication has gone up considerably.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But not too much. Naoshima has kept its laid-back, beachy vibe — even if gigantic polka-dot pumpkins by a famous artist decorate its shores. \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=How+Art+Transformed+A+Remote+Japanese+Island+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The population of Naoshima has fallen to 3,000. But this year, its art will attract 800,000 tourists from around the world. \"The level of our sophistication has gone up considerably,\" says a resident.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art can enlighten, soothe, challenge and provoke. Sometimes it can transform a community.\u003c/p>\n\u003cp>Case in point: a 5.5-square-mile island called \u003ca href=\"https://www.google.com/maps/@34.4740175,133.9523345,13z\" target=\"_blank\" rel=\"noopener\">Naoshima\u003c/a> in Japan’s Seto Inland Sea.\u003c/p>\n\u003cp>Once upon a time, the biggest employer on Naoshima was a \u003ca href=\"http://www.mmc.co.jp/corporate/en/\" target=\"_blank\" rel=\"noopener\">Mitsubishi\u003c/a> metals processing plant. Actually, it’s still the biggest employer, just not nearly as big as it once was.\u003c/p>\n\u003cp>Blame automation. The population of the island has dropped from around 8,000 in the 1950s and 1960s to a little over 3,000 now.\u003c/p>\n\u003cp>In Japan, this is not that strange. Populations of small towns are declining all over the country. Some towns are disappearing altogether. The reasons are a combination of the country’s overall shrinking population and an increase in the number of people moving from rural areas to big cities.\u003c/p>\n\u003cfigure id=\"attachment_12005667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Japan1-800x541.jpg\" alt=\"Hiroshi Sugimoto's "Time Exposed" seascape is exhibited at the Benesse House Museum.\" width=\"800\" height=\"541\" class=\"size-medium wp-image-12005667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan1-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan1-768x519.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiroshi Sugimoto’s “Time Exposed” seascape is exhibited at the Benesse House Museum. \u003ccite>(Photo: Shigeo Anzai Courtesy of Benesse Art Site Naoshima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naoshima might have been headed for the same relentless decline.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.benesse-hd.co.jp/en/\" target=\"_blank\" rel=\"noopener\">Benesse Holdings\u003c/a>, an education and publishing conglomerate based in the nearby city of Okayama. Its best-known brand is Berlitz, the language school company. Benesse’s other claim to fame is its world-class modern art collection, including paintings by Claude Monet, Frank Stella and Andy Warhol, as well as many Japanese artists less famous in the U.S.\u003c/p>\n\u003cp>The former head of Benesse Holdings, \u003ca href=\"http://www.forbes.com/profile/soichiro-fukutake/\" target=\"_blank\" rel=\"noopener\">Soichiro Fukutake\u003c/a>, wanted a special home for the collection, someplace where it would have a local impact and could also be shared with the wider world.\u003c/p>\n\u003cp>So, nearly 30 years ago, Benesse bought a big hunk of land on Naoshima’s south side. It hired world-famous architect \u003ca href=\"http://www.pritzkerprize.com/laureates/1995\" target=\"_blank\" rel=\"noopener\">Tadao Ando,\u003c/a> and over the next two decades, he designed \u003ca href=\"http://benesse-artsite.jp/en/\" target=\"_blank\" rel=\"noopener\">museums and adjacent luxury lodgings\u003c/a>. The buildings follow the natural contours of the landscape. \u003ca href=\"http://benesse-artsite.jp/en/art/chichu.html\" target=\"_blank\" rel=\"noopener\">One museum is mostly underground\u003c/a>, with open courtyards and skylights bringing in natural light.\u003c/p>\n\u003cp>And if you build it, they will come. This year, Naoshima’s \u003ca href=\"http://setouchi-artfest.jp/en/\" target=\"_blank\" rel=\"noopener\">triennial arts festival\u003c/a> is expected to attract at least 800,000 tourists to the island.\u003c/p>\n\u003cfigure id=\"attachment_12005670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Japan2-800x542.jpg\" alt=\"Visitors to the island can stay at Benesse House, a hotel with direct museum access.\" width=\"800\" height=\"542\" class=\"size-medium wp-image-12005670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan2-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan2-768x520.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors to the island can stay at Benesse House, a hotel with direct museum access. \u003ccite>(Photo: Seiichi Ohsawa Courtesy of Benesse Art Site Naoshima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Now that we have tourists and a very active tourist industry, some people have moved here to open shops on our island,” says Naoshima Mayor Michiru Hamanaka. “Last year, we even saw a little bit of a rise in the population.”\u003c/p>\n\u003cp>Masaaki Yamagishi, 38, is one of the island’s new shop owners. His place, \u003ca href=\"http://shimacoya.com/form/\" target=\"_blank\" rel=\"noopener\">Shimacoya\u003c/a>, is part cafe, part bookstore, part campground and part community center, where neighbors gather to learn English or watch movies.\u003c/p>\n\u003cp>Yamagishi first came to Naoshima from Tokyo as an art tourist. “I was so struck by the kindness of the people and fell in love with the whole island,” he says. “And I thought, ‘What a wonderful place to be.’ ”\u003c/p>\n\u003cp>His cafe is in the village of Honmura. The narrow streets are dotted with abandoned houses. Benesse Holdings bought a few of them and turned them over to artists, who transformed the houses into permanent installations.\u003c/p>\n\u003cp>The “\u003ca href=\"http://benesse-artsite.jp/en/art/arthouse.html\" target=\"_blank\" rel=\"noopener\">Art Houses\u003c/a>” draw tourists from the museum campus into the village. And it has turned Naoshima residents into enthusiastic supporters of contemporary art.\u003c/p>\n\u003cp>One of them is 74-year-old Morohiro Nambara. He’s a docent at a house where locals used to meet to play \u003ca href=\"https://gogameguru.com/what-is-go/\" target=\"_blank\" rel=\"noopener\">the board game Go\u003c/a>. Artist \u003ca href=\"http://asiasociety.org/yoshihiro-suda-focus\" target=\"_blank\" rel=\"noopener\">Yoshihiro Suda\u003c/a> has replaced the Go parlor with his camellia sculpture. It’s juxtaposed with a real camellia tree and with an empty space. You’re supposed to contemplate what is real, what is fake, what is art.\u003c/p>\n\u003cp>Nambara likes discussing this with visitors.\u003c/p>\n\u003cp>“At the beginning, I had no idea how to appreciate [contemporary art],” he says. “But little by little, you become comfortable with it and start to grow very close to the artwork here in the town. So I feel like I understand it a little bit better.”\u003c/p>\n\u003cp>It seems like you can bump into art anywhere on this island. Benesse has commissioned several site-specific works. Visitors can see a couple of sculptures near the harbor before they even get off of the ferry. A giant red pumpkin covered in \u003ca href=\"http://www.yayoi-kusama.jp/e/biography/index.html\" target=\"_blank\" rel=\"noopener\">Yayoi Kusama’s\u003c/a> signature polka dots has become a Naoshima icon. A similar piece of hers — a yellow pumpkin on an undeveloped beach — perches at the end of an old concrete pier.\u003c/p>\n\u003cfigure id=\"attachment_12005669\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Japan3-594x600.jpg\" alt=\"Yayoi Kusama's work "Pumpkin" perches at the end of an old concrete pier.\" width=\"594\" height=\"600\" class=\"size-medium wp-image-12005669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-594x600.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-400x404.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-768x776.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Japan3.jpg 800w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Yayoi Kusama’s work “Pumpkin” perches at the end of an old concrete pier. \u003ccite>(Photo: Seiichi Ohsawa Courtesy of Benesse Art Site Naoshima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Toshihiko Okuda, 80, who retired last year as head of the \u003ca href=\"http://www.naoshima.net/en/\" target=\"_blank\" rel=\"noopener\">Naoshima Tourism Association\u003c/a>, says art tourism has brought big changes to the island and the lives of its residents. In the beginning, he says, some were skeptical about the Benesse art projects. But they’ve now had years to see the many benefits.\u003c/p>\n\u003cp>For example, “We’re making conscientious efforts to learn other languages,” says Okuda. “Even young children in elementary schools are starting to learn English. We want to be able to respond [to a visitor] if asked a question.”\u003c/p>\n\u003cp>Naoshima residents are even dressing better, says Okuda, emulating the foreign visitors.\u003c/p>\n\u003cp>‘We feel that we’re starting to see things we never knew existed,” he says. “The level of our sophistication has gone up considerably.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But not too much. Naoshima has kept its laid-back, beachy vibe — even if gigantic polka-dot pumpkins by a famous artist decorate its shores. \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=How+Art+Transformed+A+Remote+Japanese+Island+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "He Died at 32, But a Young Artist Lives on in LA's Underground Museum",
"headTitle": "He Died at 32, But a Young Artist Lives on in LA’s Underground Museum | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/491843106/491848126\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>It’s a sweltering night in July\u003cstrong> \u003c/strong>and Los Angeles’ \u003ca href=\"http://theunderground-museum.org/\">Underground Museum\u003c/a> is packed. “It’s crowded and hot, but it feels really good,” says vistor Jazzi McGilbert. Like much of the crowd, McGilbert is young, creative and African-American. She drove across town to this unassuming, bunkerlike storefront for an event that combines art and activism. The museum is one of her favorite spots in Los Angeles. “I like what it stands for,” McGilbert says. “… And the art is incredible.”\u003c/p>\n\u003cfigure id=\"attachment_12001276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-800x600.jpg\" alt=\"David Hammons made his 1993/2016 work In the Hood out of a found sweatshirt and fishing wire.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12001276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Hammons made his 1993/2016 work In the Hood out of a found sweatshirt and fishing wire. \u003ccite>(Photo: The Underground Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Underground Museum aims to promote cutting-edge African-American art, but inclusiveness is also part of its mission. “This is a black space,” a message on the museum door reads, “but all are welcome.”\u003c/p>\n\u003cp>When artist Noah Davis founded the museum, he wanted to do two things: sidestep the existing gallery system, with its rigid hierarchies and gatekeepers, and bring world-class art to a neighborhood he likened to a food desert, meaning no grocery stores \u003cem>or\u003c/em> museums. Davis died a year ago Monday of a rare form of cancer.\u003c/p>\n\u003cp>\u003cstrong>A beyond audacious request \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Davis began working on the museum, he was a rising art world star with powerful friends, like Helen Molesworth, chief curator of the Museum of Contemporary Art, Los Angeles. Molesworth remembers when Davis first asked for her help.\u003c/p>\n\u003cp>“He wasn’t asking for, you know, someone to help him with the marketing … he was asking us for the art,” she says. In other words, he was asking the museum to lend him whatever he wanted from its valuable collection — a beyond audacious request.\u003c/p>\n\u003cp>“No one had ever asked like that before,” Molesworth says. She was intrigued by the idea that an institution like hers could help bring art to people who might not otherwise see it. But she didn’t just hand over MOCA’s art — first she helped Davis upgrade the Underground Museum’s security and HVAC system to protect the art. Then she left it alone.\u003c/p>\n\u003cp>“I know how to make a museum,” Molesworth says. “I don’t know how to make an underground museum.”\u003c/p>\n\u003cp>Noah Davis did. When he died from cancer, he was only 32 years old. He left instructions for the next 18 shows, but they’re mostly just concepts, titles and lists of the works he wanted to display. In the wake of his death, Megan Steinman joined as the museum’s director. She understood their goal of challenging what museums can be.\u003c/p>\n\u003cfigure id=\"attachment_12001281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Young-artist-piece-800x313.jpg\" alt=\"The three faces that appear in Kerry James Marshall's 2002 Heirlooms and Accessories are taken from a 1930 photograph of a double lynching in Marion, Ind. You can hear Marshall talk about this work here.\" width=\"800\" height=\"313\" class=\"size-medium wp-image-12001281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece-400x157.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece-768x300.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The three faces that appear in Kerry James Marshall’s 2002 Heirlooms and Accessories are taken from a 1930 photograph of a double lynching in Marion, Ind. You can hear Marshall talk about this work \u003ch href=\"https://vimeo.com/45605233\" target>here. \u003ccite>(Photo: The Underground Museum)\u003c/cite>\u003c/h>\u003c/figcaption>\u003c/figure>\n\u003cp>“Museums are gorgeous,” Steinman says, “but they also come with this idea of how you’re supposed to be and how you’re supposed to stand and how loud you’re supposed to be and if you can talk or not.” Also: whether you can afford the entrance fee and how hard it is to get there. “And then you get there and it’s like massive walls and these cavernous spaces,” she says, “and it’s like all these things that are telling your mind how to think before you even get to the artwork itself.”\u003c/p>\n\u003cp>The artwork at the Underground Museum is cutting-edge and often conceptual. One work features wallpaper that shows a lynching. Noah Davis hung a photograph on top of it — a haunting, real-life portrait of a lynching victim’s wife in the American South from 1949.\u003c/p>\n\u003cp>“The look in her eyes — that grief, that pain — you can just feel her heart and her soul in this photograph,” says Karon Davis, Noah Davis’ widow and the museum’s co-founder.\u003c/p>\n\u003cfigure id=\"attachment_12001278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-800x450.jpg\" alt=\"Noah Davis hung a 1949 portrait of the wife of a lynching victim on top of Robert Grober's 1989 <em>Hanging Man/Sleeping Man</em> screen-printed wallpaper.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12001278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Noah Davis hung a 1949 portrait of the wife of a lynching victim on top of Robert Grober’s 1989 \u003cem>Hanging Man/Sleeping Man\u003c/em> screen-printed wallpaper. \u003ccite>(Photo: The Underground Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Noah’s magnum opus’\u003c/strong>\u003c/p>\n\u003cp>Karon Davis is also Los Angeles royalty: She’s the daughter of actor Ben Vereen and part of an electric circle of black artists and intellectuals. (That circle includes her late husband’s brother, Kahlil Joseph, who co-directed Beyoncé’s visual album \u003cem>Lemonade\u003c/em>.)\u003c/p>\n\u003cp>But the Underground Museum is resolutely down to earth — like a community center that just happens to show art by giant stars, like Kerry James Marshall. (Marshall is about to have a major retrospective at New York’s Metropolitan Museum of Art, but he lent some personal work to the Underground Museum show.) There are yoga classes and a spacious outside garden where people in the neighborhood are encouraged to hang out and read. It’s called the Purple Garden because, Karon Davis explains, her late husband thought everyone should be treated like royalty.\u003c/p>\n\u003cp>Steinman says Noah Davis’ legacy is what’s keeping the Underground Museum alive. “This space is Noah’s magnum opus. It is his biggest installation work; it’s his gift. And now he’s not here and now we all get to still keep on being in conversation with him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a conversation in which no one gets the last word. Unlike most museums, Noah Davis didn’t put text on the walls to tell people what to think of the art he chose — art about perseverance, racial violence, family and resistance. He trusted visitors to decide for themselves. \u003c/p>\n\u003cfigure id=\"attachment_12001282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Young-artist-piece2-800x280.jpg\" alt=\"Kara Walker uses striking, black-and-white silhouettes in her 1995 work The Means to an End...A Shadow Drama in Five Acts.\" width=\"800\" height=\"280\" class=\"size-medium wp-image-12001282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece2-400x140.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece2-768x269.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kara Walker uses striking, black-and-white silhouettes in her 1995 work \u003cem>The Means to an End…A Shadow Drama in Five Acts.\u003c/em> \u003ccite>(Photo: Museum of Contemporary Art Los Angeles/The Underground Museum)\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=He+Died+At+32%2C+But+A+Young+Artist+Lives+On+In+LA%27s+Underground+Museum&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "When Noah Davis founded the museum, he wanted to bring world-class art to a neighborhood he likened to a food desert, meaning no grocery stores \u003cem>or\u003c/em> museums. Davis died a year ago Monday.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/491843106/491848126\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>It’s a sweltering night in July\u003cstrong> \u003c/strong>and Los Angeles’ \u003ca href=\"http://theunderground-museum.org/\">Underground Museum\u003c/a> is packed. “It’s crowded and hot, but it feels really good,” says vistor Jazzi McGilbert. Like much of the crowd, McGilbert is young, creative and African-American. She drove across town to this unassuming, bunkerlike storefront for an event that combines art and activism. The museum is one of her favorite spots in Los Angeles. “I like what it stands for,” McGilbert says. “… And the art is incredible.”\u003c/p>\n\u003cfigure id=\"attachment_12001276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-800x600.jpg\" alt=\"David Hammons made his 1993/2016 work In the Hood out of a found sweatshirt and fishing wire.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12001276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2548-1-cf5350d16514566ef23d5aff6d2e509c3f1c6329-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Hammons made his 1993/2016 work In the Hood out of a found sweatshirt and fishing wire. \u003ccite>(Photo: The Underground Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Underground Museum aims to promote cutting-edge African-American art, but inclusiveness is also part of its mission. “This is a black space,” a message on the museum door reads, “but all are welcome.”\u003c/p>\n\u003cp>When artist Noah Davis founded the museum, he wanted to do two things: sidestep the existing gallery system, with its rigid hierarchies and gatekeepers, and bring world-class art to a neighborhood he likened to a food desert, meaning no grocery stores \u003cem>or\u003c/em> museums. Davis died a year ago Monday of a rare form of cancer.\u003c/p>\n\u003cp>\u003cstrong>A beyond audacious request \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Davis began working on the museum, he was a rising art world star with powerful friends, like Helen Molesworth, chief curator of the Museum of Contemporary Art, Los Angeles. Molesworth remembers when Davis first asked for her help.\u003c/p>\n\u003cp>“He wasn’t asking for, you know, someone to help him with the marketing … he was asking us for the art,” she says. In other words, he was asking the museum to lend him whatever he wanted from its valuable collection — a beyond audacious request.\u003c/p>\n\u003cp>“No one had ever asked like that before,” Molesworth says. She was intrigued by the idea that an institution like hers could help bring art to people who might not otherwise see it. But she didn’t just hand over MOCA’s art — first she helped Davis upgrade the Underground Museum’s security and HVAC system to protect the art. Then she left it alone.\u003c/p>\n\u003cp>“I know how to make a museum,” Molesworth says. “I don’t know how to make an underground museum.”\u003c/p>\n\u003cp>Noah Davis did. When he died from cancer, he was only 32 years old. He left instructions for the next 18 shows, but they’re mostly just concepts, titles and lists of the works he wanted to display. In the wake of his death, Megan Steinman joined as the museum’s director. She understood their goal of challenging what museums can be.\u003c/p>\n\u003cfigure id=\"attachment_12001281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Young-artist-piece-800x313.jpg\" alt=\"The three faces that appear in Kerry James Marshall's 2002 Heirlooms and Accessories are taken from a 1930 photograph of a double lynching in Marion, Ind. You can hear Marshall talk about this work here.\" width=\"800\" height=\"313\" class=\"size-medium wp-image-12001281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece-400x157.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece-768x300.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The three faces that appear in Kerry James Marshall’s 2002 Heirlooms and Accessories are taken from a 1930 photograph of a double lynching in Marion, Ind. You can hear Marshall talk about this work \u003ch href=\"https://vimeo.com/45605233\" target>here. \u003ccite>(Photo: The Underground Museum)\u003c/cite>\u003c/h>\u003c/figcaption>\u003c/figure>\n\u003cp>“Museums are gorgeous,” Steinman says, “but they also come with this idea of how you’re supposed to be and how you’re supposed to stand and how loud you’re supposed to be and if you can talk or not.” Also: whether you can afford the entrance fee and how hard it is to get there. “And then you get there and it’s like massive walls and these cavernous spaces,” she says, “and it’s like all these things that are telling your mind how to think before you even get to the artwork itself.”\u003c/p>\n\u003cp>The artwork at the Underground Museum is cutting-edge and often conceptual. One work features wallpaper that shows a lynching. Noah Davis hung a photograph on top of it — a haunting, real-life portrait of a lynching victim’s wife in the American South from 1949.\u003c/p>\n\u003cp>“The look in her eyes — that grief, that pain — you can just feel her heart and her soul in this photograph,” says Karon Davis, Noah Davis’ widow and the museum’s co-founder.\u003c/p>\n\u003cfigure id=\"attachment_12001278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-800x450.jpg\" alt=\"Noah Davis hung a 1949 portrait of the wife of a lynching victim on top of Robert Grober's 1989 <em>Hanging Man/Sleeping Man</em> screen-printed wallpaper.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12001278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/20160331-_dsc2486_wide-b8cc163831f379481ad127380434697d26d2f4cd-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Noah Davis hung a 1949 portrait of the wife of a lynching victim on top of Robert Grober’s 1989 \u003cem>Hanging Man/Sleeping Man\u003c/em> screen-printed wallpaper. \u003ccite>(Photo: The Underground Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Noah’s magnum opus’\u003c/strong>\u003c/p>\n\u003cp>Karon Davis is also Los Angeles royalty: She’s the daughter of actor Ben Vereen and part of an electric circle of black artists and intellectuals. (That circle includes her late husband’s brother, Kahlil Joseph, who co-directed Beyoncé’s visual album \u003cem>Lemonade\u003c/em>.)\u003c/p>\n\u003cp>But the Underground Museum is resolutely down to earth — like a community center that just happens to show art by giant stars, like Kerry James Marshall. (Marshall is about to have a major retrospective at New York’s Metropolitan Museum of Art, but he lent some personal work to the Underground Museum show.) There are yoga classes and a spacious outside garden where people in the neighborhood are encouraged to hang out and read. It’s called the Purple Garden because, Karon Davis explains, her late husband thought everyone should be treated like royalty.\u003c/p>\n\u003cp>Steinman says Noah Davis’ legacy is what’s keeping the Underground Museum alive. “This space is Noah’s magnum opus. It is his biggest installation work; it’s his gift. And now he’s not here and now we all get to still keep on being in conversation with him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a conversation in which no one gets the last word. Unlike most museums, Noah Davis didn’t put text on the walls to tell people what to think of the art he chose — art about perseverance, racial violence, family and resistance. He trusted visitors to decide for themselves. \u003c/p>\n\u003cfigure id=\"attachment_12001282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Young-artist-piece2-800x280.jpg\" alt=\"Kara Walker uses striking, black-and-white silhouettes in her 1995 work The Means to an End...A Shadow Drama in Five Acts.\" width=\"800\" height=\"280\" class=\"size-medium wp-image-12001282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece2-400x140.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Young-artist-piece2-768x269.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kara Walker uses striking, black-and-white silhouettes in her 1995 work \u003cem>The Means to an End…A Shadow Drama in Five Acts.\u003c/em> \u003ccite>(Photo: Museum of Contemporary Art Los Angeles/The Underground Museum)\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=He+Died+At+32%2C+But+A+Young+Artist+Lives+On+In+LA%27s+Underground+Museum&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At 81, Disney's First African-American Animator is Still in the Studio",
"headTitle": "At 81, Disney’s First African-American Animator is Still in the Studio | KQED",
"content": "\u003cp>If you’ve seen \u003cem>Sleeping Beauty,\u003c/em> \u003cem>The Jungle Book\u003c/em> or the Toy Story movies, you’ve seen the work of animator Floyd Norman; for decades, he has helped bring Disney and Pixar classics to life.\u003c/p>\n\u003cp>Now 81, Norman still works for Disney, where he has plied his trade, on and off, since he became the studio’s first African-American animator in the 1950s.\u003c/p>\n\u003cp>Norman’s love of art began long before his Disney job, as he reveals in a new documentary, \u003cem>An Animated Life. \u003c/em>“Any empty surface was a blank canvas for me,” he says. His mother was constantly scrubbing scribbles off the walls. “I was drawing on everything,” he recalls.\u003c/p>\n\u003cp>Norman grew up in Santa Barbara, Calif., a place that, he says, sheltered him from much of the racial tension and segregation of the time. He tells NPR’s David Greene he experienced no racism — “none whatsoever.”\u003c/p>\n\u003cfigure id=\"attachment_11983558\" class=\"wp-caption alignright\" style=\"max-width: 651px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e.jpg\" alt='Norman says he did not think of himself as a trailblazer. \"We were just a bunch of kids looking for a job,\" he says.' width=\"651\" height=\"800\" class=\"size-full wp-image-11983558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e.jpg 651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e-400x492.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e-488x600.jpg 488w\" sizes=\"(max-width: 651px) 100vw, 651px\">\u003cfigcaption class=\"wp-caption-text\">Norman says he did not think of himself as a trailblazer. “We were just a bunch of kids looking for a job,” he says. \u003ccite>(Photo: Michael Flore Films/Falco Ink.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We lived in a Pacific paradise,” he says. “I didn’t know it at the time, but my experience as a child was probably a good deal different from many, many people. We had access to everything — good schools, concert, theater.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thanks to that upbringing, it never occurred to Norman that he\u003cem> couldn’t\u003c/em> apply for a job as a Disney animator.\u003c/p>\n\u003cp>“I think the thought just never occurred to a lot of young black talent to apply for a job in the film industry,” he says. “And it wasn’t just Walt Disney. I’m sure the same thing happened at other film studios as well. There was a perception that opportunities were not available for people of color.”\u003c/p>\n\u003cp>So he applied, and in the mid-1950s he became Disney’s first black animator. Many saw that as a big deal — but not Norman.\u003c/p>\n\u003cp>“There were about half dozen of us came to work at Disney that same week,” he says. “We came from different parts of the country. We were all from different backgrounds. … We were Asian, we were Latino, we were black, we were white. Nobody thought about that because that was not the issue at hand. Nobody thought of themselves as being a trailblazer for their race or their group. We were just a bunch of young kids looking for a job.”\u003c/p>\n\u003cp>Still, many have accused Walt Disney and his studio of making racist films, often lampooning minority groups, including African-Americans. Norman downplays that view.\u003c/p>\n\u003cp>“There just wasn’t the same sensitivity there as we have today,” he says. “A lot of this happened, it’s unfortunate, but that was just the times in which we lived. I don’t think we should go back and try to erase the past. This was part of our history, this is part of what happened, and so we should be able to deal with that.”\u003c/p>\n\u003cp>Norman also worked on the animated series \u003cem>Fat Albert and the Cosby Kids\u003c/em>, which aired in the 1970s and ’80s. It was based around Bill Cosby’s memories of growing up in Philadelphia and featured a cast of African-American characters.\u003c/p>\n\u003cp>“Keep in mind that Bill Cosby, who created \u003cem>Fat Albert,\u003c/em> was simply reflecting on his childhood …” Norman says. “It was just making fun of ourselves and there’s nothing wrong with that … I think when others do it, it might be viewed as insensitive, but I see nothing wrong with poking fun at yourself, and as a cartoonist that’s what I do every day.\u003c/p>\n\u003cfigure id=\"attachment_11983559\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-1180x787.jpg\" alt=\"Norman, now 81, was not interested in retirement. "I wanted to continue to work," he says. "You see, creative people don't hang it up.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11983559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Norman, now 81, was not interested in retirement. “I wanted to continue to work,” he says. “You see, creative people don’t hang it up. \u003ccite>(Photo: Michael Flore Films/Falco Ink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Norman turned 65, he says Disney tried to force him to retire, but he wouldn’t have it. “I wanted to continue to work,” he says. “You see, creative people don’t hang it up. We don’t walk away, we don’t want to sit in a lawn chair, we don’t want to go out and play golf, we don’t want to travel the world. We want to continue to work.”\u003c/p>\n\u003cp>And so he did — given the opportunity to contribute as a freelancer, Norman found his way back into the studio. Most freelancers work at home and only come into the office once the job is complete, but not Norman.\u003c/p>\n\u003cp>“I decided I didn’t want to work at home,” he says. “I missed the camaraderie of the big studio. I missed talking to people. I miss being around the action. And so … I found an empty office and I moved in. I was probably in violation of some rule or law or whatever, but there I was.”\u003c/p>\n\u003cp>He continued to work in the office, and his colleagues affectionately coined the term “Floydering” — it rhymes with loitering — in his honor.\u003c/p>\n\u003cp>Norman — who has met and worked with Tom Hanks — has been compared to Hanks’ famous character, Forrest Gump. Norman says it’s not so far off:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Forrest was the guy who just sort of showed up everywhere,” he says. “So a lot of people have looked at me when it came to the animation business where I was the guy … just popping up all over the place. That’s because I love this business, and I never wanted to be apart from it.” \u003c/p>\n\u003cfigure id=\"attachment_11983560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-800x450.jpg\" alt=\"Norman pitches his storyboards to Disney executives in fall 2014.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11983560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Norman pitches his storyboards to Disney executives in fall 2014. \u003ccite>(Photo: Michael Flore Films/Falco Ink)\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=At+81%2C+Disney%27s+First+African-American+Animator+Is+Still+In+The+Studio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "First hired in the 1950s, Floyd Norman is still drawing. \"Creative people don't hang it up,\" he says. \"We don't walk away, we don't want to sit in a lawn chair. ... We want to continue to work. \"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve seen \u003cem>Sleeping Beauty,\u003c/em> \u003cem>The Jungle Book\u003c/em> or the Toy Story movies, you’ve seen the work of animator Floyd Norman; for decades, he has helped bring Disney and Pixar classics to life.\u003c/p>\n\u003cp>Now 81, Norman still works for Disney, where he has plied his trade, on and off, since he became the studio’s first African-American animator in the 1950s.\u003c/p>\n\u003cp>Norman’s love of art began long before his Disney job, as he reveals in a new documentary, \u003cem>An Animated Life. \u003c/em>“Any empty surface was a blank canvas for me,” he says. His mother was constantly scrubbing scribbles off the walls. “I was drawing on everything,” he recalls.\u003c/p>\n\u003cp>Norman grew up in Santa Barbara, Calif., a place that, he says, sheltered him from much of the racial tension and segregation of the time. He tells NPR’s David Greene he experienced no racism — “none whatsoever.”\u003c/p>\n\u003cfigure id=\"attachment_11983558\" class=\"wp-caption alignright\" style=\"max-width: 651px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e.jpg\" alt='Norman says he did not think of himself as a trailblazer. \"We were just a bunch of kids looking for a job,\" he says.' width=\"651\" height=\"800\" class=\"size-full wp-image-11983558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e.jpg 651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e-400x492.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e-488x600.jpg 488w\" sizes=\"(max-width: 651px) 100vw, 651px\">\u003cfigcaption class=\"wp-caption-text\">Norman says he did not think of himself as a trailblazer. “We were just a bunch of kids looking for a job,” he says. \u003ccite>(Photo: Michael Flore Films/Falco Ink.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We lived in a Pacific paradise,” he says. “I didn’t know it at the time, but my experience as a child was probably a good deal different from many, many people. We had access to everything — good schools, concert, theater.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thanks to that upbringing, it never occurred to Norman that he\u003cem> couldn’t\u003c/em> apply for a job as a Disney animator.\u003c/p>\n\u003cp>“I think the thought just never occurred to a lot of young black talent to apply for a job in the film industry,” he says. “And it wasn’t just Walt Disney. I’m sure the same thing happened at other film studios as well. There was a perception that opportunities were not available for people of color.”\u003c/p>\n\u003cp>So he applied, and in the mid-1950s he became Disney’s first black animator. Many saw that as a big deal — but not Norman.\u003c/p>\n\u003cp>“There were about half dozen of us came to work at Disney that same week,” he says. “We came from different parts of the country. We were all from different backgrounds. … We were Asian, we were Latino, we were black, we were white. Nobody thought about that because that was not the issue at hand. Nobody thought of themselves as being a trailblazer for their race or their group. We were just a bunch of young kids looking for a job.”\u003c/p>\n\u003cp>Still, many have accused Walt Disney and his studio of making racist films, often lampooning minority groups, including African-Americans. Norman downplays that view.\u003c/p>\n\u003cp>“There just wasn’t the same sensitivity there as we have today,” he says. “A lot of this happened, it’s unfortunate, but that was just the times in which we lived. I don’t think we should go back and try to erase the past. This was part of our history, this is part of what happened, and so we should be able to deal with that.”\u003c/p>\n\u003cp>Norman also worked on the animated series \u003cem>Fat Albert and the Cosby Kids\u003c/em>, which aired in the 1970s and ’80s. It was based around Bill Cosby’s memories of growing up in Philadelphia and featured a cast of African-American characters.\u003c/p>\n\u003cp>“Keep in mind that Bill Cosby, who created \u003cem>Fat Albert,\u003c/em> was simply reflecting on his childhood …” Norman says. “It was just making fun of ourselves and there’s nothing wrong with that … I think when others do it, it might be viewed as insensitive, but I see nothing wrong with poking fun at yourself, and as a cartoonist that’s what I do every day.\u003c/p>\n\u003cfigure id=\"attachment_11983559\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-1180x787.jpg\" alt=\"Norman, now 81, was not interested in retirement. "I wanted to continue to work," he says. "You see, creative people don't hang it up.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11983559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Norman, now 81, was not interested in retirement. “I wanted to continue to work,” he says. “You see, creative people don’t hang it up. \u003ccite>(Photo: Michael Flore Films/Falco Ink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Norman turned 65, he says Disney tried to force him to retire, but he wouldn’t have it. “I wanted to continue to work,” he says. “You see, creative people don’t hang it up. We don’t walk away, we don’t want to sit in a lawn chair, we don’t want to go out and play golf, we don’t want to travel the world. We want to continue to work.”\u003c/p>\n\u003cp>And so he did — given the opportunity to contribute as a freelancer, Norman found his way back into the studio. Most freelancers work at home and only come into the office once the job is complete, but not Norman.\u003c/p>\n\u003cp>“I decided I didn’t want to work at home,” he says. “I missed the camaraderie of the big studio. I missed talking to people. I miss being around the action. And so … I found an empty office and I moved in. I was probably in violation of some rule or law or whatever, but there I was.”\u003c/p>\n\u003cp>He continued to work in the office, and his colleagues affectionately coined the term “Floydering” — it rhymes with loitering — in his honor.\u003c/p>\n\u003cp>Norman — who has met and worked with Tom Hanks — has been compared to Hanks’ famous character, Forrest Gump. Norman says it’s not so far off:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Forrest was the guy who just sort of showed up everywhere,” he says. “So a lot of people have looked at me when it came to the animation business where I was the guy … just popping up all over the place. That’s because I love this business, and I never wanted to be apart from it.” \u003c/p>\n\u003cfigure id=\"attachment_11983560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-800x450.jpg\" alt=\"Norman pitches his storyboards to Disney executives in fall 2014.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11983560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Norman pitches his storyboards to Disney executives in fall 2014. \u003ccite>(Photo: Michael Flore Films/Falco Ink)\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=At+81%2C+Disney%27s+First+African-American+Animator+Is+Still+In+The+Studio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In A Sweet Coming-Of-Age Tale, 'Morris From America' Brings Hip-Hop To Heidelberg",
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"content": "\u003cp>We have become so used to movie characters who always do and say the expected movie things that it’s a shock to watch a film and encounter genuine humans. The new coming-of-age comedy \u003cem>Morris From America\u003c/em> centers around a 13-year-old aspiring rapper played with astonishing magnetism by first-time actor Markees Christmas. What’s remarkable about the film is that it sets up what could have been a bunch of pat, dumb culture-clash jokes about a black New York kid in Europe, yet never takes the easy way out. Instead, it explores and resolutely preserves its hero’s humanity.\u003c/p>\n\u003cp>https://youtu.be/AKhFNgFdbDk\u003c/p>\n\u003cp>Morris lives in Heidelberg, Germany, a picturesque old-Europe town situated midway between Frankfurt, Stuttgart, and the border with France. It’s a place with more standing Middle-Ages structures than black people, and indeed Morris is one of two: the other is his dad, Curtis (Craig Robinson), who works as a soccer coach for the local team. Morris struggles with the language, and, as Americans of any age or creed who’ve lived abroad will tell you, this is only compounded by the fact that everyone around him already speaks excellent English: imagine an older kid resorting to his second language just to bully you.\u003c/p>\n\u003cp>But on a much more elemental level, the short and slightly pudgy young man struggles with his sense of belonging, his complete inability to relate to his tall, thin, lily-white peers in the summer youth program. Racial questions bubble just underneath the surface of every scene, which the camera emphasizes by frequently isolating Morris in the frame, as though he’s constantly trying to will himself away from every uncomfortable situation. (Christmas is so natural in the role that it feels like the filmmakers really found him wandering around Heidelberg by himself.)\u003c/p>\n\u003cp>Though Morris develops a crush on the pretty Katrin (Lina Keller), who sports a “New York” T-shirt, she’s both too old for him and too pitying of him to offer much hope of fulfilling his romantic ambitions. The kid can only do that in his bedroom at night, when he throws on headphones and spits out his own rap lyrics that are hilarious in their complete sexual inexperience. (The fact that the movie is rated R, the same as last week’s absurdly filthy \u003cem>Sausage Party\u003c/em>, is further argument for the Motion Picture Association of America to start a Big Think about the \u003cem>context\u003c/em> of bad words, not just their quantity.) Another bedroom scene, late in the film, finds Morris trying out moves on his pillowcase, a tender duet that’s filmed with the care and subtlety of a traditional love scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chad Hartigan, the film’s gifted writer-director, has dealt with themes of loneliness and forced relocation before, in his 2013 micro-budget masterpiece \u003cem>This Is Martin Bonner\u003c/em>. That movie, a drama about the bond between a man just released from prison and his rehabilitation social worker, also expertly captured an incomplete sense of place, and a halfhearted attempt to spark human connection. Similar to the role that the city of Heidelberg plays here, \u003cem>Bonner\u003c/em>‘s alien setting (Reno, Nevada, where the prison is located) threatens to swallow its heroes whole.\u003c/p>\n\u003cp>Morris is a far lighter affair, swapping out the serious crime at \u003cem>Bonner\u003c/em>‘s center for the more nebulous alienating factors of race, language, and adolescence. It’s also more traditionally structured and provides ample moments of joy, most notably when Morris visits Heidelberg Castle and imagines the surrounding statues bobbing their heads in time with the music only he can hear. But a muted sadness remains. You can see it on the face of Robinson, who’s mostly known for his deadpan one-liners in the margins of pretty much every American studio comedy of the last ten years. He gets some good ones here — and a hysterical Notorious B.I.G. cover — but also digs into a revealing new melancholy side as a father who’s sacrificed everything for a second-rate version of the career calling he’s always wanted. A still-grieving widower, Curtis is fiercely protective of Morris, to the point where he lashes out at the language tutor (the excellent Carla Juri, who starred in the 2013 German film \u003cem>Wetlands\u003c/em>) for jumping to the wrong conclusions when she stumbles on his explicit writings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those writings play a role in Morris’s stirring, bittersweet victory, when his crush and her musician boyfriend invite him on a road trip to spit some verses in a club for an adoring crowd. Modern European youth culture fetishizes American hip-hop from a distance, much like Morris himself does — though Hartigan is smart about portraying the difference between loving something as a novelty and as a sense of belonging. It is hard not to feel a similar sense of belonging when watching \u003cem>Morris From America\u003c/em>, no matter how far removed we may feel from this kid’s dilemma. After all, we’re only human.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We have become so used to movie characters who always do and say the expected movie things that it’s a shock to watch a film and encounter genuine humans. The new coming-of-age comedy \u003cem>Morris From America\u003c/em> centers around a 13-year-old aspiring rapper played with astonishing magnetism by first-time actor Markees Christmas. What’s remarkable about the film is that it sets up what could have been a bunch of pat, dumb culture-clash jokes about a black New York kid in Europe, yet never takes the easy way out. Instead, it explores and resolutely preserves its hero’s humanity.\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/AKhFNgFdbDk'\n title='//www.youtube.com/embed/AKhFNgFdbDk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Morris lives in Heidelberg, Germany, a picturesque old-Europe town situated midway between Frankfurt, Stuttgart, and the border with France. It’s a place with more standing Middle-Ages structures than black people, and indeed Morris is one of two: the other is his dad, Curtis (Craig Robinson), who works as a soccer coach for the local team. Morris struggles with the language, and, as Americans of any age or creed who’ve lived abroad will tell you, this is only compounded by the fact that everyone around him already speaks excellent English: imagine an older kid resorting to his second language just to bully you.\u003c/p>\n\u003cp>But on a much more elemental level, the short and slightly pudgy young man struggles with his sense of belonging, his complete inability to relate to his tall, thin, lily-white peers in the summer youth program. Racial questions bubble just underneath the surface of every scene, which the camera emphasizes by frequently isolating Morris in the frame, as though he’s constantly trying to will himself away from every uncomfortable situation. (Christmas is so natural in the role that it feels like the filmmakers really found him wandering around Heidelberg by himself.)\u003c/p>\n\u003cp>Though Morris develops a crush on the pretty Katrin (Lina Keller), who sports a “New York” T-shirt, she’s both too old for him and too pitying of him to offer much hope of fulfilling his romantic ambitions. The kid can only do that in his bedroom at night, when he throws on headphones and spits out his own rap lyrics that are hilarious in their complete sexual inexperience. (The fact that the movie is rated R, the same as last week’s absurdly filthy \u003cem>Sausage Party\u003c/em>, is further argument for the Motion Picture Association of America to start a Big Think about the \u003cem>context\u003c/em> of bad words, not just their quantity.) Another bedroom scene, late in the film, finds Morris trying out moves on his pillowcase, a tender duet that’s filmed with the care and subtlety of a traditional love scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chad Hartigan, the film’s gifted writer-director, has dealt with themes of loneliness and forced relocation before, in his 2013 micro-budget masterpiece \u003cem>This Is Martin Bonner\u003c/em>. That movie, a drama about the bond between a man just released from prison and his rehabilitation social worker, also expertly captured an incomplete sense of place, and a halfhearted attempt to spark human connection. Similar to the role that the city of Heidelberg plays here, \u003cem>Bonner\u003c/em>‘s alien setting (Reno, Nevada, where the prison is located) threatens to swallow its heroes whole.\u003c/p>\n\u003cp>Morris is a far lighter affair, swapping out the serious crime at \u003cem>Bonner\u003c/em>‘s center for the more nebulous alienating factors of race, language, and adolescence. It’s also more traditionally structured and provides ample moments of joy, most notably when Morris visits Heidelberg Castle and imagines the surrounding statues bobbing their heads in time with the music only he can hear. But a muted sadness remains. You can see it on the face of Robinson, who’s mostly known for his deadpan one-liners in the margins of pretty much every American studio comedy of the last ten years. He gets some good ones here — and a hysterical Notorious B.I.G. cover — but also digs into a revealing new melancholy side as a father who’s sacrificed everything for a second-rate version of the career calling he’s always wanted. A still-grieving widower, Curtis is fiercely protective of Morris, to the point where he lashes out at the language tutor (the excellent Carla Juri, who starred in the 2013 German film \u003cem>Wetlands\u003c/em>) for jumping to the wrong conclusions when she stumbles on his explicit writings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those writings play a role in Morris’s stirring, bittersweet victory, when his crush and her musician boyfriend invite him on a road trip to spit some verses in a club for an adoring crowd. Modern European youth culture fetishizes American hip-hop from a distance, much like Morris himself does — though Hartigan is smart about portraying the difference between loving something as a novelty and as a sense of belonging. It is hard not to feel a similar sense of belonging when watching \u003cem>Morris From America\u003c/em>, no matter how far removed we may feel from this kid’s dilemma. After all, we’re only human.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "in-mariachi-music-a-distinctive-yell-speaks-to-the-soul",
"title": "In Mariachi Music, a Distinctive Yell Speaks to the Soul",
"publishDate": 1472076028,
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"headTitle": "In Mariachi Music, a Distinctive Yell Speaks to the Soul | KQED",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/488502412/491024865\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Do you know that feeling when a song moves you so much, you just feel like you have to add your own voice? Mexican culture has an answer to that: a cathartic, joyous yell called a \u003cem>grito. \u003c/em>\u003c/p>\n\u003cp>Legendary Mexican performer Vicente Fernández, aka “Chente,” performs the crazy tragic love song “Volver, Volver.” “It’s one of the most iconic mariachi songs of all time, performed by the most popular Mexican mariachi vocalist ever,” says alt.latino’s Felix Contreras. “And there is a championship \u003cem>grito \u003c/em>at the top of the song.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ugNQ5uIN09Q\u003c/p>\n\u003cp>\u003cstrong>Growing Up Hearing \u003cem>Gritos\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like lots of Mexican-American kids, Contreras and I grew up hearing the adults in our lives performing \u003cem>gritos\u003c/em> when they listened to mariachi music at family barbecues, or cheering on friends and family at graduation.\u003c/p>\n\u003cp>“In my family, my mother and my grandfather, her step-dad, when we would be at family parties like Christmas or something like that, we’d be in the other room playing, we’d hear a really loud \u003cem>grito\u003c/em>, we knew the party was on, it just took it to a different level,” Contreras says. “It was the ultimate expression that we were really having a good time.”\u003c/p>\n\u003cp>I am pretty sure I could identify my \u003cem>t\u003c/em>\u003cem>í\u003c/em>\u003cem>os \u003c/em>and \u003cem>t\u003c/em>\u003cem>í\u003c/em>\u003cem>as\u003c/em> by their \u003cem>gritos, \u003c/em>and many Mexican-American children begin finding their own \u003cem>grito \u003c/em>voice early.\u003c/p>\n\u003cp>Like many schools in Texas, students at Perez Elementary school in Austin have the opportunity to learn and perform mariachi music. Their teacher, Angela Machado, is too busy teaching them chords and song lyrics to teach them \u003cem>gritos. \u003c/em>“It is not part of the curriculum necessarily but I know a lot of them do already know how,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11975584\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-1180x885.jpg\" alt=\"Angela Machado and her third-grade class perform at the University of Texas's Cinco de Mayo festivities.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11975584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Angela Machado and her third-grade class perform at the University of Texas’s Cinco de Mayo festivities. \u003ccite>(Photo: Brenda P. Salinas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Third graders Leo Garcia, Jose Jaimes, Mario Flores and Angelita Alivter Cardenas show me their \u003cem>gritos\u003c/em>. They sound like lion cubs learning how to roar.\u003c/p>\n\u003cp>If they want to keep working on their \u003cem>gritos\u003c/em>, these kids may have a chance in college. Ezekiel Castro is \u003ca href=\"http://music.utexas.edu/about/people/castro-ezekiel-zeke\" target=\"_blank\" rel=\"noopener\">a lecturer\u003c/a> at the University of Texas Sarah and Ernest Butler School of Music. He is also director of the school’s mariachi ensemble and teaches about mariachi culture. The\u003cem> grito\u003c/em> is an important part of that.\u003c/p>\n\u003cp>“The Mexicans are very emotional people,” says Castro. “When they hear mariachi music, whether it’s because of sorrow or because of joy, they do these \u003cem>gritos\u003c/em>, these yells.” Castro says his students do a much better \u003cem>grito\u003c/em> than he does. “Some people are just exquisite with it. Others, you know, we just do the best we can.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.npr.org/2014/03/19/291475061/grito-the-longest-shout-youll-hear-today-with-a-history\">Gritos\u003c/a> \u003c/em>aren’t just emotional; they’re political. One of Mexico’s founding fathers uttered the first documented \u003cem>grito \u003c/em>in history when he declared the war for Mexican independence. The president of Mexico does a more formal \u003cem>grito\u003c/em> every year on that anniversary, as Enrique Peña Nieto did in 2015.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Grito\u003c/em> 101\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zUeGRVy2IIY\u003c/p>\n\u003cp>Laura Gutierrez \u003ca href=\"http://www.utexas.edu/finearts/tad/people/gutierrez-laura\" target=\"_blank\" rel=\"noopener\">teaches Mexican performance studies\u003c/a> at the University of Texas. She says \u003cem>gritos\u003c/em> are complex expressions. “They’re like small narrative capsules, without the narrative that are full of layers of emotion,” Gutierrez says. And belting out a great \u003cem>grito\u003c/em> feels really good. “When you finally release the last gasp of air, there’s relief,” Gutierrez says.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Video producer Kathryn Gonzales rediscovered the \u003cem>grito \u003c/em>at a 2014 Day of the Dead party in west Texas. “I was the only brown person at the whole party,” Gonzales says. “There was a little conjunto band and I was so moved, I don’t even really honestly remember the song, but I was compelled to do a \u003cem>grito\u003c/em>.”\u003c/p>\n\u003cp>But there were two things stopping her. “I thought well, A, I don’t know if anyone here would know what that was and why I was doing it,” Gonzales says. “And B, I thought I don’t really know if I know how to do a good \u003cem>grito,\u003c/em> like I’m not sure that I could pull it off.”\u003c/p>\n\u003cp>So Gonzales teamed up with a developer friend and created the \u003ca href=\"https://www.facebook.com/GritoApp/?fref=ts\" target=\"_blank\" rel=\"noopener\">\u003cem>Grito\u003c/em> App\u003c/a>.\u003c/p>\n\u003cp>“You scroll through the different sounds, each sound has its own screen. You can learn a little more about the \u003cem>grito\u003c/em>, you can share the \u003cem>grito\u003c/em>, you can save it to your videos and just kind of text it or email it around,” Gonzales says.\u003c/p>\n\u003cp>Since mariachi music is less popular among newer generations, not that many young people know how to do a good \u003cem>grito\u003c/em>. Castro says that’s no reason not to try. “Everybody has their own individual way of doing \u003cem>gritos\u003c/em>,” he says. “It’s a great expression.”\u003c/p>\n\u003cp>\u003cstrong>Growing Into \u003cem>Gritos\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Felix Contreras tried to do a \u003cem>grito\u003c/em> when he was a college student at Cal State University Fresno in the late ’70s. His friends would have \u003cem>grito\u003c/em> contests after a long night. “It was pathetic. I thought, ‘Ugh, I definitely won’t be doing that again.'”\u003c/p>\n\u003cp>And even though his alt.latino co-host Jasmine Garsd has been trying to get him to do a \u003cem>grito\u003c/em> on-air, Contreras says he won’t do it. “You have to not be afraid to be the subject of attention in a small world,” Contreras says. “You have to use the front of the diaphragm, full of gusto, and release anguish and joy from your soul to do a successful \u003cem>grito\u003c/em>.”\u003c/p>\n\u003cp>Contreras has found himself listening to more mariachi music over the years. “It’s an acquired taste as you get older, you experience life’s heartbreaks and joys, the lyrics and the recitations and the performance resonates in a different way,” Contreras says. “It has all the secrets to life in the lyrics. You don’t know that when you’re in your twenties.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“By the time you hit your forties, Chente knew what he was talking about,” Contreras says. And you might feel inspired to try out your own \u003cem>grito\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=In+Mariachi+Music%2C+A+Distinctive+Yell+Speaks+To+The+Soul&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/488502412/491024865\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Do you know that feeling when a song moves you so much, you just feel like you have to add your own voice? Mexican culture has an answer to that: a cathartic, joyous yell called a \u003cem>grito. \u003c/em>\u003c/p>\n\u003cp>Legendary Mexican performer Vicente Fernández, aka “Chente,” performs the crazy tragic love song “Volver, Volver.” “It’s one of the most iconic mariachi songs of all time, performed by the most popular Mexican mariachi vocalist ever,” says alt.latino’s Felix Contreras. “And there is a championship \u003cem>grito \u003c/em>at the top of the song.”\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/ugNQ5uIN09Q'\n title='//www.youtube.com/embed/ugNQ5uIN09Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Growing Up Hearing \u003cem>Gritos\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like lots of Mexican-American kids, Contreras and I grew up hearing the adults in our lives performing \u003cem>gritos\u003c/em> when they listened to mariachi music at family barbecues, or cheering on friends and family at graduation.\u003c/p>\n\u003cp>“In my family, my mother and my grandfather, her step-dad, when we would be at family parties like Christmas or something like that, we’d be in the other room playing, we’d hear a really loud \u003cem>grito\u003c/em>, we knew the party was on, it just took it to a different level,” Contreras says. “It was the ultimate expression that we were really having a good time.”\u003c/p>\n\u003cp>I am pretty sure I could identify my \u003cem>t\u003c/em>\u003cem>í\u003c/em>\u003cem>os \u003c/em>and \u003cem>t\u003c/em>\u003cem>í\u003c/em>\u003cem>as\u003c/em> by their \u003cem>gritos, \u003c/em>and many Mexican-American children begin finding their own \u003cem>grito \u003c/em>voice early.\u003c/p>\n\u003cp>Like many schools in Texas, students at Perez Elementary school in Austin have the opportunity to learn and perform mariachi music. Their teacher, Angela Machado, is too busy teaching them chords and song lyrics to teach them \u003cem>gritos. \u003c/em>“It is not part of the curriculum necessarily but I know a lot of them do already know how,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11975584\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-1180x885.jpg\" alt=\"Angela Machado and her third-grade class perform at the University of Texas's Cinco de Mayo festivities.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11975584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/grito-photo-42d57bba568c5eedd28163b959938c5cb2a09d90-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Angela Machado and her third-grade class perform at the University of Texas’s Cinco de Mayo festivities. \u003ccite>(Photo: Brenda P. Salinas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Third graders Leo Garcia, Jose Jaimes, Mario Flores and Angelita Alivter Cardenas show me their \u003cem>gritos\u003c/em>. They sound like lion cubs learning how to roar.\u003c/p>\n\u003cp>If they want to keep working on their \u003cem>gritos\u003c/em>, these kids may have a chance in college. Ezekiel Castro is \u003ca href=\"http://music.utexas.edu/about/people/castro-ezekiel-zeke\" target=\"_blank\" rel=\"noopener\">a lecturer\u003c/a> at the University of Texas Sarah and Ernest Butler School of Music. He is also director of the school’s mariachi ensemble and teaches about mariachi culture. The\u003cem> grito\u003c/em> is an important part of that.\u003c/p>\n\u003cp>“The Mexicans are very emotional people,” says Castro. “When they hear mariachi music, whether it’s because of sorrow or because of joy, they do these \u003cem>gritos\u003c/em>, these yells.” Castro says his students do a much better \u003cem>grito\u003c/em> than he does. “Some people are just exquisite with it. Others, you know, we just do the best we can.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.npr.org/2014/03/19/291475061/grito-the-longest-shout-youll-hear-today-with-a-history\">Gritos\u003c/a> \u003c/em>aren’t just emotional; they’re political. One of Mexico’s founding fathers uttered the first documented \u003cem>grito \u003c/em>in history when he declared the war for Mexican independence. The president of Mexico does a more formal \u003cem>grito\u003c/em> every year on that anniversary, as Enrique Peña Nieto did in 2015.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Grito\u003c/em> 101\u003c/strong>\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/zUeGRVy2IIY'\n title='//www.youtube.com/embed/zUeGRVy2IIY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Laura Gutierrez \u003ca href=\"http://www.utexas.edu/finearts/tad/people/gutierrez-laura\" target=\"_blank\" rel=\"noopener\">teaches Mexican performance studies\u003c/a> at the University of Texas. She says \u003cem>gritos\u003c/em> are complex expressions. “They’re like small narrative capsules, without the narrative that are full of layers of emotion,” Gutierrez says. And belting out a great \u003cem>grito\u003c/em> feels really good. “When you finally release the last gasp of air, there’s relief,” Gutierrez says.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Video producer Kathryn Gonzales rediscovered the \u003cem>grito \u003c/em>at a 2014 Day of the Dead party in west Texas. “I was the only brown person at the whole party,” Gonzales says. “There was a little conjunto band and I was so moved, I don’t even really honestly remember the song, but I was compelled to do a \u003cem>grito\u003c/em>.”\u003c/p>\n\u003cp>But there were two things stopping her. “I thought well, A, I don’t know if anyone here would know what that was and why I was doing it,” Gonzales says. “And B, I thought I don’t really know if I know how to do a good \u003cem>grito,\u003c/em> like I’m not sure that I could pull it off.”\u003c/p>\n\u003cp>So Gonzales teamed up with a developer friend and created the \u003ca href=\"https://www.facebook.com/GritoApp/?fref=ts\" target=\"_blank\" rel=\"noopener\">\u003cem>Grito\u003c/em> App\u003c/a>.\u003c/p>\n\u003cp>“You scroll through the different sounds, each sound has its own screen. You can learn a little more about the \u003cem>grito\u003c/em>, you can share the \u003cem>grito\u003c/em>, you can save it to your videos and just kind of text it or email it around,” Gonzales says.\u003c/p>\n\u003cp>Since mariachi music is less popular among newer generations, not that many young people know how to do a good \u003cem>grito\u003c/em>. Castro says that’s no reason not to try. “Everybody has their own individual way of doing \u003cem>gritos\u003c/em>,” he says. “It’s a great expression.”\u003c/p>\n\u003cp>\u003cstrong>Growing Into \u003cem>Gritos\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Felix Contreras tried to do a \u003cem>grito\u003c/em> when he was a college student at Cal State University Fresno in the late ’70s. His friends would have \u003cem>grito\u003c/em> contests after a long night. “It was pathetic. I thought, ‘Ugh, I definitely won’t be doing that again.'”\u003c/p>\n\u003cp>And even though his alt.latino co-host Jasmine Garsd has been trying to get him to do a \u003cem>grito\u003c/em> on-air, Contreras says he won’t do it. “You have to not be afraid to be the subject of attention in a small world,” Contreras says. “You have to use the front of the diaphragm, full of gusto, and release anguish and joy from your soul to do a successful \u003cem>grito\u003c/em>.”\u003c/p>\n\u003cp>Contreras has found himself listening to more mariachi music over the years. “It’s an acquired taste as you get older, you experience life’s heartbreaks and joys, the lyrics and the recitations and the performance resonates in a different way,” Contreras says. “It has all the secrets to life in the lyrics. You don’t know that when you’re in your twenties.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“By the time you hit your forties, Chente knew what he was talking about,” Contreras says. And you might feel inspired to try out your own \u003cem>grito\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=In+Mariachi+Music%2C+A+Distinctive+Yell+Speaks+To+The+Soul&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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