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"content": "\u003cp>The boys-club mentality of the finance industry has long extended into finance films, as well. From the razor-sharp original \u003cem>Wall Street\u003c/em> to the violent satire of \u003cem>American Psycho\u003c/em> to our current era of bank statements both serious (\u003cem>Margin Call\u003c/em>) and farcical (\u003cem>The Wolf of Wall Street\u003c/em>, \u003cem>The Big Short)\u003c/em>, movies about money tend also to be about the destructive nature of the male ego. Whenever penthouse-suite guys compete in these films to see who can swing the bigger pile of green, innocent people get hurt.\u003c/p>\n\u003cp>These movies haven’t featured many powerful women, though admittedly it would have been strange to spread the blame for financial malfeasance to a gender that largely hasn’t been in a position to commit any. Still, it’s hard to separate this from the fact that we don’t see many women anchor movies at all, because Hollywood is notoriously bad at telling their stories.\u003c/p>\n\u003cfigure id=\"attachment_11920629\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meera Menon’s new drama \u003cem>Equity\u003c/em> combines these two causes to craft a rebuttal to both the traditional role of women onscreen, and to the role of bankers. It would rather discuss the former, but it can’t avoid the latter.\u003c/p>\n\u003cp>“I like money,” investment banker Naomi Bishop (Anna Gunn) tells an all-female crowd at a college alumni event early in the film, with the same no-nonsense clip Gunn perfected in her years as Skylar White on \u003cem>Breaking Bad\u003c/em>. This is intriguing for its implications: how far might she go to claim what she likes? But then she adds in a soothing tone, “Don’t let money be a dirty word,” a signal that she’s not willing to go very far, because she wants — and believes she is obligated — to pursue obscene wealth while keeping her hands clean.\u003c/p>\n\u003cp>If \u003cem>Equity\u003c/em> sees any contradiction in the idea of a benevolent Gordon Gekko, it never makes that apparent. Naomi’s persuasive talk even works on her old friend Samantha (Alysia Reiner, who also produces and has a “story by” credit). Now hunting crony capitalists and insider traders at the SEC, Samantha also hopes to make more than her government salary. She has taken an interest in Naomi’s firm even as Naomi, still nursing a recent IPO bust, strives to close a giant tech offering that she’s sure will finally confirm her business acumen and vault her to the upper ranks. Could it work? Cue a shot of one of Naomi’s subordinates reading Anne-Marie Slaughter’s \u003cem>Atlantic\u003c/em> article “Why Women Still Can’t Have It All” on her cell phone.\u003c/p>\n\u003cfigure id=\"attachment_11920630\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/12_1200.jpg\" alt=\"Still from 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Good on any film for attempting to wrestle with that zeitgeist-y thesis. But \u003cem>Equity’s\u003c/em> first half spends so much time establishing its hierarchy of needs that it dulls the edge of its cutthroat setting. In meeting after meeting, and even through closed-door romances, the tension is limp and the staging cookie-cutter. The film lives in the sleek offices and reflective high-rises of the Manhattan elite, but the camera regards them all with equal disinterest, failing to distinguish between the climbers, the schemers, and the kings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things improve once we meet the startup in the crosshairs, a billion-dollar Internet security business called “Cachet” led by a hoodied tech bro (Samuel Roukin). Cachet bills itself as both a social network and privacy company, although we never see how it works — only its valuation. Naomi’s colleague and current squeeze (a nicely slimy James Purefoy) steals information about the planned IPO so he can do some insider trading. This is obviously a big no-no, although the film is effective at demonstrating how laughably easy it is to game the system from within. All you need is one name on a napkin and a total lack of moral character.\u003c/p>\n\u003cfigure id=\"attachment_11920628\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"746\" class=\"size-full wp-image-11920628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-400x249.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-1180x734.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-960x597.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite this thread, \u003cem>Equity\u003c/em> might be the first Wall Street movie to refrain from making a judgment about Wall Street itself. The script, by Amy Fox, is steeped in the language and culture of the trading process: the deal-making that must happen on the eve of a big IPO and the way a mere rumor of trouble can quash the whole thing. But the rigged system at its center isn’t so much white-collar crime as white-collar sexism. Both Naomi and her second-in-command Erin (Sarah Megan Thomas, who, like Reiner, is also a producer with a “story by” credit) are stymied in their ambitions by any man who holds power, be it the boss who won’t promote a woman, the techie CEO who tries to sleep with Erin, or Purefoy’s selfish schemer. These winners also have something more important in common: to them, money \u003cem>is\u003c/em> a dirty word.\u003c/p>\n\u003cp>\u003cem>Equity\u003c/em> preaches its title within a fundamentally corrupt system. The teetering Jenga tower that sits on the desk of Naomi’s boss doesn’t care whose block is on top. It’s going to fall regardless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/Xg2TSp5tJy4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The boys-club mentality of the finance industry has long extended into finance films, as well. From the razor-sharp original \u003cem>Wall Street\u003c/em> to the violent satire of \u003cem>American Psycho\u003c/em> to our current era of bank statements both serious (\u003cem>Margin Call\u003c/em>) and farcical (\u003cem>The Wolf of Wall Street\u003c/em>, \u003cem>The Big Short)\u003c/em>, movies about money tend also to be about the destructive nature of the male ego. Whenever penthouse-suite guys compete in these films to see who can swing the bigger pile of green, innocent people get hurt.\u003c/p>\n\u003cp>These movies haven’t featured many powerful women, though admittedly it would have been strange to spread the blame for financial malfeasance to a gender that largely hasn’t been in a position to commit any. Still, it’s hard to separate this from the fact that we don’t see many women anchor movies at all, because Hollywood is notoriously bad at telling their stories.\u003c/p>\n\u003cfigure id=\"attachment_11920629\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meera Menon’s new drama \u003cem>Equity\u003c/em> combines these two causes to craft a rebuttal to both the traditional role of women onscreen, and to the role of bankers. It would rather discuss the former, but it can’t avoid the latter.\u003c/p>\n\u003cp>“I like money,” investment banker Naomi Bishop (Anna Gunn) tells an all-female crowd at a college alumni event early in the film, with the same no-nonsense clip Gunn perfected in her years as Skylar White on \u003cem>Breaking Bad\u003c/em>. This is intriguing for its implications: how far might she go to claim what she likes? But then she adds in a soothing tone, “Don’t let money be a dirty word,” a signal that she’s not willing to go very far, because she wants — and believes she is obligated — to pursue obscene wealth while keeping her hands clean.\u003c/p>\n\u003cp>If \u003cem>Equity\u003c/em> sees any contradiction in the idea of a benevolent Gordon Gekko, it never makes that apparent. Naomi’s persuasive talk even works on her old friend Samantha (Alysia Reiner, who also produces and has a “story by” credit). Now hunting crony capitalists and insider traders at the SEC, Samantha also hopes to make more than her government salary. She has taken an interest in Naomi’s firm even as Naomi, still nursing a recent IPO bust, strives to close a giant tech offering that she’s sure will finally confirm her business acumen and vault her to the upper ranks. Could it work? Cue a shot of one of Naomi’s subordinates reading Anne-Marie Slaughter’s \u003cem>Atlantic\u003c/em> article “Why Women Still Can’t Have It All” on her cell phone.\u003c/p>\n\u003cfigure id=\"attachment_11920630\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/12_1200.jpg\" alt=\"Still from 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Good on any film for attempting to wrestle with that zeitgeist-y thesis. But \u003cem>Equity’s\u003c/em> first half spends so much time establishing its hierarchy of needs that it dulls the edge of its cutthroat setting. In meeting after meeting, and even through closed-door romances, the tension is limp and the staging cookie-cutter. The film lives in the sleek offices and reflective high-rises of the Manhattan elite, but the camera regards them all with equal disinterest, failing to distinguish between the climbers, the schemers, and the kings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Things improve once we meet the startup in the crosshairs, a billion-dollar Internet security business called “Cachet” led by a hoodied tech bro (Samuel Roukin). Cachet bills itself as both a social network and privacy company, although we never see how it works — only its valuation. Naomi’s colleague and current squeeze (a nicely slimy James Purefoy) steals information about the planned IPO so he can do some insider trading. This is obviously a big no-no, although the film is effective at demonstrating how laughably easy it is to game the system from within. All you need is one name on a napkin and a total lack of moral character.\u003c/p>\n\u003cfigure id=\"attachment_11920628\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"746\" class=\"size-full wp-image-11920628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-400x249.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-1180x734.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-960x597.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite this thread, \u003cem>Equity\u003c/em> might be the first Wall Street movie to refrain from making a judgment about Wall Street itself. The script, by Amy Fox, is steeped in the language and culture of the trading process: the deal-making that must happen on the eve of a big IPO and the way a mere rumor of trouble can quash the whole thing. But the rigged system at its center isn’t so much white-collar crime as white-collar sexism. Both Naomi and her second-in-command Erin (Sarah Megan Thomas, who, like Reiner, is also a producer with a “story by” credit) are stymied in their ambitions by any man who holds power, be it the boss who won’t promote a woman, the techie CEO who tries to sleep with Erin, or Purefoy’s selfish schemer. These winners also have something more important in common: to them, money \u003cem>is\u003c/em> a dirty word.\u003c/p>\n\u003cp>\u003cem>Equity\u003c/em> preaches its title within a fundamentally corrupt system. The teetering Jenga tower that sits on the desk of Naomi’s boss doesn’t care whose block is on top. It’s going to fall regardless.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Xg2TSp5tJy4'\n title='//www.youtube.com/embed/Xg2TSp5tJy4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new film starring Meryl Streep, which opens in the U.S. Friday, tells the improbable story of Florence Foster Jenkins, a real-life New York socialite who pronounced herself a coloratura soprano despite a distinct lack of talent. Who could’ve guessed that Jenkins, who favored elaborate costumes and strangled phrases with abandon, would resurface with such gusto decades after her death in 1944. She’s been the subject of a \u003ca href=\"https://www.youtube.com/watch?v=sRW-zxTpLxQ\" target=\"_blank\" rel=\"noopener\">Broadway play\u003c/a> starring Judy Kaye, a new biography, a \u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">documentary\u003c/a> and now two movies released in the U.S. within the span of six months.\u003c/p>\n\u003cp>The film, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=HszfdNS0JSc\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins\u003c/a>\u003c/em>, directed by Stephen Frears (\u003cem>My Beautiful Laundrette\u003c/em>, \u003cem>Dangerous Liasons\u003c/em>, \u003cem>The Queen\u003c/em>), is an affectionate portrait of the elderly heiress, her aspirations and her illusions — both as singer and lover — as she ramps up to a Carnegie Hall debut.\u003c/p>\n\u003cp>Thanks to Frears, and a bravura performance by Streep, Jenkins’ stock is poised to rise again. A new set of fans will be laughing at the pseudo-soprano’s hilarious original 1940s recordings, which have never been out of print yet have just been reissued once more.\u003c/p>\n\u003cp>Jenkins was in her early 70s when she made the records as a vanity project at the Melotone Recording Studio in Manhattan. By this time, she was a visible presence in New York society, having joined dozens of women’s clubs, many of which she served as music director.\u003c/p>\n\u003cp>\u003cstrong>Musical Dreams\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born into a wealthy Wilkes-Barre, Pa. family in 1868, Jenkins moved to Manhattan after a failed marriage (to Frank Thornton Jenkins, from whom she contracted syphilis) and the death of her father in 1909. As explained in Donald Collop’s documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins: A World of Her Own\u003c/a>\u003c/em>, her father had suppressed her dreams of becoming a musician, even after her success playing at the White House as a child. Her mother was more sympathetic, joining her in New York and encouraging her pursuits as a socialite and a singer.\u003c/p>\n\u003cp>Not long after their arrival, Jenkins met St. Clair Bayfield, an unemployed British actor. Bayfield quickly became her perceived lover and the manager of her many social affairs, which included producing musical programs, staging operatic scenes and presenting talented young singers at the many women’s clubs. The relationship between Jenkins and Bayfield, complicated by the latter’s secret affair and the fact that the two never lived together, gets tender treatment in Frears’ film, thanks to a nuanced performance by Hugh Grant.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DMu9PKWthLE\u003c/p>\n\u003cp>Jenkins took singing lessons and little by little began to perform at her clubs, at invitation-only recitals at Manhattan’s Ritz-Carlton and as far afield as Newport, R.I. and Washington, D.C. No serious music critics reviewed these performances. In some trade papers like the \u003cem>Musical Courier\u003c/em>, however, notices were surprisingly positive. Some said these might have been penned by the singer’s friends or Jenkins herself. That brings to the front some inevitable questions: Did Jenkins understand how badly she sang, and were her friends and patrons genuinely enthusiastic or just humoring her?\u003c/p>\n\u003cp>\u003cstrong>How Could She Not Have Known?\u003c/strong>\u003c/p>\n\u003cp>Frears’ movie portrays her associates as protective and Jenkins as oblivious. But acclaimed voice teacher Bill Schuman, who has a compelling connection to Jenkins, says she was too smart.\u003c/p>\n\u003cp>“There’s no way she could \u003cem>not\u003c/em> have known,” Schuman said in a telephone interview. “No one is that unaware, especially a person who has developed so much of her time and resources to helping young, really good singers.”\u003c/p>\n\u003cp>One of those young singers Jenkins supported was Louise Frances Bickford, who later became Schuman’s teacher and steered him toward his current profession. Bickford “said that Florence was in on the joke,” Schuman said. “She loved the audience reaction and she loved singing. But she knew.”\u003c/p>\n\u003cp>Mezzo-soprano \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2014/01/16/262473452/marilyn-horne-operas-agile-advocate-turns-80\" target=\"_blank\" rel=\"noopener\">Marilyn Horne\u003c/a> isn’t so sure. “I would say that she maybe didn’t know,” Horne said by phone from her home in Santa Barbara, Calif. “First of all, we can’t hear ourselves as others hear us. We have to go by a series of sensations. We have to feel where it is.” Like hearing an off-key whistler on the street, apparently deaf to errant tones, we can’t always tell how good or bad we sound.\u003c/p>\n\u003cp>Schuman said the inability to hear pitches correctly is not uncommon: “One of the greatest instruments I ever had the honor of teaching unfortunately had a faulty ear. It couldn’t be corrected and it stopped his career. The voice was unbelievable, but the ear was faulty.”\u003c/p>\n\u003cp>Then there’s the issue of Jenkins’ illness, which is also addressed in the film. A long-term syphilis patient, she took regular does of mercury and arsenic, two routine remedies of the day, according to Collop.\u003c/p>\n\u003cp>“It affected her hearing,” he \u003ca href=\"http://www.cbsnews.com/news/meryl-streep-on-playing-the-worlds-worst-singer/\" target=\"_blank\" rel=\"noopener\">told \u003cem>CBS Sunday Morning\u003c/em>\u003c/a>. “And more than likely she had tinnitus, which is a constant hum in her head. It prevented her from singing in tune.”\u003c/p>\n\u003cp>\u003cstrong>The Unforgettable Voice \u003c/strong>\u003c/p>\n\u003cp>No matter what the cause, the voice itself, and what Jenkins did with it, is startling. Horne, who first heard Jenkins’ recordings when she was in her 20s, said that if someone like her would show up at a master class, she’d tell her to “go home.”\u003c/p>\n\u003cp>“No,” Horne added, chuckling, “I would kindly tell her that I think she ought to look elsewhere for her musical kicks, however she wanted them.” Horne believes some people are blessed with good voices, others not so much. “They call it a gift,” she said. “To have a great voice, usually — and I would say 99 percent of the time — you have to be born with it.”\u003c/p>\n\u003cp>Was a voice like Jenkins’ salvageable at all? Schuman says that in Mozart’s Queen of the Night aria, what Jenkins gets wrong comes down to a single word: everything. “There’s no way to even pedagogically discuss it,” he added. “It’s amazing that she’s even attempting to sing that music.”\u003c/p>\n\u003cp>For the movie, Streep, \u003ca href=\"https://www.youtube.com/watch?v=rEhOVT5SaEQ\" target=\"_blank\" rel=\"noopener\">a trained singer\u003c/a>, attempted an imitation of Jenkins’ Mozart aria more often that she might have liked. “I sang it eight times one day,” she \u003ca href=\"https://www.youtube.com/watch?v=Ny9JHVUaW_c\" target=\"_blank\" rel=\"noopener\">told an audience\u003c/a> at New York’s 92nd Street Y. “And then came back and sang it eight times the next day.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.youtube.com/watch?v=l9uckZU41FQ\" target=\"_blank\" rel=\"noopener\">British morning television\u003c/a>, Streep described what Jenkins did on her recordings: “She’d go off in the weirdest places and it was the particularity of her getting things wrong that was so funny. You can hear her getting ready to sing something and she spends all of her voice on the beginning of the phrase and there’s nothing left at the end and she trails off.”\u003c/p>\n\u003cp>\u003cstrong>A Comic Cottage Industry\u003c/strong>\u003c/p>\n\u003cp>Whether Jenkins was in on the joke or not, she ultimately might have the last laugh. Although there have been musical humorists for centuries (see Mozart’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wzaQixVGoQg\" target=\"_blank\" rel=\"noopener\">A Musical Joke\u003c/a>\u003c/em>), Jenkins’ fame was followed by a virtual cottage industry of mid-century comedic musicians who performed badly for laughs.\u003c/p>\n\u003cp>Perhaps the most apropos example is Michael Flanders and Donald Swann’s “\u003ca href=\"https://www.youtube.com/watch?v=TsnramISJVY\" target=\"_blank\" rel=\"noopener\">A Word on My Ear\u003c/a>,” a song about a tone-deaf diva from around 1950. Among the best was the team of singer Jo Stafford and her husband, the pianist and arranger Paul Weston. Beginning in 1957, as Jonathan and Darlene Edwards, they cut a series of wickedly funny \u003ca href=\"https://www.youtube.com/watch?v=ck_OsaNptC8\" target=\"_blank\" rel=\"noopener\">and purposefully terrible recordings\u003c/a>. That same year saw the release of \u003cem>Music to Suffer By\u003c/em> from Leona Anderson, a \u003ca href=\"https://www.youtube.com/watch?v=78YpG3070XY\" target=\"_blank\" rel=\"noopener\">wobbly-voiced\u003c/a> former silent film actress, while in 1960, Mrs. Miller’s ear-warping renditions of songs like “\u003ca href=\"https://www.youtube.com/watch?v=fw07CDid0JM\" target=\"_blank\" rel=\"noopener\">Downtown\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=o2wheSpxL94\" target=\"_blank\" rel=\"noopener\">A Hard Day’s Night\u003c/a>” began to appear.\u003c/p>\n\u003cp>\u003cstrong>An Improbable Legacy\u003c/strong>\u003c/p>\n\u003cp>Unlikely as it may seem for someone routinely hailed as the world’s worst singer, Jenkins has a legacy that lives on in some of today’s finest opera artists. One could argue that had Jenkins not sponsored Bickford all those years ago, Schuman might have taken quite a different path. And if that’s so, who knows where some his award-winning students would be. Beginning in 2009 Schuman’s protégés won the prestigious Richard Tucker Award four years in a row — tenors \u003ca href=\"http://www.nytimes.com/2015/10/22/arts/music/review-rigoletto-goes-to-the-metropolitan-opera-with-a-chaperone.html\" target=\"_blank\" rel=\"noopener\">Stephen Costello\u003c/a> and James Valenti, and sopranos \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/07/228542276/guest-dj-angela-meade-hitting-the-big-time-with-help-from-verdi\" target=\"_blank\" rel=\"noopener\">Angela Meade\u003c/a> and Ailyn Pérez.\u003c/p>\n\u003cp>Jenkins finally decided to go big time in 1944 when she rented Carnegie Hall, giving her first truly public recital Oct. 25. By this time her fame in New York was widespread and the hall was filled to capacity, including luminaries like Cole Porter, Gian Carlo Menotti, Lily Pons, Andre Kostelanetz, Tallulah Bankhead and Kitty Carlisle. The following day in the \u003cem>New York Post\u003c/em>, gossip and entertainment columnist Earl Wilson wrote that the concert was “one of the weirdest mass jokes New York has ever seen.”\u003c/p>\n\u003cp>It’s not entirely clear whether such words crushed Jenkins or not. In Frears’ film, we’re to believe the review essentially killed her off the next day. In real life, Jenkins suffered a heart attack five days later while shopping in G. Schirmer’s music store. She died a month after her Carnegie performance, on Nov. 26, at age 76.\u003c/p>\n\u003cp>Somehow, Jenkins’ story still resonates. For Horne, a lot of it has to do with humor: “I think it’s because she was so outrageous, right? She put herself out there and people like to laugh, and that’s what it’s all about.”\u003c/p>\n\u003cp>Schuman thinks Jenkins may trigger the amateur and the fantasist in all of us. “I think everyone’s an aspiring singer,” he said. “You look at \u003cem>American Idol\u003c/em>, you look at all those auditions.” And then there’s Schuman’s personal connection.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I wish we could go back and meet her,” Schuman said. “I just know that my teacher loved her as a person and admired her. She changed my teacher’s whole life, so I owe her, actually, my teaching career. Because of her, my life’s changed and many generations of singers. So, if that’s her impact, that’s an incredible impact.” \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=Killing+Me+Sharply+With+Her+Song%3A+The+Improbable+Story+Of+Florence+Foster+Jenkins&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new film starring Meryl Streep, which opens in the U.S. Friday, tells the improbable story of Florence Foster Jenkins, a real-life New York socialite who pronounced herself a coloratura soprano despite a distinct lack of talent. Who could’ve guessed that Jenkins, who favored elaborate costumes and strangled phrases with abandon, would resurface with such gusto decades after her death in 1944. She’s been the subject of a \u003ca href=\"https://www.youtube.com/watch?v=sRW-zxTpLxQ\" target=\"_blank\" rel=\"noopener\">Broadway play\u003c/a> starring Judy Kaye, a new biography, a \u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">documentary\u003c/a> and now two movies released in the U.S. within the span of six months.\u003c/p>\n\u003cp>The film, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=HszfdNS0JSc\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins\u003c/a>\u003c/em>, directed by Stephen Frears (\u003cem>My Beautiful Laundrette\u003c/em>, \u003cem>Dangerous Liasons\u003c/em>, \u003cem>The Queen\u003c/em>), is an affectionate portrait of the elderly heiress, her aspirations and her illusions — both as singer and lover — as she ramps up to a Carnegie Hall debut.\u003c/p>\n\u003cp>Thanks to Frears, and a bravura performance by Streep, Jenkins’ stock is poised to rise again. A new set of fans will be laughing at the pseudo-soprano’s hilarious original 1940s recordings, which have never been out of print yet have just been reissued once more.\u003c/p>\n\u003cp>Jenkins was in her early 70s when she made the records as a vanity project at the Melotone Recording Studio in Manhattan. By this time, she was a visible presence in New York society, having joined dozens of women’s clubs, many of which she served as music director.\u003c/p>\n\u003cp>\u003cstrong>Musical Dreams\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born into a wealthy Wilkes-Barre, Pa. family in 1868, Jenkins moved to Manhattan after a failed marriage (to Frank Thornton Jenkins, from whom she contracted syphilis) and the death of her father in 1909. As explained in Donald Collop’s documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins: A World of Her Own\u003c/a>\u003c/em>, her father had suppressed her dreams of becoming a musician, even after her success playing at the White House as a child. Her mother was more sympathetic, joining her in New York and encouraging her pursuits as a socialite and a singer.\u003c/p>\n\u003cp>Not long after their arrival, Jenkins met St. Clair Bayfield, an unemployed British actor. Bayfield quickly became her perceived lover and the manager of her many social affairs, which included producing musical programs, staging operatic scenes and presenting talented young singers at the many women’s clubs. The relationship between Jenkins and Bayfield, complicated by the latter’s secret affair and the fact that the two never lived together, gets tender treatment in Frears’ film, thanks to a nuanced performance by Hugh Grant.\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/DMu9PKWthLE'\n title='//www.youtube.com/embed/DMu9PKWthLE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jenkins took singing lessons and little by little began to perform at her clubs, at invitation-only recitals at Manhattan’s Ritz-Carlton and as far afield as Newport, R.I. and Washington, D.C. No serious music critics reviewed these performances. In some trade papers like the \u003cem>Musical Courier\u003c/em>, however, notices were surprisingly positive. Some said these might have been penned by the singer’s friends or Jenkins herself. That brings to the front some inevitable questions: Did Jenkins understand how badly she sang, and were her friends and patrons genuinely enthusiastic or just humoring her?\u003c/p>\n\u003cp>\u003cstrong>How Could She Not Have Known?\u003c/strong>\u003c/p>\n\u003cp>Frears’ movie portrays her associates as protective and Jenkins as oblivious. But acclaimed voice teacher Bill Schuman, who has a compelling connection to Jenkins, says she was too smart.\u003c/p>\n\u003cp>“There’s no way she could \u003cem>not\u003c/em> have known,” Schuman said in a telephone interview. “No one is that unaware, especially a person who has developed so much of her time and resources to helping young, really good singers.”\u003c/p>\n\u003cp>One of those young singers Jenkins supported was Louise Frances Bickford, who later became Schuman’s teacher and steered him toward his current profession. Bickford “said that Florence was in on the joke,” Schuman said. “She loved the audience reaction and she loved singing. But she knew.”\u003c/p>\n\u003cp>Mezzo-soprano \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2014/01/16/262473452/marilyn-horne-operas-agile-advocate-turns-80\" target=\"_blank\" rel=\"noopener\">Marilyn Horne\u003c/a> isn’t so sure. “I would say that she maybe didn’t know,” Horne said by phone from her home in Santa Barbara, Calif. “First of all, we can’t hear ourselves as others hear us. We have to go by a series of sensations. We have to feel where it is.” Like hearing an off-key whistler on the street, apparently deaf to errant tones, we can’t always tell how good or bad we sound.\u003c/p>\n\u003cp>Schuman said the inability to hear pitches correctly is not uncommon: “One of the greatest instruments I ever had the honor of teaching unfortunately had a faulty ear. It couldn’t be corrected and it stopped his career. The voice was unbelievable, but the ear was faulty.”\u003c/p>\n\u003cp>Then there’s the issue of Jenkins’ illness, which is also addressed in the film. A long-term syphilis patient, she took regular does of mercury and arsenic, two routine remedies of the day, according to Collop.\u003c/p>\n\u003cp>“It affected her hearing,” he \u003ca href=\"http://www.cbsnews.com/news/meryl-streep-on-playing-the-worlds-worst-singer/\" target=\"_blank\" rel=\"noopener\">told \u003cem>CBS Sunday Morning\u003c/em>\u003c/a>. “And more than likely she had tinnitus, which is a constant hum in her head. It prevented her from singing in tune.”\u003c/p>\n\u003cp>\u003cstrong>The Unforgettable Voice \u003c/strong>\u003c/p>\n\u003cp>No matter what the cause, the voice itself, and what Jenkins did with it, is startling. Horne, who first heard Jenkins’ recordings when she was in her 20s, said that if someone like her would show up at a master class, she’d tell her to “go home.”\u003c/p>\n\u003cp>“No,” Horne added, chuckling, “I would kindly tell her that I think she ought to look elsewhere for her musical kicks, however she wanted them.” Horne believes some people are blessed with good voices, others not so much. “They call it a gift,” she said. “To have a great voice, usually — and I would say 99 percent of the time — you have to be born with it.”\u003c/p>\n\u003cp>Was a voice like Jenkins’ salvageable at all? Schuman says that in Mozart’s Queen of the Night aria, what Jenkins gets wrong comes down to a single word: everything. “There’s no way to even pedagogically discuss it,” he added. “It’s amazing that she’s even attempting to sing that music.”\u003c/p>\n\u003cp>For the movie, Streep, \u003ca href=\"https://www.youtube.com/watch?v=rEhOVT5SaEQ\" target=\"_blank\" rel=\"noopener\">a trained singer\u003c/a>, attempted an imitation of Jenkins’ Mozart aria more often that she might have liked. “I sang it eight times one day,” she \u003ca href=\"https://www.youtube.com/watch?v=Ny9JHVUaW_c\" target=\"_blank\" rel=\"noopener\">told an audience\u003c/a> at New York’s 92nd Street Y. “And then came back and sang it eight times the next day.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.youtube.com/watch?v=l9uckZU41FQ\" target=\"_blank\" rel=\"noopener\">British morning television\u003c/a>, Streep described what Jenkins did on her recordings: “She’d go off in the weirdest places and it was the particularity of her getting things wrong that was so funny. You can hear her getting ready to sing something and she spends all of her voice on the beginning of the phrase and there’s nothing left at the end and she trails off.”\u003c/p>\n\u003cp>\u003cstrong>A Comic Cottage Industry\u003c/strong>\u003c/p>\n\u003cp>Whether Jenkins was in on the joke or not, she ultimately might have the last laugh. Although there have been musical humorists for centuries (see Mozart’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wzaQixVGoQg\" target=\"_blank\" rel=\"noopener\">A Musical Joke\u003c/a>\u003c/em>), Jenkins’ fame was followed by a virtual cottage industry of mid-century comedic musicians who performed badly for laughs.\u003c/p>\n\u003cp>Perhaps the most apropos example is Michael Flanders and Donald Swann’s “\u003ca href=\"https://www.youtube.com/watch?v=TsnramISJVY\" target=\"_blank\" rel=\"noopener\">A Word on My Ear\u003c/a>,” a song about a tone-deaf diva from around 1950. Among the best was the team of singer Jo Stafford and her husband, the pianist and arranger Paul Weston. Beginning in 1957, as Jonathan and Darlene Edwards, they cut a series of wickedly funny \u003ca href=\"https://www.youtube.com/watch?v=ck_OsaNptC8\" target=\"_blank\" rel=\"noopener\">and purposefully terrible recordings\u003c/a>. That same year saw the release of \u003cem>Music to Suffer By\u003c/em> from Leona Anderson, a \u003ca href=\"https://www.youtube.com/watch?v=78YpG3070XY\" target=\"_blank\" rel=\"noopener\">wobbly-voiced\u003c/a> former silent film actress, while in 1960, Mrs. Miller’s ear-warping renditions of songs like “\u003ca href=\"https://www.youtube.com/watch?v=fw07CDid0JM\" target=\"_blank\" rel=\"noopener\">Downtown\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=o2wheSpxL94\" target=\"_blank\" rel=\"noopener\">A Hard Day’s Night\u003c/a>” began to appear.\u003c/p>\n\u003cp>\u003cstrong>An Improbable Legacy\u003c/strong>\u003c/p>\n\u003cp>Unlikely as it may seem for someone routinely hailed as the world’s worst singer, Jenkins has a legacy that lives on in some of today’s finest opera artists. One could argue that had Jenkins not sponsored Bickford all those years ago, Schuman might have taken quite a different path. And if that’s so, who knows where some his award-winning students would be. Beginning in 2009 Schuman’s protégés won the prestigious Richard Tucker Award four years in a row — tenors \u003ca href=\"http://www.nytimes.com/2015/10/22/arts/music/review-rigoletto-goes-to-the-metropolitan-opera-with-a-chaperone.html\" target=\"_blank\" rel=\"noopener\">Stephen Costello\u003c/a> and James Valenti, and sopranos \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/07/228542276/guest-dj-angela-meade-hitting-the-big-time-with-help-from-verdi\" target=\"_blank\" rel=\"noopener\">Angela Meade\u003c/a> and Ailyn Pérez.\u003c/p>\n\u003cp>Jenkins finally decided to go big time in 1944 when she rented Carnegie Hall, giving her first truly public recital Oct. 25. By this time her fame in New York was widespread and the hall was filled to capacity, including luminaries like Cole Porter, Gian Carlo Menotti, Lily Pons, Andre Kostelanetz, Tallulah Bankhead and Kitty Carlisle. The following day in the \u003cem>New York Post\u003c/em>, gossip and entertainment columnist Earl Wilson wrote that the concert was “one of the weirdest mass jokes New York has ever seen.”\u003c/p>\n\u003cp>It’s not entirely clear whether such words crushed Jenkins or not. In Frears’ film, we’re to believe the review essentially killed her off the next day. In real life, Jenkins suffered a heart attack five days later while shopping in G. Schirmer’s music store. She died a month after her Carnegie performance, on Nov. 26, at age 76.\u003c/p>\n\u003cp>Somehow, Jenkins’ story still resonates. For Horne, a lot of it has to do with humor: “I think it’s because she was so outrageous, right? She put herself out there and people like to laugh, and that’s what it’s all about.”\u003c/p>\n\u003cp>Schuman thinks Jenkins may trigger the amateur and the fantasist in all of us. “I think everyone’s an aspiring singer,” he said. “You look at \u003cem>American Idol\u003c/em>, you look at all those auditions.” And then there’s Schuman’s personal connection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wish we could go back and meet her,” Schuman said. “I just know that my teacher loved her as a person and admired her. She changed my teacher’s whole life, so I owe her, actually, my teaching career. Because of her, my life’s changed and many generations of singers. So, if that’s her impact, that’s an incredible impact.” \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=Killing+Me+Sharply+With+Her+Song%3A+The+Improbable+Story+Of+Florence+Foster+Jenkins&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just days after editors ended publication of China’s leading liberal history journal last month, a new edition of the magazine is out again. But the original publishers are calling this a pirate edition — and they’re preparing to fight it in court.\u003c/p>\n\u003cp>The magazine, the \u003cem>Annals of the Chinese Nation\u003c/em>, or \u003cem>Yanhuang Chunqiu\u003c/em> in Chinese, is seen as the standard bearer of the embattled liberal wing of China’s ruling Communist Party. The publication has made bold calls for democratic reforms and questions the party’s version of history.\u003c/p>\n\u003cp>The journal’s predicament has triggered a sense of crisis among China’s liberal intellectuals and journalists, who see little room left in their country for critical reporting and dissenting opinions.\u003c/p>\n\u003cp>In March, President Xi Jinping demanded obedience from state media. Last month, the government shut down a slew of political columns on major Internet portals in a bid to enforce a ban on independent political reporting.\u003c/p>\n\u003cp>The \u003cem>Annals\u003c/em>‘ deputy editor in chief, Wang Yanjun, ticks off a list of other liberal, critical media voices that the government has silenced in recent years, including some at the Southern Media Group and the \u003ca href=\"http://www.cyol.net/home/english/intro/daily.htm\" target=\"_blank\" rel=\"noopener\">China Youth Daily\u003c/a> column “Freezing Point.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They’ve killed off one outlet after another, leaving the \u003cem>Annals of the Chinese Nation\u003c/em> as the last bastion,” he says. “Readers cherish our magazine. Some have even taken it as a sign that there is still hope for China.”\u003c/p>\n\u003cp>\u003cstrong> ‘A question of whether we can still exist’\u003c/strong>\u003c/p>\n\u003cp>Wang says the magazine was forcibly taken over last month by its supervising organization, the National Academy of Arts, an official body under China’s Ministry of Culture.\u003c/p>\n\u003cp>In China, every media outlet is under the supervision of an official organization. None are completely independent.\u003c/p>\n\u003cp>Wang says representatives of the academy physically occupied the magazine’s offices, installed their own editors and even broke into the magazine’s computer systems and changed the password. Wang says this violated the terms of the magazine’s contract with the academy. He describes their actions as “barbaric.”\u003c/p>\n\u003cp>“Some folks commented that for an arts academy, they didn’t seem very artistic at all,” he harrumphs. “Unless, of course, it was some kind of performance art.”\u003c/p>\n\u003cp>Wang says the magazine has survived previous attempts to silence it, but this time is different.\u003c/p>\n\u003cp>“Before, it was a question of whether we were managed strictly or leniently,” he says. “Now it’s a question of whether we can still exist or not.”\u003c/p>\n\u003cp>None of the editors or advisers knows exactly who is behind the assault on their magazine or why it’s happening. But veteran jurist Li Buyun, an adviser to the magazine, says conservatives dislike the \u003cem>Annals of the Chinese Nation\u003c/em> simply because of its liberal bent.\u003c/p>\n\u003cp>“The magazine’s specialty is speaking the truth, especially about history, so that people may learn from it,” he says. “There’s no other motivation. We’re not trying to smear the party.”\u003c/p>\n\u003cfigure id=\"attachment_11920259\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg\" alt=\"A picture of Li Rui and his wife appears in the 'Annals of the Chinese Nation.' Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11920259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Li Rui and his wife appears in the ‘Annals of the Chinese Nation.’ Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party. \u003ccite>(Photo: Anthony Kuhn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent issue\u003cem>\u003c/em>, former culture minister Wang Meng called on China to reflect on the lessons of the Cultural Revolution of 1966 to 1976. In another issue, a former provincial police official explained how millions starved to death in his province after the “Great Leap Forward” campaign of 1958 to 1961.\u003c/p>\n\u003cp>And Li Rui, former secretary to Chairman Mao and the most senior adviser to the \u003cem>Annals\u003c/em>, looked back on his life on the occasion of his 100th birthday.\u003c/p>\n\u003cp>Conservatives believe the magazine has unfairly negated all of the Communist Party’s achievements — the current administration labels this “historical nihilism” and has vowed to root it out — while adulating Western, liberal values.\u003c/p>\n\u003cp>\u003cstrong>Unwilling to go down without a fight\u003c/strong>\u003c/p>\n\u003cp>The magazine was founded 25 years ago by a small group of retired officials, working on old school desks and chairs in an office near Beijing’s Forbidden City. Over the years, its circulation grew to some 190,000 copies a month.\u003c/p>\n\u003cp>The magazine’s publisher, Du Daozheng, now 93, is representative of the people who put out and read the magazine — mostly liberal establishment intellectuals. He joined the Communist Party in 1937 and served as chief editor of the \u003cem>Guangming Daily\u003c/em>, a newspaper catering to China’s intellectuals.\u003c/p>\n\u003cp>He later headed China’s Press and Publications Administration, which is part of the government’s censorship apparatus. Du held this post during the 1980s, under then-Party Secretary Zhao Ziyang. Media freedoms reached their height at that time — until Zhao was deposed in 1989 for siding with pro-democracy protesters in Tiananmen Square.\u003c/p>\n\u003cp>Many liberal party elders like Du willingly joined the Communist movement because they hoped that, as it promised, it would lead China to modernity, democracy, human rights and the rule of law. But, with occasional exceptions, one administration after another suppressed and disappointed them.\u003c/p>\n\u003cp>The administration of Xi Jinping is just the latest to do so.\u003c/p>\n\u003cp>Unwilling to go down without a fight, the magazine’s editors and advisers sued the National Academy of Arts last month for taking over their publication, but a Beijing district court refused to hear the case.\u003c/p>\n\u003cp>Mo Shaoping, one of China’s leading human rights lawyers — and one of the few, he jokes nervously, who has not been arrested in an ongoing crackdown — says that the ousted editors are now considering suing higher levels of the government.\u003c/p>\n\u003cp>The entire incident, he says, will serve as a political litmus test. If the party’s leadership “can’t even tolerate a magazine such as the \u003cem>Annals of the Chinese Nation\u003c/em>, then the leadership’s talk of the rule of law and of listening to different opinions is nothing but empty words,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The editors admit, though, that they’re having a hard time getting out their side of the story. The government has banned Chinese media from reporting the controversy surrounding the magazine. \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=Amid+Crackdown%2C+China%27s+Last+Liberal+Magazine+Fights+For+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just days after editors ended publication of China’s leading liberal history journal last month, a new edition of the magazine is out again. But the original publishers are calling this a pirate edition — and they’re preparing to fight it in court.\u003c/p>\n\u003cp>The magazine, the \u003cem>Annals of the Chinese Nation\u003c/em>, or \u003cem>Yanhuang Chunqiu\u003c/em> in Chinese, is seen as the standard bearer of the embattled liberal wing of China’s ruling Communist Party. The publication has made bold calls for democratic reforms and questions the party’s version of history.\u003c/p>\n\u003cp>The journal’s predicament has triggered a sense of crisis among China’s liberal intellectuals and journalists, who see little room left in their country for critical reporting and dissenting opinions.\u003c/p>\n\u003cp>In March, President Xi Jinping demanded obedience from state media. Last month, the government shut down a slew of political columns on major Internet portals in a bid to enforce a ban on independent political reporting.\u003c/p>\n\u003cp>The \u003cem>Annals\u003c/em>‘ deputy editor in chief, Wang Yanjun, ticks off a list of other liberal, critical media voices that the government has silenced in recent years, including some at the Southern Media Group and the \u003ca href=\"http://www.cyol.net/home/english/intro/daily.htm\" target=\"_blank\" rel=\"noopener\">China Youth Daily\u003c/a> column “Freezing Point.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They’ve killed off one outlet after another, leaving the \u003cem>Annals of the Chinese Nation\u003c/em> as the last bastion,” he says. “Readers cherish our magazine. Some have even taken it as a sign that there is still hope for China.”\u003c/p>\n\u003cp>\u003cstrong> ‘A question of whether we can still exist’\u003c/strong>\u003c/p>\n\u003cp>Wang says the magazine was forcibly taken over last month by its supervising organization, the National Academy of Arts, an official body under China’s Ministry of Culture.\u003c/p>\n\u003cp>In China, every media outlet is under the supervision of an official organization. None are completely independent.\u003c/p>\n\u003cp>Wang says representatives of the academy physically occupied the magazine’s offices, installed their own editors and even broke into the magazine’s computer systems and changed the password. Wang says this violated the terms of the magazine’s contract with the academy. He describes their actions as “barbaric.”\u003c/p>\n\u003cp>“Some folks commented that for an arts academy, they didn’t seem very artistic at all,” he harrumphs. “Unless, of course, it was some kind of performance art.”\u003c/p>\n\u003cp>Wang says the magazine has survived previous attempts to silence it, but this time is different.\u003c/p>\n\u003cp>“Before, it was a question of whether we were managed strictly or leniently,” he says. “Now it’s a question of whether we can still exist or not.”\u003c/p>\n\u003cp>None of the editors or advisers knows exactly who is behind the assault on their magazine or why it’s happening. But veteran jurist Li Buyun, an adviser to the magazine, says conservatives dislike the \u003cem>Annals of the Chinese Nation\u003c/em> simply because of its liberal bent.\u003c/p>\n\u003cp>“The magazine’s specialty is speaking the truth, especially about history, so that people may learn from it,” he says. “There’s no other motivation. We’re not trying to smear the party.”\u003c/p>\n\u003cfigure id=\"attachment_11920259\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg\" alt=\"A picture of Li Rui and his wife appears in the 'Annals of the Chinese Nation.' Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11920259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Li Rui and his wife appears in the ‘Annals of the Chinese Nation.’ Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party. \u003ccite>(Photo: Anthony Kuhn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent issue\u003cem>\u003c/em>, former culture minister Wang Meng called on China to reflect on the lessons of the Cultural Revolution of 1966 to 1976. In another issue, a former provincial police official explained how millions starved to death in his province after the “Great Leap Forward” campaign of 1958 to 1961.\u003c/p>\n\u003cp>And Li Rui, former secretary to Chairman Mao and the most senior adviser to the \u003cem>Annals\u003c/em>, looked back on his life on the occasion of his 100th birthday.\u003c/p>\n\u003cp>Conservatives believe the magazine has unfairly negated all of the Communist Party’s achievements — the current administration labels this “historical nihilism” and has vowed to root it out — while adulating Western, liberal values.\u003c/p>\n\u003cp>\u003cstrong>Unwilling to go down without a fight\u003c/strong>\u003c/p>\n\u003cp>The magazine was founded 25 years ago by a small group of retired officials, working on old school desks and chairs in an office near Beijing’s Forbidden City. Over the years, its circulation grew to some 190,000 copies a month.\u003c/p>\n\u003cp>The magazine’s publisher, Du Daozheng, now 93, is representative of the people who put out and read the magazine — mostly liberal establishment intellectuals. He joined the Communist Party in 1937 and served as chief editor of the \u003cem>Guangming Daily\u003c/em>, a newspaper catering to China’s intellectuals.\u003c/p>\n\u003cp>He later headed China’s Press and Publications Administration, which is part of the government’s censorship apparatus. Du held this post during the 1980s, under then-Party Secretary Zhao Ziyang. Media freedoms reached their height at that time — until Zhao was deposed in 1989 for siding with pro-democracy protesters in Tiananmen Square.\u003c/p>\n\u003cp>Many liberal party elders like Du willingly joined the Communist movement because they hoped that, as it promised, it would lead China to modernity, democracy, human rights and the rule of law. But, with occasional exceptions, one administration after another suppressed and disappointed them.\u003c/p>\n\u003cp>The administration of Xi Jinping is just the latest to do so.\u003c/p>\n\u003cp>Unwilling to go down without a fight, the magazine’s editors and advisers sued the National Academy of Arts last month for taking over their publication, but a Beijing district court refused to hear the case.\u003c/p>\n\u003cp>Mo Shaoping, one of China’s leading human rights lawyers — and one of the few, he jokes nervously, who has not been arrested in an ongoing crackdown — says that the ousted editors are now considering suing higher levels of the government.\u003c/p>\n\u003cp>The entire incident, he says, will serve as a political litmus test. If the party’s leadership “can’t even tolerate a magazine such as the \u003cem>Annals of the Chinese Nation\u003c/em>, then the leadership’s talk of the rule of law and of listening to different opinions is nothing but empty words,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The editors admit, though, that they’re having a hard time getting out their side of the story. The government has banned Chinese media from reporting the controversy surrounding the magazine. \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=Amid+Crackdown%2C+China%27s+Last+Liberal+Magazine+Fights+For+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why Taylor Swift is Asking Congress to Update Copyright Laws",
"headTitle": "Why Taylor Swift is Asking Congress to Update Copyright Laws | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/487291905/489218091\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Congress is in the midst of a review of the copyright laws to make sure they’re up to date. Some of the recording industry’s biggest stars, among them Taylor Swift, Katy Perry and Paul McCartney, recently \u003ca href=\"http://www.billboard.com/articles/news/7408970/taylor-swift-paul-mccartney-180-artists-signing-petition-digital\" target=\"_blank\" rel=\"noopener\">signed a letter\u003c/a> urging lawmakers to make reforms.\u003c/p>\n\u003cp>The artists say that aspects of the law, which were written in the late 1990s, make it too easy for tech companies to ignore rampant piracy on their sites and put too much responsibility on the artists themselves to find the illegal music files.\u003c/p>\n\u003cp>It may be hard to feel sorry for high-profile artists like Taylor Swift — but you might feel bad for Sam Rosenthal, who runs a small independent label, Projekt Records. He’s been making a living as a musician and producer of electronic music for 30 years. Over the last decade, he says he’s struggled to keep his business alive.\u003c/p>\n\u003cp>“It involves continuously finding more ways to save and downsizing. And trying to keep ahead of the decline basically,” Rosenthal says. “I had 11 people working for me in the ’90s and now I have two part-time people working for me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like a lot of people in the music business, Rosenthal puts the blame on rampant online piracy. He points to one of the electronic musicians that he produces, \u003ca href=\"http://www.steveroach.com/\">Steve Roach\u003c/a>.\u003c/p>\n\u003cp>“He’s pretty much lived his life to create art. He is really dedicated to it,” Rosenthal says. “He puts a lot of time into his work and also money into the studio to have the best possible album.”\u003c/p>\n\u003cp>And that used to pay. Rosenthal says Roach’s albums regularly sold 50,000 to 60,000 copies. But that was before the days of massive file sharing on the Internet. Now, a quick search on Google will take you to sites where you can download copies of Roach’s music for free.\u003c/p>\n\u003cp>And here’s where Rosenthal gets angry about copyright law: Google is not responsible for taking down links to the pirated song unless Roach or his label let Google know it’s there. Rosenthal says it’s tough to play Internet detective for all the artists on his label, especially when every time one illegal link gets taken down another one pops up.\u003c/p>\n\u003cp>“It’s a really unreasonable expectation,” he says, “that I would have the time to chase people all day when I should be running a business and making music.”\u003c/p>\n\u003cp>The problem, he says, is the “safe harbor” provision of the Digital Millennium Copyright Act. It was written when Congress was revising the copyright laws in 1998 to account for the growing presence of the Internet and protects Internet services from financial liability if people use them to post unauthorized copyrighted material.\u003c/p>\n\u003cp>\u003cstrong>“Designed for a different age”\u003c/strong>\u003c/p>\n\u003cp>“It was a system designed for a different age,” admits Jim Burger, a copyright attorney who represented tech companies at the time. “It’s like traffic rules for carriages with horses, and you have autonomous cars now.”\u003c/p>\n\u003cp>When the law was being written, Google had just been founded and YouTube didn’t exist. “The concern that Congress clearly had in mind was it did not want to throttle or chill innovation and expansion of the Internet,” Burger says. “And they didn’t want the overhang of copyright lawsuits.”\u003c/p>\n\u003cp>Of course, now Google is one of the most valuable companies in the world. That is why Rosenthal and many other artists think Google and other Internet giants should be made legally responsible for finding unauthorized files and taking them down.\u003c/p>\n\u003cp>“Google could solve this problem — 90 percent of this problem — with one switch,” Rosenthal says. “And if they were really on the side of the creators they would do something about that.”\u003c/p>\n\u003cp>Actually, representatives of Google’s YouTube say the video service does do something. Artists can register their songs with Google’s Content ID, which locates uploads of their music and lets artists run ads over those videos. “Ninety-five percent of the time they’re choosing to monetize it, which means they share the revenue,” says Katherine Oyama, legal counsel at YouTube.\u003c/p>\n\u003cp>Since YouTube launched Content ID a decade ago, the program has paid $2 billion to rights holders — but that includes other copyright owners such as filmmakers as well as musicians. \u003c/p>\n\u003cp>But according to the Recording Industry Association of America, YouTube saw a more than 100-percent increase in the number of video plays last year, but the music industry only saw a 17 percent increase in the revenue sent to artists. The organization says these figures show that the tech companies gain more from the artists than the artists get in return.\u003c/p>\n\u003cp>Plus, Content ID tracking doesn’t work for Google search, which artists say continues to bring up links to sites that list pirated versions of their songs.\u003c/p>\n\u003cp>\u003cstrong>“Hand \u003c/strong>\u003cstrong>in every cookie jar possible”\u003c/strong>\u003c/p>\n\u003cp>There could be a generational difference in the way artists approach the Internet to make a living.\u003c/p>\n\u003cp>A cappella singer \u003ca href=\"https://www.youtube.com/watch?v=BSLPH9d-jsI\" target=\"_blank\" rel=\"noopener\">Peter Hollens\u003c/a>, whose YouTube videos have been viewed tens of millions of times, thinks the Internet opened the door for him to reach fans and turn it into a living. “The fact that I can do it as a dorky dad,” says the 34-year-old. “I truly believe that anyone with the gumption and the drive can make this happen.”\u003c/p>\n\u003cp>Hollens thinks people who’ve been in the business for a long time just need to learn how to get their music in all the right places and bring in different streams of income.\u003c/p>\n\u003cp>“To make a living as a musician most people know … you need to have your hand in every cookie jar possible,” he says. That includes Spotify, SoundCloud, commercials, video games and just about anywhere that music can be found.\u003c/p>\n\u003cp>In fact, Hollens credits the safe harbor provision itself with his success. He fears that if Congress made Internet companies responsible for finding and taking down unauthorized music files, they would begin to err heavily on the side of caution and censor musicians out of fear that their music might violate the copyright laws and the company would be responsible for millions of dollars in fines. Under U.S. copyright law, violators can be fined up to $150,000 for each work infringed.\u003c/p>\n\u003cp>It may be that it’s just too hard for older musicians to learn the new business. But Rosenthal and others say that it should still be up to them to control where the music they’ve worked so hard to create shows up. Rosenthal doesn’t think he and other artists should have to bear all the responsibility for finding every place on the Internet where their music is put up against their will.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Congress will likely hear from musicians like Hollens and Steve Roach and his producer Sam Rosenthal as it continues its review of the copyright laws. Lawmakers are expected to unveil an outline for reforms in the fall. \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=Why+Taylor+Swift+Is+Asking+Congress+To+Update+Copyright+Laws&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/487291905/489218091\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Congress is in the midst of a review of the copyright laws to make sure they’re up to date. Some of the recording industry’s biggest stars, among them Taylor Swift, Katy Perry and Paul McCartney, recently \u003ca href=\"http://www.billboard.com/articles/news/7408970/taylor-swift-paul-mccartney-180-artists-signing-petition-digital\" target=\"_blank\" rel=\"noopener\">signed a letter\u003c/a> urging lawmakers to make reforms.\u003c/p>\n\u003cp>The artists say that aspects of the law, which were written in the late 1990s, make it too easy for tech companies to ignore rampant piracy on their sites and put too much responsibility on the artists themselves to find the illegal music files.\u003c/p>\n\u003cp>It may be hard to feel sorry for high-profile artists like Taylor Swift — but you might feel bad for Sam Rosenthal, who runs a small independent label, Projekt Records. He’s been making a living as a musician and producer of electronic music for 30 years. Over the last decade, he says he’s struggled to keep his business alive.\u003c/p>\n\u003cp>“It involves continuously finding more ways to save and downsizing. And trying to keep ahead of the decline basically,” Rosenthal says. “I had 11 people working for me in the ’90s and now I have two part-time people working for me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like a lot of people in the music business, Rosenthal puts the blame on rampant online piracy. He points to one of the electronic musicians that he produces, \u003ca href=\"http://www.steveroach.com/\">Steve Roach\u003c/a>.\u003c/p>\n\u003cp>“He’s pretty much lived his life to create art. He is really dedicated to it,” Rosenthal says. “He puts a lot of time into his work and also money into the studio to have the best possible album.”\u003c/p>\n\u003cp>And that used to pay. Rosenthal says Roach’s albums regularly sold 50,000 to 60,000 copies. But that was before the days of massive file sharing on the Internet. Now, a quick search on Google will take you to sites where you can download copies of Roach’s music for free.\u003c/p>\n\u003cp>And here’s where Rosenthal gets angry about copyright law: Google is not responsible for taking down links to the pirated song unless Roach or his label let Google know it’s there. Rosenthal says it’s tough to play Internet detective for all the artists on his label, especially when every time one illegal link gets taken down another one pops up.\u003c/p>\n\u003cp>“It’s a really unreasonable expectation,” he says, “that I would have the time to chase people all day when I should be running a business and making music.”\u003c/p>\n\u003cp>The problem, he says, is the “safe harbor” provision of the Digital Millennium Copyright Act. It was written when Congress was revising the copyright laws in 1998 to account for the growing presence of the Internet and protects Internet services from financial liability if people use them to post unauthorized copyrighted material.\u003c/p>\n\u003cp>\u003cstrong>“Designed for a different age”\u003c/strong>\u003c/p>\n\u003cp>“It was a system designed for a different age,” admits Jim Burger, a copyright attorney who represented tech companies at the time. “It’s like traffic rules for carriages with horses, and you have autonomous cars now.”\u003c/p>\n\u003cp>When the law was being written, Google had just been founded and YouTube didn’t exist. “The concern that Congress clearly had in mind was it did not want to throttle or chill innovation and expansion of the Internet,” Burger says. “And they didn’t want the overhang of copyright lawsuits.”\u003c/p>\n\u003cp>Of course, now Google is one of the most valuable companies in the world. That is why Rosenthal and many other artists think Google and other Internet giants should be made legally responsible for finding unauthorized files and taking them down.\u003c/p>\n\u003cp>“Google could solve this problem — 90 percent of this problem — with one switch,” Rosenthal says. “And if they were really on the side of the creators they would do something about that.”\u003c/p>\n\u003cp>Actually, representatives of Google’s YouTube say the video service does do something. Artists can register their songs with Google’s Content ID, which locates uploads of their music and lets artists run ads over those videos. “Ninety-five percent of the time they’re choosing to monetize it, which means they share the revenue,” says Katherine Oyama, legal counsel at YouTube.\u003c/p>\n\u003cp>Since YouTube launched Content ID a decade ago, the program has paid $2 billion to rights holders — but that includes other copyright owners such as filmmakers as well as musicians. \u003c/p>\n\u003cp>But according to the Recording Industry Association of America, YouTube saw a more than 100-percent increase in the number of video plays last year, but the music industry only saw a 17 percent increase in the revenue sent to artists. The organization says these figures show that the tech companies gain more from the artists than the artists get in return.\u003c/p>\n\u003cp>Plus, Content ID tracking doesn’t work for Google search, which artists say continues to bring up links to sites that list pirated versions of their songs.\u003c/p>\n\u003cp>\u003cstrong>“Hand \u003c/strong>\u003cstrong>in every cookie jar possible”\u003c/strong>\u003c/p>\n\u003cp>There could be a generational difference in the way artists approach the Internet to make a living.\u003c/p>\n\u003cp>A cappella singer \u003ca href=\"https://www.youtube.com/watch?v=BSLPH9d-jsI\" target=\"_blank\" rel=\"noopener\">Peter Hollens\u003c/a>, whose YouTube videos have been viewed tens of millions of times, thinks the Internet opened the door for him to reach fans and turn it into a living. “The fact that I can do it as a dorky dad,” says the 34-year-old. “I truly believe that anyone with the gumption and the drive can make this happen.”\u003c/p>\n\u003cp>Hollens thinks people who’ve been in the business for a long time just need to learn how to get their music in all the right places and bring in different streams of income.\u003c/p>\n\u003cp>“To make a living as a musician most people know … you need to have your hand in every cookie jar possible,” he says. That includes Spotify, SoundCloud, commercials, video games and just about anywhere that music can be found.\u003c/p>\n\u003cp>In fact, Hollens credits the safe harbor provision itself with his success. He fears that if Congress made Internet companies responsible for finding and taking down unauthorized music files, they would begin to err heavily on the side of caution and censor musicians out of fear that their music might violate the copyright laws and the company would be responsible for millions of dollars in fines. Under U.S. copyright law, violators can be fined up to $150,000 for each work infringed.\u003c/p>\n\u003cp>It may be that it’s just too hard for older musicians to learn the new business. But Rosenthal and others say that it should still be up to them to control where the music they’ve worked so hard to create shows up. Rosenthal doesn’t think he and other artists should have to bear all the responsibility for finding every place on the Internet where their music is put up against their will.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Congress will likely hear from musicians like Hollens and Steve Roach and his producer Sam Rosenthal as it continues its review of the copyright laws. Lawmakers are expected to unveil an outline for reforms in the fall. \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=Why+Taylor+Swift+Is+Asking+Congress+To+Update+Copyright+Laws&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Making Of A Propaganda Film In 'Under The Sun'",
"headTitle": "The Making Of A Propaganda Film In ‘Under The Sun’ | KQED",
"content": "\u003cp>She’s only eight years old, but Zin-Mi knows a lot about her homeland. It is, she says, “the land of the rising sun” and “the most beautiful country.” Of course, North Korea is the only place Zin-Mi has ever seen, and the only place she’s ever likely to see.\u003c/p>\n\u003cp>Shot during two visits over a year, \u003cem>Under the Sun\u003c/em> chronicles Zin-Mi’s preparations to become a member of the Children’s Union, a group in the tradition of the USSR’s Young Pioneers. The uniformed tykes wear red scarves, and present red flowers to dignitaries weighed down by medals that cover their jackets. The kids also listen to endless lessons, presented by both young schoolteachers and elderly war veterans, about how the Kim dynasty defeated Japanese imperialists and American “cowards.”\u003c/p>\n\u003cp>https://youtu.be/_QRbU6ACIRw\u003c/p>\n\u003cp>At first, Russian director Vitaly Mansky presents Zin-Mi and her equally earnest parents without comment. But then, during a family dinner, the filmmaker offers multiple takes of the scene. He shows the men who interrupt to coach the three players on their performances and tell them just what to say about the virtues of kimchi: It prevents cancer and enhances longevity, the handlers insist, and the girl and her parents dutifully repeat those claims.\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> is a documentary about the making of a “documentary” — a government-sanctioned propaganda film in which ordinary North Koreans play fictional roles. Mansky doesn’t explain what he originally agreed to do or exactly how he wound up making something quite different. But he does include an occasional on-screen note about some of the North Korean subterfuge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The parents, for example, are both shown to labor in exemplary factories where, in fact, they don’t work. In reality, Dad is a “print journalist,” which may mean his job is at the same propaganda agency that chaperoned the film.\u003c/p>\n\u003cfigure id=\"attachment_11895914\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200.jpg\" alt=\"Still from 'Under the Sun.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11895914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Under the Sun.’ \u003ccite>(Courtesy Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without explanation, North Korean authorities cancelled the project before shooting was complete. So Mansky felt free to use the existing footage for a film about the country’s unbeautifulness. He divulges not only the backstage machinations, but also moments in which Zin-Mi — the exemplary Children’s Union member — is confused, doubtful, or frustrated. Prompted by an off-screen overseer to look more cheerful by thinking of “something good,” the girl falters. “I don’t know what,” she says. The simplest emotional cues are problematic when everything is scripted.\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> presents a society in which nothing is natural, and where depictions of Kim Jong-Un and his predecessors are as ubiquitous as images of Jesus in a medieval cathedral.\u003c/p>\n\u003cp>But the movie would have been more interesting if Mansky had included more of \u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-under-the-sun-north-korea-doc-20160705-snap-story.html\" target=\"_blank\" rel=\"noopener\">the back story\u003c/a>. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>She’s only eight years old, but Zin-Mi knows a lot about her homeland. It is, she says, “the land of the rising sun” and “the most beautiful country.” Of course, North Korea is the only place Zin-Mi has ever seen, and the only place she’s ever likely to see.\u003c/p>\n\u003cp>Shot during two visits over a year, \u003cem>Under the Sun\u003c/em> chronicles Zin-Mi’s preparations to become a member of the Children’s Union, a group in the tradition of the USSR’s Young Pioneers. The uniformed tykes wear red scarves, and present red flowers to dignitaries weighed down by medals that cover their jackets. The kids also listen to endless lessons, presented by both young schoolteachers and elderly war veterans, about how the Kim dynasty defeated Japanese imperialists and American “cowards.”\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/_QRbU6ACIRw'\n title='//www.youtube.com/embed/_QRbU6ACIRw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At first, Russian director Vitaly Mansky presents Zin-Mi and her equally earnest parents without comment. But then, during a family dinner, the filmmaker offers multiple takes of the scene. He shows the men who interrupt to coach the three players on their performances and tell them just what to say about the virtues of kimchi: It prevents cancer and enhances longevity, the handlers insist, and the girl and her parents dutifully repeat those claims.\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> is a documentary about the making of a “documentary” — a government-sanctioned propaganda film in which ordinary North Koreans play fictional roles. Mansky doesn’t explain what he originally agreed to do or exactly how he wound up making something quite different. But he does include an occasional on-screen note about some of the North Korean subterfuge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The parents, for example, are both shown to labor in exemplary factories where, in fact, they don’t work. In reality, Dad is a “print journalist,” which may mean his job is at the same propaganda agency that chaperoned the film.\u003c/p>\n\u003cfigure id=\"attachment_11895914\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200.jpg\" alt=\"Still from 'Under the Sun.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11895914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Under the Sun.’ \u003ccite>(Courtesy Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without explanation, North Korean authorities cancelled the project before shooting was complete. So Mansky felt free to use the existing footage for a film about the country’s unbeautifulness. He divulges not only the backstage machinations, but also moments in which Zin-Mi — the exemplary Children’s Union member — is confused, doubtful, or frustrated. Prompted by an off-screen overseer to look more cheerful by thinking of “something good,” the girl falters. “I don’t know what,” she says. The simplest emotional cues are problematic when everything is scripted.\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> presents a society in which nothing is natural, and where depictions of Kim Jong-Un and his predecessors are as ubiquitous as images of Jesus in a medieval cathedral.\u003c/p>\n\u003cp>But the movie would have been more interesting if Mansky had included more of \u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-under-the-sun-north-korea-doc-20160705-snap-story.html\" target=\"_blank\" rel=\"noopener\">the back story\u003c/a>. The filmmakers were required to submit their memory cards every day, and North Korean censors deleted any scene they didn’t want used. What they didn’t know was that the crew was backing up all the footage on a second set of cards so they could retain the moments the authorities thought were erased.\u003c/p>\n\u003cp>Also missing is the director’s intriguing motivation. At a screening of the film at AFI Docs in Washington, Mansky said he initially thought the project would be “a time machine” to the Soviet Union’s Stalinist era, and thus a means to better understand his country’s history. But he came to believe that North Korea is “much more hard and cruel” than the USSR ever was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> doesn’t document purges, prisons, and show trials. It displays only the wall that’s been erected to block the view of any such brutalities. But that’s enough.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 1966 film \u003cem>Batman: The Movie\u003c/em> was shot between the first and second seasons of the television show. It used the same sets as the TV show, the same characters, costumes, the same story formula, and — most importantly — adopted the same tonal \u003cem>jiu-jitsu\u003c/em>: high silliness executed with grave seriousness.\u003c/p>\n\u003cp>The film differed from the TV show in small ways, however: Julie Newmar had a scheduling conflict, so Lee Meriweather stepped into the sparkly catsuit. The bigger budget allowed Batman to trick himself out with a Batcyle, Batcopter and Batboat.\u003c/p>\n\u003cp>The film premiered at Austin’s Paramount Theatre on July 30, 1966. (Why Austin? The Batboat was reportedly built by an Austin-based company who got the studio to agree to hold its red-carpet premiere there.)\u003c/p>\n\u003cp>The film was a moderate success, making a little over over $2 million, not quite twice its budget. But the studio had expected more, because the country had spent the spring of 1966 in the grip of a fervid Batmania.\u003c/p>\n\u003cp>The launch of the show back in January had arrived at exactly the right cultural moment. The Pop-Art movement prized anything that was slick, colorful, and mass-produced; Susan Sontag’s “Notes on Camp” essay, published two years before, had had enough time to filter down from academia into the mainstream. The nation was also in the habit of looking to television for frothy, high-concept diversions like \u003cem>My Favorite Martian,\u003c/em> \u003cem>Bewitched\u003c/em>, and \u003cem>The Munsters\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The result was a full-on \u003cem>Batman\u003c/em> fad: Batman dresses, hairstyles, and a “Batusi” dance craze. Nightclubs threw \u003cem>Batman\u003c/em>-related events, and toy companies pumped out Bat-merch by the metric ton.\u003c/p>\n\u003cp>But by the time the film premiered, America had been getting two episodes of the TV series every week for months. And although the ratings were still strong and would remain so well into the show’s second season, the nation’s Batmania was beginning to cool. And the notion of schlepping out to a movie theater to watch an hour-and-a-half version of something that came into your home for free every week wasn’t quite the motivation executives thought it was.\u003c/p>\n\u003cp>Even so: to watch \u003cem>Batman: The Movie \u003c/em>today is to savor the essence of the TV show. To modern eyes, its plot seems overstuffed, its structure rigidly episodic, its pacing more languorous than strictly necessary, and yet the whole thing is so blithely and sublimely goofy any quibbles fall by the wayside.\u003c/p>\n\u003cp>For many years it was the only taste of the TV show widely available, as the episodes themselves remained tied up in endless rights negotiations with various guest stars — or their estates. Maybe that’s why the movie contains so many elements that have come to define the show in the public consciousness.\u003c/p>\n\u003cp>Viz:\u003c/p>\n\u003cul>\n\u003cli>Shark-repellent Bat-spray!\u003c/li>\n\u003cli>“Penguin, Joker, Riddler … and Catwoman too? The sum of the angles of that rectangle is \u003cem>MONSTROUS\u003c/em> to contemplate!”\u003c/li>\n\u003cli>“Gosh, Batman. The nobility of the almost-human porpoise!”\u003c/li>\n\u003cli>“Comrade Kitayna Ireyna Tatanya Kerenska Alisoff. I am from the \u003cem>Moscow Bugle\u003c/em>.”\u003c/li>\n\u003cli>“\u003ca href=\"https://twitter.com/search?q=ghweldon%20bomb&src=typd\" target=\"_blank\" rel=\"noopener\">Some days you just can’t get rid of a bomb\u003c/a>!”\u003c/li>\n\u003c/ul>\n\u003cp>Today, all the episodes are available on Blu-Ray and streaming video, as is the movie. But back when the movie the only way to see Adam West in his blue satin cape, it felt like \u003cem>Batman\u003c/em> methadone to me – a pale substitute for the episodes I’d loved as a kid. And yet it still works, because the central, defining archness of its tone is so artificial that it effectively untethers the film from its time. \u003cem>Batman: The Movie\u003c/em> should seem a lot more dated than it does, but on its fiftieth birthday it reminds us of an abiding truth:\u003c/p>\n\u003cp>Tastes change, drama grows dated, humor palls.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But silly is eternal. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+%2760s+%27Batman%27+Movie+Just+Turned+50+And+Attention+Must+Be+Paid+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Halfway through \u003cem>Tallulah\u003c/em>, an unwieldy but affecting showcase for Ellen Page and Allison Janney, Lu (Page), a drifter suddenly confronted by an enormous responsibility stares up at blue sky above Washington Square Park and muses about gravity. What if it just stopped? What if we left these earthly bounds and floated off into the ether? It’s not a suicidal fantasy on Lu’s part, though circumstances have landed her in a terrible spot. She just wants to be free.\u003c/p>\n\u003cp>Written and directed by Sian Heder, an \u003cem>Orange is the New Black\u003c/em> staff writer making her feature debut, \u003cem>Tallulah\u003c/em> is a movie about the burdens of motherhood, of young adulthood, and of being a woman period. Heder and her cast work hard to make those themes land through the drama, which insistently finds connections between strangers of different generations who are thrown into the same crisis. Yet it’s also the type of movie that turns Lu’s dream of weightlessness into a clunky visual motif, not trusting us to understand characters that it imagines so thoroughly.\u003c/p>\n\u003cp>The too-muchness signaled by that metaphor carries over into the plotting, which survives a few hiccups and major contrivances to find its emotional center. First seen dashing away from a roadside bar with stolen liquor, the free-spirited Lu lives in a van with her boyfriend Nico (Evan Jonigkeit) and dreams idly of climbing the Himalayas, which she’s pretty sure are in India. The couple has spent two years eating out of dumpsters and begging truckers for shower tickets; Nico wants to settle down and Lu wants to continue down the open road.\u003c/p>\n\u003cp>Cue the cosmic record-scratch.\u003c/p>\n\u003cp>After Nico splits in the middle of the night, Lu drives to New York City in search of his mother, Margo (Janney), whom he intended to visit. Still penniless, Lu scavenges the halls of a fancy hotel for room service scraps, but winds up getting pulled into a situation that changes the course of her life. Mistaking her for housekeeping, Carolyn (Tammy Blanchard), a drunk, hapless trophy wife, ropes her into looking after her one-year-old daughter while she goes out on a date. Lu takes the assignment out of pity — as well as the piles of loose cash and jewelry in the room — but winds up taking the baby, too, when Carolyn comes back wasted and in no condition to care for her kid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Little about Lu’s kidnapping makes sense — even if you accept her as a poor decision-maker, you have to get past her allergy to commitment — but she persuades Margo that the baby is her granddaughter, which is enough to get her through the door. The two have trouble getting along at first, given that Margo, set to sign divorce papers for a husband who left her for another man, doesn’t exactly want the company. While they tentatively bond around this beautiful, apple-cheeked lie, a frantic Carolyn summons the police and Child Protective Services, who vow to track her baby down, but have some questions about her fitness for motherhood.\u003c/p>\n\u003cp>https://youtu.be/8WSz2s-Gemc\u003c/p>\n\u003cp>\u003cem>Tallulah\u003c/em> cracks open several more cans of worms, too, expanding to include Margo’s flirtations with her apartment doorman, an awkward dinner with Margo’s soon-to-be ex-husband and live-in boyfriend, and a surprising chunk of time devoted to Carolyn and the investigation. The absence of strong narrative through-line makes the film feel diffuse and overstuffed, like a television season crammed into a two-hour window. But a word like “overstuffed” throws a darker shade on the generosity that’s the film’s greatest strength, owed to Heder’s commitment to writing three fully realized women and the troubles they have in liberating themselves — if, indeed, they want to be liberated at all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Page and Janney, in particular, have terrific chemistry together, because both actresses are exceptionally good at leavening dramatic crises without undercutting their seriousness. There’s a humor and deftness to \u003cem>Tallulah\u003c/em> that the story wouldn’t seem to accommodate easily, given the desperation that unifies these characters around a kidnapped toddler. That Heder’s warts-and-all vision of maternal ambivalence lacks focus and concision seems partly by design, a refusal to oversimplify these women for the sake of narrative expedience. They’re screwed up. They’re good-hearted. They’re human.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Halfway through \u003cem>Tallulah\u003c/em>, an unwieldy but affecting showcase for Ellen Page and Allison Janney, Lu (Page), a drifter suddenly confronted by an enormous responsibility stares up at blue sky above Washington Square Park and muses about gravity. What if it just stopped? What if we left these earthly bounds and floated off into the ether? It’s not a suicidal fantasy on Lu’s part, though circumstances have landed her in a terrible spot. She just wants to be free.\u003c/p>\n\u003cp>Written and directed by Sian Heder, an \u003cem>Orange is the New Black\u003c/em> staff writer making her feature debut, \u003cem>Tallulah\u003c/em> is a movie about the burdens of motherhood, of young adulthood, and of being a woman period. Heder and her cast work hard to make those themes land through the drama, which insistently finds connections between strangers of different generations who are thrown into the same crisis. Yet it’s also the type of movie that turns Lu’s dream of weightlessness into a clunky visual motif, not trusting us to understand characters that it imagines so thoroughly.\u003c/p>\n\u003cp>The too-muchness signaled by that metaphor carries over into the plotting, which survives a few hiccups and major contrivances to find its emotional center. First seen dashing away from a roadside bar with stolen liquor, the free-spirited Lu lives in a van with her boyfriend Nico (Evan Jonigkeit) and dreams idly of climbing the Himalayas, which she’s pretty sure are in India. The couple has spent two years eating out of dumpsters and begging truckers for shower tickets; Nico wants to settle down and Lu wants to continue down the open road.\u003c/p>\n\u003cp>Cue the cosmic record-scratch.\u003c/p>\n\u003cp>After Nico splits in the middle of the night, Lu drives to New York City in search of his mother, Margo (Janney), whom he intended to visit. Still penniless, Lu scavenges the halls of a fancy hotel for room service scraps, but winds up getting pulled into a situation that changes the course of her life. Mistaking her for housekeeping, Carolyn (Tammy Blanchard), a drunk, hapless trophy wife, ropes her into looking after her one-year-old daughter while she goes out on a date. Lu takes the assignment out of pity — as well as the piles of loose cash and jewelry in the room — but winds up taking the baby, too, when Carolyn comes back wasted and in no condition to care for her kid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Little about Lu’s kidnapping makes sense — even if you accept her as a poor decision-maker, you have to get past her allergy to commitment — but she persuades Margo that the baby is her granddaughter, which is enough to get her through the door. The two have trouble getting along at first, given that Margo, set to sign divorce papers for a husband who left her for another man, doesn’t exactly want the company. While they tentatively bond around this beautiful, apple-cheeked lie, a frantic Carolyn summons the police and Child Protective Services, who vow to track her baby down, but have some questions about her fitness for motherhood.\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/8WSz2s-Gemc'\n title='//www.youtube.com/embed/8WSz2s-Gemc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Tallulah\u003c/em> cracks open several more cans of worms, too, expanding to include Margo’s flirtations with her apartment doorman, an awkward dinner with Margo’s soon-to-be ex-husband and live-in boyfriend, and a surprising chunk of time devoted to Carolyn and the investigation. The absence of strong narrative through-line makes the film feel diffuse and overstuffed, like a television season crammed into a two-hour window. But a word like “overstuffed” throws a darker shade on the generosity that’s the film’s greatest strength, owed to Heder’s commitment to writing three fully realized women and the troubles they have in liberating themselves — if, indeed, they want to be liberated at all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Page and Janney, in particular, have terrific chemistry together, because both actresses are exceptionally good at leavening dramatic crises without undercutting their seriousness. There’s a humor and deftness to \u003cem>Tallulah\u003c/em> that the story wouldn’t seem to accommodate easily, given the desperation that unifies these characters around a kidnapped toddler. That Heder’s warts-and-all vision of maternal ambivalence lacks focus and concision seems partly by design, a refusal to oversimplify these women for the sake of narrative expedience. They’re screwed up. They’re good-hearted. They’re human.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>She’s back.\u003c/p>\n\u003cp>Earlier this week actor and comedian Leslie Jones decided she’d had enough of Twitter trolls targeting her because she dared to co-star in a reboot of the 1984 film, \u003cem>Ghostbusters\u003c/em>.\u003c/p>\n\u003cp>She was tired of being called ugly and savage, and being compared to gorillas and apes.\u003c/p>\n\u003cp>She was tired of being called a coon.\u003c/p>\n\u003cp>She’d had enough. She was tired.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/755261962674696192\u003c/p>\n\u003cp>So \u003ca href=\"http://www.slate.com/blogs/browbeat/2016/07/19/leslie_jones_tweets_were_a_powerful_response_to_an_insane_torrent_of_hate.html\" target=\"_blank\" rel=\"noopener\">Leslie retweeted screenshots\u003c/a> of some of the racist and sexist tweets piled up in her Twitter mentions, then she threw up two fingas and peace’d out.\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/755271004520349698\u003c/p>\n\u003cp>And, it’s a shame. A shame that she couldn’t be in the world — just exist — minding her own business, entertaining fans and pursuing her craft, without having all that hate hurled at her via social media.\u003c/p>\n\u003cp>Two days later, Jones returned, encouraged by the support she had received and also admitting she was unable to resist the pull of the platform.\u003c/p>\n\u003cp>https://twitter.com/Lesdoggg/status/756224822879846400\u003c/p>\n\u003cp>Still, I get why Leslie initially shut it down and walked away.\u003c/p>\n\u003cp>I am fat. I have been fat for much of my life (I was on my first diet at 5), give or take a few years in college and 2013 when I lost more than 50 pounds by white knuckling it through a low-carb, high deprivation diet (I gained that weight back).\u003c/p>\n\u003cp>Needless to say, neither I nor Leslie fit the mainstream beauty ideal: thin body, fair skin, long, straight, blonde hair. And that’s OK.\u003c/p>\n\u003cp>But it’s one thing to not fit the beauty ideal — because, hey, work what your mama gave you and all that — and it’s something else to have a constant stream of vitriol coming at you attacking how you look. That’s enough to shake someone with even the highest self-esteem. I know if I opened my Twitter account and saw my mentions filled with that kind of hate, it would hurt (and writing this I am likely opening myself up to it. Sigh).\u003c/p>\n\u003cp>Once Leslie rang the alarm, many people \u003ca href=\"https://twitter.com/hashtag/LoveforLeslieJ?src=hash&ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">tweeted their support\u003c/a>, including Vanessa De Luca, editor-in-chief of the African-American fashion, lifestyle and beauty magazine \u003ca href=\"http://www.essence.com/\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a>, actor Kerry Washington, and Bernice King, daughter of Martin Luther King Jr.\u003c/p>\n\u003cp>https://twitter.com/Vanessa_KDeLuca/status/755825219852443648\u003c/p>\n\u003cp>https://twitter.com/BerniceKing/status/755799284927172608\u003c/p>\n\u003cp>https://twitter.com/kerrywashington/status/755611187270721536\u003c/p>\n\u003cp>In the wake of all this, Twitter \u003ca href=\"https://ww2.kqed.org/pop/2016/07/21/internet-tantrum-of-the-week-why-freemilo-is-kinda-funny-but-really-important/\" target=\"_blank\" rel=\"noopener\">permanently suspended the account of Milo Yiannopoulos\u003c/a>, a conservative commentator, for his role in what they say was a campaign to target Leslie with abusive tweets. Yiannopoulos says he did nothing wrong and that “Twitter’s permanent suspension of my account makes a mockery of their claims to be a free speech platform.”\u003c/p>\n\u003cp>I’m glad Leslie came back to Twitter, though, and here’s why. As Ijeoma Oluo \u003ca href=\"https://www.theguardian.com/commentisfree/2016/jul/19/leslie-jones-twitter-abuse-deliberate-campaign-hate?CMP=share_btn_tw\">wrote in The Guardian\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>This woman, this dark-skinned black woman — who didn’t even have the courtesy to be “conventionally” attractive by their standards — had the audacity to star in an all-female remake of a beloved white-dude film? Of course she must pay by being forced off of the internet — a platform essential to those in public life today.\u003c/p>\n\u003cp>These abusers know the power of the internet, and it’s access to that power that they hope to consolidate for themselves and deny women like Jones with their abuse. For many of us, our very livelihoods are at stake. My writing career is dependent on the internet. This is the same for many women, people of color, disabled people, and LGBT people who have long been denied access to traditional press.\u003c/p>\n\u003c/blockquote>\n\u003cp>I don’t know what makes trolls attack so viciously on social media. Is it that they don’t like it that some women — in this case a 6-ft.-tall, larger than size zero dark-skinned black woman — are confident and comfortable with themselves?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows, but now that Leslie has returned and is once again engaging on social media with her fans, maybe she can reach out to help some of the women who \u003cem>aren’t\u003c/em> comedians or actors in summer blockbuster movies navigate troll attacks. \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=Turns+Out%2C+Fighting+Fat+Shaming+And+Racist+Trolls+Is+Also+A+Ghostbuster%27s+Job&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Still, I get why Leslie initially shut it down and walked away.\u003c/p>\n\u003cp>I am fat. I have been fat for much of my life (I was on my first diet at 5), give or take a few years in college and 2013 when I lost more than 50 pounds by white knuckling it through a low-carb, high deprivation diet (I gained that weight back).\u003c/p>\n\u003cp>Needless to say, neither I nor Leslie fit the mainstream beauty ideal: thin body, fair skin, long, straight, blonde hair. And that’s OK.\u003c/p>\n\u003cp>But it’s one thing to not fit the beauty ideal — because, hey, work what your mama gave you and all that — and it’s something else to have a constant stream of vitriol coming at you attacking how you look. That’s enough to shake someone with even the highest self-esteem. I know if I opened my Twitter account and saw my mentions filled with that kind of hate, it would hurt (and writing this I am likely opening myself up to it. Sigh).\u003c/p>\n\u003cp>Once Leslie rang the alarm, many people \u003ca href=\"https://twitter.com/hashtag/LoveforLeslieJ?src=hash&ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">tweeted their support\u003c/a>, including Vanessa De Luca, editor-in-chief of the African-American fashion, lifestyle and beauty magazine \u003ca href=\"http://www.essence.com/\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a>, actor Kerry Washington, and Bernice King, daughter of Martin Luther King Jr.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the wake of all this, Twitter \u003ca href=\"https://ww2.kqed.org/pop/2016/07/21/internet-tantrum-of-the-week-why-freemilo-is-kinda-funny-but-really-important/\" target=\"_blank\" rel=\"noopener\">permanently suspended the account of Milo Yiannopoulos\u003c/a>, a conservative commentator, for his role in what they say was a campaign to target Leslie with abusive tweets. Yiannopoulos says he did nothing wrong and that “Twitter’s permanent suspension of my account makes a mockery of their claims to be a free speech platform.”\u003c/p>\n\u003cp>I’m glad Leslie came back to Twitter, though, and here’s why. As Ijeoma Oluo \u003ca href=\"https://www.theguardian.com/commentisfree/2016/jul/19/leslie-jones-twitter-abuse-deliberate-campaign-hate?CMP=share_btn_tw\">wrote in The Guardian\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>This woman, this dark-skinned black woman — who didn’t even have the courtesy to be “conventionally” attractive by their standards — had the audacity to star in an all-female remake of a beloved white-dude film? Of course she must pay by being forced off of the internet — a platform essential to those in public life today.\u003c/p>\n\u003cp>These abusers know the power of the internet, and it’s access to that power that they hope to consolidate for themselves and deny women like Jones with their abuse. For many of us, our very livelihoods are at stake. My writing career is dependent on the internet. This is the same for many women, people of color, disabled people, and LGBT people who have long been denied access to traditional press.\u003c/p>\n\u003c/blockquote>\n\u003cp>I don’t know what makes trolls attack so viciously on social media. Is it that they don’t like it that some women — in this case a 6-ft.-tall, larger than size zero dark-skinned black woman — are confident and comfortable with themselves?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who knows, but now that Leslie has returned and is once again engaging on social media with her fans, maybe she can reach out to help some of the women who \u003cem>aren’t\u003c/em> comedians or actors in summer blockbuster movies navigate troll attacks. \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=Turns+Out%2C+Fighting+Fat+Shaming+And+Racist+Trolls+Is+Also+A+Ghostbuster%27s+Job&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Making an \u003cem>Absolutely Fabulous\u003c/em> movie in 2016, over 20 years after the cheerfully vulgar British sitcom became a cult sensation, seems both absurdly late and entirely in keeping with the spirit of the show. After all, Edina “Eddy” Monsoon and Patricia “Patsy” Stone, a pair of unrepentant boozers on the fringes of the fashion world, have never known cultural cachet. It only follows, then, that a big-screen version of their exploits would not be particularly hip or in-demand, but a continuation of the bawdy obliviousness that have made them such a treasure over the years. They are perpetually out of time, which in their case is another way of saying “timeless.”\u003c/p>\n\u003cp>https://youtu.be/Dj3ZWhlmexw\u003c/p>\n\u003cp>“Sixty is the new 40,” Eddy declares, bridging the gap between the show’s premiere in late 1992 and \u003cem>Absolutely Fabulous: The Movie\u003c/em>, in which she and Patsy want nothing more than to “keep the party going.” This ungainly, catch-as-catch-can feature isn’t a comfortable expansion of the series, but there’s a brightness and spontaneity to it that forgives its many lapses, because each new scene brings the possibility of a filthy one-liner or a bizarre comic setpiece. Here’s a movie that gives you Jon Hamm, as himself, shuddering over memories of the “English rose” who deflowered him and a club full of drag queens doing a karaoke chorus of “At Seventeen.” Resistance is futile.\u003c/p>\n\u003cp>Leading a principal cast that has stayed with AbFab from the beginning, creator/star Jennifer Saunders and Joanna Lumley return as Eddy and Patsy, respectively, two women still clinging to a lifestyle they cannot afford. With Eddy’s PR business dwindling to just a few D-list clients — all of whom are angry over her neglect — her credit cards are “broken” and she doesn’t have any cash, which is such a foreign concept to Patsy that she refers to it as “hand money.” Nonetheless, the two wake up hungover every morning, dutifully self-administer Botox injections and liposuction treatments, and head out in search of the next gold mine.\u003c/p>\n\u003cp>After hearing word that Kate Moss (also appearing, gamely, as herself) is looking for representation, Eddy crashes an exclusive party to corner her perspective client, but winds up bumping her off a balcony and into the Thames. With Britain’s greatest fashion icon missing and presumed dead, Eddy and Patsy endure the indignities of coach class and fly to the French Riviera, simultaneously fleeing justice and gaining new opportunities to pursue a big score. They don’t have a plan. Their thinking seems to be that if they keep rubbing elbows with the elite, something will come up. Perhaps requiring a fake mustache.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saunders’ script accommodates \u003cem>AbFab\u003c/em> veterans like Julia Sawalha as Eddy’s scolding daughter Saffron (Julia Sawalha), June Whitfield as her blinkered mother, and Jane Horrocks as the flighty Bubble, who’s introduced wearing an outfit of inflatable hashtags. None of these characters are particularly well-served, given how much Eddy and Patsy are on the move, and Saunders’ approach to screenwriting isn’t all that dissimilar to the merry, improvised bungling that get her characters through life. The increased scale of an \u003cem>Absolutely Fabulous\u003c/em> movie allows Saunders and company to trample through scenic locales and roll out cameos by Moss, Hamm, Rebel Wilson, and other recognizable faces, but it mostly sticks to basics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not that there’s anything wrong with that. Saunders and Lumley are a wonderful team — Eddy constantly seeking to improve her status and salve her insecurities, Patsy casually devouring all the pills and champagne she can get — and they have a particular gift for the “ooooooo” laugh, gags that pleasantly shock without crossing the line. Their characters’ refusal to change as the world trends past them is as funny now as it was in the early ’90s; nothing will stop Patsy from smoking cigarettes in public, for example, only now she calls it “vaping.” Twenty years from now, 80 might be the new 60 for Saunders and Lumley’s lovable creations. Little will have changed. The party keeps going.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Making an \u003cem>Absolutely Fabulous\u003c/em> movie in 2016, over 20 years after the cheerfully vulgar British sitcom became a cult sensation, seems both absurdly late and entirely in keeping with the spirit of the show. After all, Edina “Eddy” Monsoon and Patricia “Patsy” Stone, a pair of unrepentant boozers on the fringes of the fashion world, have never known cultural cachet. It only follows, then, that a big-screen version of their exploits would not be particularly hip or in-demand, but a continuation of the bawdy obliviousness that have made them such a treasure over the years. They are perpetually out of time, which in their case is another way of saying “timeless.”\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/Dj3ZWhlmexw'\n title='//www.youtube.com/embed/Dj3ZWhlmexw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Sixty is the new 40,” Eddy declares, bridging the gap between the show’s premiere in late 1992 and \u003cem>Absolutely Fabulous: The Movie\u003c/em>, in which she and Patsy want nothing more than to “keep the party going.” This ungainly, catch-as-catch-can feature isn’t a comfortable expansion of the series, but there’s a brightness and spontaneity to it that forgives its many lapses, because each new scene brings the possibility of a filthy one-liner or a bizarre comic setpiece. Here’s a movie that gives you Jon Hamm, as himself, shuddering over memories of the “English rose” who deflowered him and a club full of drag queens doing a karaoke chorus of “At Seventeen.” Resistance is futile.\u003c/p>\n\u003cp>Leading a principal cast that has stayed with AbFab from the beginning, creator/star Jennifer Saunders and Joanna Lumley return as Eddy and Patsy, respectively, two women still clinging to a lifestyle they cannot afford. With Eddy’s PR business dwindling to just a few D-list clients — all of whom are angry over her neglect — her credit cards are “broken” and she doesn’t have any cash, which is such a foreign concept to Patsy that she refers to it as “hand money.” Nonetheless, the two wake up hungover every morning, dutifully self-administer Botox injections and liposuction treatments, and head out in search of the next gold mine.\u003c/p>\n\u003cp>After hearing word that Kate Moss (also appearing, gamely, as herself) is looking for representation, Eddy crashes an exclusive party to corner her perspective client, but winds up bumping her off a balcony and into the Thames. With Britain’s greatest fashion icon missing and presumed dead, Eddy and Patsy endure the indignities of coach class and fly to the French Riviera, simultaneously fleeing justice and gaining new opportunities to pursue a big score. They don’t have a plan. Their thinking seems to be that if they keep rubbing elbows with the elite, something will come up. Perhaps requiring a fake mustache.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saunders’ script accommodates \u003cem>AbFab\u003c/em> veterans like Julia Sawalha as Eddy’s scolding daughter Saffron (Julia Sawalha), June Whitfield as her blinkered mother, and Jane Horrocks as the flighty Bubble, who’s introduced wearing an outfit of inflatable hashtags. None of these characters are particularly well-served, given how much Eddy and Patsy are on the move, and Saunders’ approach to screenwriting isn’t all that dissimilar to the merry, improvised bungling that get her characters through life. The increased scale of an \u003cem>Absolutely Fabulous\u003c/em> movie allows Saunders and company to trample through scenic locales and roll out cameos by Moss, Hamm, Rebel Wilson, and other recognizable faces, but it mostly sticks to basics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not that there’s anything wrong with that. Saunders and Lumley are a wonderful team — Eddy constantly seeking to improve her status and salve her insecurities, Patsy casually devouring all the pills and champagne she can get — and they have a particular gift for the “ooooooo” laugh, gags that pleasantly shock without crossing the line. Their characters’ refusal to change as the world trends past them is as funny now as it was in the early ’90s; nothing will stop Patsy from smoking cigarettes in public, for example, only now she calls it “vaping.” Twenty years from now, 80 might be the new 60 for Saunders and Lumley’s lovable creations. Little will have changed. The party keeps going.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Think of it as art to go — and on the go.\u003c/p>\n\u003cp>That’s the theme for the exhibition “\u003ca href=\"https://artbma.org/exhibitions/2016-design-for-mobile-living\" target=\"_blank\" rel=\"noopener\">Designs for Mobile Living: Art from Eastern Africa\u003c/a>” at the Baltimore Museum of Art. There are a mere 28 objects, ranging from brightly decorated shields and glass-beaded belts for carrying spears to finely crafted necklaces and painstakingly carved drinking vessels. But individually and together the objects demonstrate how nomadic cultures in the region of the Great Rift Valley, where Kenya borders Tanzania, imbue even the most functional objects with artistic style and cultural identity.\u003c/p>\n\u003cp>In cultures that tend to livestock, like the Maasai, Samburu, Somali and Turkana groups represented here, “everyone is in motion,” says exhibition organizer Kevin Tervala. And every possession must be carried along as they go with their animals from place to place.\u003c/p>\n\u003cp>Heavy or unwieldy art objects — like an enormous brass abstract sculpture he points to in a neighboring gallery — would be impractical in their culture, Tervala says. Instead, he says, “creative drives translate into what people wear, what they use.”\u003c/p>\n\u003cp>“Even the most humble object,” he says, like a cradle-shaped, curved bowl, has been carefully carved and is attached to a leather strap to carry easily over the shoulder. A shield fashioned out of the wrinkled, rippled hide of a rhinoceros shows an appreciation of texture — and also proclaims the warrior status of the man who wielded it: Although the hides of camel, goat and cow could also be used, hippos and rhinos are harder to kill. In the example in the exhibit, you can also see the tiny holes where spears hit and pricked the surface.\u003c/p>\n\u003cfigure id=\"attachment_11819299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg\" alt=\"A man's belt, known as "Enkeene Pus," from the Maasai region of Tanzania and dating to the mid-20th century.\" width=\"800\" height=\"456\" class=\"size-medium wp-image-11819299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d.jpg 1258w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man’s belt, known as “Enkeene Pus,” from the Maasai region of Tanzania and dating to the mid-20th century. \u003ccite>(Photo: Courtesy of Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The names of the artists are not known, nor for the most part are the exact years from which each work dates. But the materials, colors and patterns suggest a general timeline approximating when they were made, in what geographical area and by what group.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For instance, before Europeans arrived to colonize and proselytize in the 19th century, most objects were monochromatic or used muted colors from vegetable dyes. That changed when the Europeans came, bringing glass beads in many colors. “That helped artistic possibilities to take off,” says Tervala.\u003c/p>\n\u003cp>Belts, jewelry, clothing and other items began to burst with colorful beaded patterns. By the 20th century, each group favored its own color combinations and shapes and developed its own “look” to stand out, says Tervala.\u003c/p>\n\u003cp>Turkana jewelry, for example, is decorated with solid blocks of red, white and blue beads. By contrast, Maasai objects use red, white, blue, orange and green glass beads arranged in triangles, rectangles and pie-chart shapes. There’s no missing the Western influence in a Maasai bracelet designed in the shape of a wristwatch.\u003c/p>\n\u003cp>Know the clues to look for, and you could even decipher a woman’s marital status. Samburu wives wear necklaces featuring a vertical row of red glass beads strung with a giraffe’s tail. A necklace worn by a Turkana married woman is altogether different, featuring three dangling bull’s-eye-shaped pendants in alternating color patterns. The absence of extensive beadwork suggests the object has come from a more northern area, where there was less exposure to European trade, and more traditional decorative methods remained dominant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nineteen of the 28 items on display come from the museum, the others from a private collector. Most are being shown in public for the first time, says Tervala, who is pursuing a Ph.D. in African studies and art history at Harvard. Focusing on the art and design, not just the purpose, of the objects highlights the diversity of African art, he says. It helps you see “there is art in everything.” \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=When+You%27re+A+Nomad%2C+You+Need+Portable+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Think of it as art to go — and on the go.\u003c/p>\n\u003cp>That’s the theme for the exhibition “\u003ca href=\"https://artbma.org/exhibitions/2016-design-for-mobile-living\" target=\"_blank\" rel=\"noopener\">Designs for Mobile Living: Art from Eastern Africa\u003c/a>” at the Baltimore Museum of Art. There are a mere 28 objects, ranging from brightly decorated shields and glass-beaded belts for carrying spears to finely crafted necklaces and painstakingly carved drinking vessels. But individually and together the objects demonstrate how nomadic cultures in the region of the Great Rift Valley, where Kenya borders Tanzania, imbue even the most functional objects with artistic style and cultural identity.\u003c/p>\n\u003cp>In cultures that tend to livestock, like the Maasai, Samburu, Somali and Turkana groups represented here, “everyone is in motion,” says exhibition organizer Kevin Tervala. And every possession must be carried along as they go with their animals from place to place.\u003c/p>\n\u003cp>Heavy or unwieldy art objects — like an enormous brass abstract sculpture he points to in a neighboring gallery — would be impractical in their culture, Tervala says. Instead, he says, “creative drives translate into what people wear, what they use.”\u003c/p>\n\u003cp>“Even the most humble object,” he says, like a cradle-shaped, curved bowl, has been carefully carved and is attached to a leather strap to carry easily over the shoulder. A shield fashioned out of the wrinkled, rippled hide of a rhinoceros shows an appreciation of texture — and also proclaims the warrior status of the man who wielded it: Although the hides of camel, goat and cow could also be used, hippos and rhinos are harder to kill. In the example in the exhibit, you can also see the tiny holes where spears hit and pricked the surface.\u003c/p>\n\u003cfigure id=\"attachment_11819299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg\" alt=\"A man's belt, known as "Enkeene Pus," from the Maasai region of Tanzania and dating to the mid-20th century.\" width=\"800\" height=\"456\" class=\"size-medium wp-image-11819299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-1180x673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/1994.293_custom-8c4f86e894b9b6e62451504eae8604f46850b08d.jpg 1258w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man’s belt, known as “Enkeene Pus,” from the Maasai region of Tanzania and dating to the mid-20th century. \u003ccite>(Photo: Courtesy of Baltimore Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The names of the artists are not known, nor for the most part are the exact years from which each work dates. But the materials, colors and patterns suggest a general timeline approximating when they were made, in what geographical area and by what group.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For instance, before Europeans arrived to colonize and proselytize in the 19th century, most objects were monochromatic or used muted colors from vegetable dyes. That changed when the Europeans came, bringing glass beads in many colors. “That helped artistic possibilities to take off,” says Tervala.\u003c/p>\n\u003cp>Belts, jewelry, clothing and other items began to burst with colorful beaded patterns. By the 20th century, each group favored its own color combinations and shapes and developed its own “look” to stand out, says Tervala.\u003c/p>\n\u003cp>Turkana jewelry, for example, is decorated with solid blocks of red, white and blue beads. By contrast, Maasai objects use red, white, blue, orange and green glass beads arranged in triangles, rectangles and pie-chart shapes. There’s no missing the Western influence in a Maasai bracelet designed in the shape of a wristwatch.\u003c/p>\n\u003cp>Know the clues to look for, and you could even decipher a woman’s marital status. Samburu wives wear necklaces featuring a vertical row of red glass beads strung with a giraffe’s tail. A necklace worn by a Turkana married woman is altogether different, featuring three dangling bull’s-eye-shaped pendants in alternating color patterns. The absence of extensive beadwork suggests the object has come from a more northern area, where there was less exposure to European trade, and more traditional decorative methods remained dominant.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nineteen of the 28 items on display come from the museum, the others from a private collector. Most are being shown in public for the first time, says Tervala, who is pursuing a Ph.D. in African studies and art history at Harvard. Focusing on the art and design, not just the purpose, of the objects highlights the diversity of African art, he says. It helps you see “there is art in everything.” \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=When+You%27re+A+Nomad%2C+You+Need+Portable+Art&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You watch hundreds of hours of television, they call you a lazy slob. A computer does it, and it’s a technological success story.\u003c/p>\n\u003cp>That is the case for \u003ca href=\"http://web.mit.edu/vondrick/prediction.pdf\" target=\"_blank\" rel=\"noopener\">a new algorithm\u003c/a> from MIT’s Computer Science and Artificial Intelligence Laboratory. Researchers fed the program 600 hours of YouTube videos and television shows like \u003cem>The Office\u003c/em>, \u003cem>Desperate Housewives\u003c/em> and \u003cem>Scrubs\u003c/em> to see if it could learn about and predict certain human interactions — hugs, kisses, high-fives and handshakes.\u003c/p>\n\u003cp>The algorithm uses an artificial intelligence technique called “\u003ca href=\"http://www.npr.org/sections/13.7/2016/05/24/479272650/the-future-of-ai-is-something-different-this-time\" target=\"_blank\" rel=\"noopener\">deep learning\u003c/a>” to create its own understanding of the patterns that make up human interaction. Given raw, unlabeled data, the machine is asked to figure out on its own what is important and what is not. It’s a mechanism that humans naturally develop over the course of their lives by picking up clues in the social interactions of those around them.\u003c/p>\n\u003cp>“Humans don’t need to have someone give us thousands of examples of things saying, ‘This is a kiss.’ We just need a few examples,” says \u003ca href=\"http://web.mit.edu/vondrick/\" target=\"_blank\" rel=\"noopener\">Carl Vondrick\u003c/a>, a doctoral candidate at MIT and one of the researchers on the project. “So what’s powerful about this is that it can learn its own rules.”\u003c/p>\n\u003cp>To test the computer, they showed it a video of people who are one second away from doing one of the four interactions. The computer creates several possible future scenarios, and uses what it has learned to guess what will happen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The computer guessed correctly 43 percent of the time; humans were correct 71 percent of the time in the same test. Vondrick believes that the system will be even more successful the more content it consumes — 600 hours is only 25 days.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AR3hY9iB5-I\u003c/p>\n\u003cp>Vondrick hopes to give the system much more video to learn from, and to ask it to predict more complex interactions. If it becomes advanced enough, the technology could be used to create intelligent security cameras that could automatically call an ambulance if someone is about to get injured, or the police as a crime is taking place.\u003c/p>\n\u003cp>This technology could also bring us closer to robots that interact with us like \u003ca href=\"http://www.smithsonianmag.com/history/recapping-the-jetsons-episode-08-roseys-boyfriend-120640948/?no-ist\" target=\"_blank\" rel=\"noopener\">The Jetsons’ maid, Rosey\u003c/a>.\u003c/p>\n\u003cp>“If you want a robot to interact in your home, it needs some basic ability to predict the future,” Vondrick says. “For example, if you were about to sit down in a chair, you don’t want the robot to pull the chair out away from you as you’re sitting down.”\u003c/p>\n\u003cp>Vondrick’s team \u003ca href=\"http://people.csail.mit.edu/torralba/publications/evt_pred_eccv2010.pdf\" target=\"_blank\" rel=\"noopener\">isn’t the first\u003c/a> to create a \u003ca href=\"https://www.ri.cmu.edu/pub_files/2014/3/egpaper_final.pdf\" target=\"_blank\" rel=\"noopener\">video prediction\u003c/a> algorithm, but theirs is the most accurate to date.\u003c/p>\n\u003cp>“It’s not hugely different from some other things that people have done, but they’ve gotten substantially better results out of it than people have in this area before,” says \u003ca href=\"http://homes.cs.washington.edu/~pedrod/\" target=\"_blank\" rel=\"noopener\">Pedro Domingos\u003c/a>, a professor at the University of Washington and an expert in machine learning.\u003c/p>\n\u003cp>One of the reasons the computer was so successful is that it uses what Vondrick calls “visual representations.” In the past, some video prediction algorithms have attempted to create a pixel-by-pixel representation of possible future scenarios, which Vondrick says is a difficult task.\u003c/p>\n\u003cp>“It’s hard for even a professional painter to paint something realistic,” he says. “So we were arguing that it wasn’t necessary to actually render the full future. Instead you could try to predict an abstract version of the image.”\u003c/p>\n\u003cp>The abstract images allow the computer to picture objects and actions more generally. For example, it can tell that an image contains a face or a chair, rather than a collection of colors to interpret. Domingos says it’s the same \u003ca href=\"https://research.facebook.com/publications/deepface-closing-the-gap-to-human-level-performance-in-face-verification/\" target=\"_blank\" rel=\"noopener\">basic technology Facebook uses\u003c/a> to guess which of your friends should be tagged in your photos.\u003c/p>\n\u003cp>In a second experiment, the computer is shown an image and is asked to predict what object will appear five seconds later. For example, if it sees someone approaching a sink, it might guess that the person will soon be using soap. The computer performed 30 percent better than previous attempts, but it was still right only 11 percent of the time.\u003c/p>\n\u003cp>Domingos says the MIT team’s algorithm is among a handful that are moving computers closer to being able to understand images in the way that humans can, which is a harder task than it may seem.\u003c/p>\n\u003cp>“We human beings tend to take vision for granted,” Domingos says. “But evolution spent 500 million years developing vision, and a third of your brain is devoted to vision … all sorts of stuff is happening in [each image,] it’s really hard to extract the objects and the people and the action.”\u003c/p>\n\u003cp>So if a computer is going to learn about human interaction from videos, why go with the social fumbling of \u003ca href=\"http://www.imdb.com/character/ch0009719/\" target=\"_blank\" rel=\"noopener\">Michael Scott\u003c/a> (\u003cem>The Office\u003c/em>) or the machinations of \u003ca href=\"http://www.imdb.com/character/ch0015608/?ref_=fn_al_ch_1\" target=\"_blank\" rel=\"noopener\">Edie Britt\u003c/a> (\u003cem>Desperate Housewives\u003c/em>)?\u003c/p>\n\u003cp>“We just wanted to use random videos from YouTube,” Vondrick said. “The reason for television is that it’s easy for us to get access to that data, and it’s somewhat realistic in terms of describing everyday situations.”\u003c/p>\n\u003cp>Vondrick plans to expose the algorithm to years’ worth of television, with the hopes that it will become even more sophisticated over time. Who knows, maybe it will become even more refined than \u003ca href=\"https://www.youtube.com/watch?v=6pwpNoRuuPY\" target=\"_blank\" rel=\"noopener\">the sitcoms themselves\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Riley Beggin is an intern with NPR’s investigations unit.\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=A+Computer+Binge-Watched+TV+And+Learned+To+Predict+What+Happens+Next&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You watch hundreds of hours of television, they call you a lazy slob. A computer does it, and it’s a technological success story.\u003c/p>\n\u003cp>That is the case for \u003ca href=\"http://web.mit.edu/vondrick/prediction.pdf\" target=\"_blank\" rel=\"noopener\">a new algorithm\u003c/a> from MIT’s Computer Science and Artificial Intelligence Laboratory. Researchers fed the program 600 hours of YouTube videos and television shows like \u003cem>The Office\u003c/em>, \u003cem>Desperate Housewives\u003c/em> and \u003cem>Scrubs\u003c/em> to see if it could learn about and predict certain human interactions — hugs, kisses, high-fives and handshakes.\u003c/p>\n\u003cp>The algorithm uses an artificial intelligence technique called “\u003ca href=\"http://www.npr.org/sections/13.7/2016/05/24/479272650/the-future-of-ai-is-something-different-this-time\" target=\"_blank\" rel=\"noopener\">deep learning\u003c/a>” to create its own understanding of the patterns that make up human interaction. Given raw, unlabeled data, the machine is asked to figure out on its own what is important and what is not. It’s a mechanism that humans naturally develop over the course of their lives by picking up clues in the social interactions of those around them.\u003c/p>\n\u003cp>“Humans don’t need to have someone give us thousands of examples of things saying, ‘This is a kiss.’ We just need a few examples,” says \u003ca href=\"http://web.mit.edu/vondrick/\" target=\"_blank\" rel=\"noopener\">Carl Vondrick\u003c/a>, a doctoral candidate at MIT and one of the researchers on the project. “So what’s powerful about this is that it can learn its own rules.”\u003c/p>\n\u003cp>To test the computer, they showed it a video of people who are one second away from doing one of the four interactions. The computer creates several possible future scenarios, and uses what it has learned to guess what will happen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The computer guessed correctly 43 percent of the time; humans were correct 71 percent of the time in the same test. Vondrick believes that the system will be even more successful the more content it consumes — 600 hours is only 25 days.\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/AR3hY9iB5-I'\n title='//www.youtube.com/embed/AR3hY9iB5-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Vondrick hopes to give the system much more video to learn from, and to ask it to predict more complex interactions. If it becomes advanced enough, the technology could be used to create intelligent security cameras that could automatically call an ambulance if someone is about to get injured, or the police as a crime is taking place.\u003c/p>\n\u003cp>This technology could also bring us closer to robots that interact with us like \u003ca href=\"http://www.smithsonianmag.com/history/recapping-the-jetsons-episode-08-roseys-boyfriend-120640948/?no-ist\" target=\"_blank\" rel=\"noopener\">The Jetsons’ maid, Rosey\u003c/a>.\u003c/p>\n\u003cp>“If you want a robot to interact in your home, it needs some basic ability to predict the future,” Vondrick says. “For example, if you were about to sit down in a chair, you don’t want the robot to pull the chair out away from you as you’re sitting down.”\u003c/p>\n\u003cp>Vondrick’s team \u003ca href=\"http://people.csail.mit.edu/torralba/publications/evt_pred_eccv2010.pdf\" target=\"_blank\" rel=\"noopener\">isn’t the first\u003c/a> to create a \u003ca href=\"https://www.ri.cmu.edu/pub_files/2014/3/egpaper_final.pdf\" target=\"_blank\" rel=\"noopener\">video prediction\u003c/a> algorithm, but theirs is the most accurate to date.\u003c/p>\n\u003cp>“It’s not hugely different from some other things that people have done, but they’ve gotten substantially better results out of it than people have in this area before,” says \u003ca href=\"http://homes.cs.washington.edu/~pedrod/\" target=\"_blank\" rel=\"noopener\">Pedro Domingos\u003c/a>, a professor at the University of Washington and an expert in machine learning.\u003c/p>\n\u003cp>One of the reasons the computer was so successful is that it uses what Vondrick calls “visual representations.” In the past, some video prediction algorithms have attempted to create a pixel-by-pixel representation of possible future scenarios, which Vondrick says is a difficult task.\u003c/p>\n\u003cp>“It’s hard for even a professional painter to paint something realistic,” he says. “So we were arguing that it wasn’t necessary to actually render the full future. Instead you could try to predict an abstract version of the image.”\u003c/p>\n\u003cp>The abstract images allow the computer to picture objects and actions more generally. For example, it can tell that an image contains a face or a chair, rather than a collection of colors to interpret. Domingos says it’s the same \u003ca href=\"https://research.facebook.com/publications/deepface-closing-the-gap-to-human-level-performance-in-face-verification/\" target=\"_blank\" rel=\"noopener\">basic technology Facebook uses\u003c/a> to guess which of your friends should be tagged in your photos.\u003c/p>\n\u003cp>In a second experiment, the computer is shown an image and is asked to predict what object will appear five seconds later. For example, if it sees someone approaching a sink, it might guess that the person will soon be using soap. The computer performed 30 percent better than previous attempts, but it was still right only 11 percent of the time.\u003c/p>\n\u003cp>Domingos says the MIT team’s algorithm is among a handful that are moving computers closer to being able to understand images in the way that humans can, which is a harder task than it may seem.\u003c/p>\n\u003cp>“We human beings tend to take vision for granted,” Domingos says. “But evolution spent 500 million years developing vision, and a third of your brain is devoted to vision … all sorts of stuff is happening in [each image,] it’s really hard to extract the objects and the people and the action.”\u003c/p>\n\u003cp>So if a computer is going to learn about human interaction from videos, why go with the social fumbling of \u003ca href=\"http://www.imdb.com/character/ch0009719/\" target=\"_blank\" rel=\"noopener\">Michael Scott\u003c/a> (\u003cem>The Office\u003c/em>) or the machinations of \u003ca href=\"http://www.imdb.com/character/ch0015608/?ref_=fn_al_ch_1\" target=\"_blank\" rel=\"noopener\">Edie Britt\u003c/a> (\u003cem>Desperate Housewives\u003c/em>)?\u003c/p>\n\u003cp>“We just wanted to use random videos from YouTube,” Vondrick said. “The reason for television is that it’s easy for us to get access to that data, and it’s somewhat realistic in terms of describing everyday situations.”\u003c/p>\n\u003cp>Vondrick plans to expose the algorithm to years’ worth of television, with the hopes that it will become even more sophisticated over time. Who knows, maybe it will become even more refined than \u003ca href=\"https://www.youtube.com/watch?v=6pwpNoRuuPY\" target=\"_blank\" rel=\"noopener\">the sitcoms themselves\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Riley Beggin is an intern with NPR’s investigations unit.\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=A+Computer+Binge-Watched+TV+And+Learned+To+Predict+What+Happens+Next&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At LA's MOCA, a Celebrated Chef Serves Up Dinner as Art Installation",
"headTitle": "At LA’s MOCA, a Celebrated Chef Serves Up Dinner as Art Installation | KQED",
"content": "\u003cp>Many chefs think of themselves as artists in the kitchen. Craig Thornton has taken it to another level: For the past five months, he’s been serving up multi-course meals as part of a room-size installation at the prestigious Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>Thornton, 34, is a cult figure in LA’s booming food scene. And for this pop-up dining experiment, he whipped up a rococo menu. A typical dish — if typical is a word that even applies — might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin.\u003c/p>\n\u003cfigure id=\"attachment_11803314\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg\" alt=\"Chef Craig Thornton, 34, is something of a cult figure in LA's food scene.\" width=\"640\" height=\"512\" class=\"size-large wp-image-11803314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chef Craig Thornton, 34, is something of a cult figure in LA’s food scene. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was just one of nine elaborate dishes served within MOCA’s Geffen Contemporary location, in what looked like the set of a dystopian Disney film — a space replete with taxidermied deer, wolves and peacocks arranged in a forest of cherry trees, some of them burnt. \u003cem>Wolvesmouth: Taxa\u003c/em>, as this unorthodox eating experience was called, just closed after a five-month residency. It was the most recent iteration of a roving restaurant that Thornton has run for years — sometimes in warehouses, sometimes in apartments and usually with more amenities.\u003c/p>\n\u003cp>“We’re cooking in the middle of a museum with no running water,” Thornton said ruefully during a recent dinner. “I mean, we have to know how much water we’re using.” (The answer: 75 to 85 gallons per night.)\u003c/p>\n\u003cfigure id=\"attachment_11803315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg\" alt=\"Thornton's menu for 'Wolvesmouth: Taxa' featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin\" width=\"640\" height=\"360\" class=\"size-large wp-image-11803315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thornton’s menu for ‘Wolvesmouth: Taxa’ featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s funny to think that for the past several months, Thornton — a chef behind some of the most coveted reservations in Los Angeles — has had to finish each night lugging and emptying gallons of water into a tiny painters’ sink in the back of the museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ordinarily, dining on Thornton’s carefully curated meals means months of languishing on waitlists. But at MOCA — two seatings a night, three days a week — Angeleno foodies could pay $225 for a multisensory experience in which art and food were intended to be one seamless experience. For example, one massive sculpture, a 2,000-pound iceberg sculpted from Styrofoam, was planned to complement a dish of chili-seasoned shrimp — “the spice being this kind of metaphor for heat melting glaciers,” Thornton explained.\u003c/p>\n\u003cp>Along with silverware and napkins, diners were furnished with a manifesto of sorts that laid out the chef’s thoughts about greed, nature and decay. They were urged to contemplate what it means to consume, and to discuss those thoughts with each other and with the staff busily plating their dinners. Nearby, a sculpture depicts an oil spill and the taxidermied animals are depicted struggling in the muck.\u003c/p>\n\u003cfigure id=\"attachment_11803316\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg\" alt=\"Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11803316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a lot to take in as a viewer and as an eater,” says Carolina Miranda, an art critic for the \u003cem>Los Angeles Times\u003c/em>. “I think if you could think of a crazy action movie on the palate, I think that’s almost what he’s going for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a city known for both cutting-edge food and contemporary art, Miranda says it’s smart for MOCA to lure patrons with an over-the top immersive experience. \u003cem>Wolvesmouth:Taxa\u003c/em> was Part 3 of a planned series of nine culinary installations taking place over the next few years. Thornton says the 10th will combine elements of all of the dinners that preceded it. \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=At+LA%27s+MOCA%2C+A+Celebrated+Chef+Serves+Up+Dinner+As+Art+Installation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Craig Thornton is behind some of the most coveted meal reservations in LA. For the past five months, he's been melding dining, sculpture and taxidermy at the city's Museum of Contemporary Art.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many chefs think of themselves as artists in the kitchen. Craig Thornton has taken it to another level: For the past five months, he’s been serving up multi-course meals as part of a room-size installation at the prestigious Museum of Contemporary Art in Los Angeles.\u003c/p>\n\u003cp>Thornton, 34, is a cult figure in LA’s booming food scene. And for this pop-up dining experiment, he whipped up a rococo menu. A typical dish — if typical is a word that even applies — might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin.\u003c/p>\n\u003cfigure id=\"attachment_11803314\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg\" alt=\"Chef Craig Thornton, 34, is something of a cult figure in LA's food scene.\" width=\"640\" height=\"512\" class=\"size-large wp-image-11803314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca5_enl-3570c733c96518828b9c3cd9d6de9c9fe4e1ec58.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Chef Craig Thornton, 34, is something of a cult figure in LA’s food scene. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was just one of nine elaborate dishes served within MOCA’s Geffen Contemporary location, in what looked like the set of a dystopian Disney film — a space replete with taxidermied deer, wolves and peacocks arranged in a forest of cherry trees, some of them burnt. \u003cem>Wolvesmouth: Taxa\u003c/em>, as this unorthodox eating experience was called, just closed after a five-month residency. It was the most recent iteration of a roving restaurant that Thornton has run for years — sometimes in warehouses, sometimes in apartments and usually with more amenities.\u003c/p>\n\u003cp>“We’re cooking in the middle of a museum with no running water,” Thornton said ruefully during a recent dinner. “I mean, we have to know how much water we’re using.” (The answer: 75 to 85 gallons per night.)\u003c/p>\n\u003cfigure id=\"attachment_11803315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg\" alt=\"Thornton's menu for 'Wolvesmouth: Taxa' featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin\" width=\"640\" height=\"360\" class=\"size-large wp-image-11803315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca4_enl-575dc9db8e0c383e178ecb0ee04c7a1e6b78aee2.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thornton’s menu for ‘Wolvesmouth: Taxa’ featured nine elaborate dishes. A typical dish might be a mélange of grilled rib-eye, creamed kimchi, beef tongue, Asian pear and crispy shallot arrayed under a surprisingly purple, squid-ink dumpling skin \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s funny to think that for the past several months, Thornton — a chef behind some of the most coveted reservations in Los Angeles — has had to finish each night lugging and emptying gallons of water into a tiny painters’ sink in the back of the museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ordinarily, dining on Thornton’s carefully curated meals means months of languishing on waitlists. But at MOCA — two seatings a night, three days a week — Angeleno foodies could pay $225 for a multisensory experience in which art and food were intended to be one seamless experience. For example, one massive sculpture, a 2,000-pound iceberg sculpted from Styrofoam, was planned to complement a dish of chili-seasoned shrimp — “the spice being this kind of metaphor for heat melting glaciers,” Thornton explained.\u003c/p>\n\u003cp>Along with silverware and napkins, diners were furnished with a manifesto of sorts that laid out the chef’s thoughts about greed, nature and decay. They were urged to contemplate what it means to consume, and to discuss those thoughts with each other and with the staff busily plating their dinners. Nearby, a sculpture depicts an oil spill and the taxidermied animals are depicted struggling in the muck.\u003c/p>\n\u003cfigure id=\"attachment_11803316\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg\" alt=\"Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11803316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/moca3_enl-94f9652bc072583107fcf43e5c9b5241ee5b6a74.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Diners were urged to contemplate about what it means to consume. Near their dinner table, a sculpture depicts an oil spill — the taxidermied animals are depicted struggling in the muck. \u003ccite>(Photo: Myles Pettengill/Courtesy of The Museum of Contemporary Art, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a lot to take in as a viewer and as an eater,” says Carolina Miranda, an art critic for the \u003cem>Los Angeles Times\u003c/em>. “I think if you could think of a crazy action movie on the palate, I think that’s almost what he’s going for.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a city known for both cutting-edge food and contemporary art, Miranda says it’s smart for MOCA to lure patrons with an over-the top immersive experience. \u003cem>Wolvesmouth:Taxa\u003c/em> was Part 3 of a planned series of nine culinary installations taking place over the next few years. Thornton says the 10th will combine elements of all of the dinners that preceded it. \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=At+LA%27s+MOCA%2C+A+Celebrated+Chef+Serves+Up+Dinner+As+Art+Installation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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