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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Obama had previously highlighted the significance of Stonewall in his second inaugural address, weaving the battle for gay rights into a larger tapestry of civil rights for women and African-Americans.\u003c/p>\n\u003cp>“That all of us are created equal is the star that guides us still, just as it guided our forebears through Seneca Falls and Selma and Stonewall,” Obama told a cheering crowd on the National Mall in January 2013.\u003c/p>\n\u003cp>Designation of the Stonewall monument comes just days before the first anniversary of the 2015 Supreme Court ruling that legalized same-sex marriage in all 50 states. It also follows less than two weeks after 49 patrons at a gay bar in Orlando, Fla., were killed in a mass shooting.\u003c/p>\n\u003cp>Creation of the national monument, which also includes Christopher Park and the surrounding area, required some complex land swaps. It had the backing of state and local officials in New York.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Stonewall is finally taking its rightful place in American history,” said Rep. Jerrold Nadler, D-N.Y., who helped lead the effort. “We are faced with painful reminders daily of how much further we must go to achieve true equality and tolerance for the LGBT community, but honoring and preserving the stories of all of the diverse participants in Stonewall in our National Park System is a clear symbol of how far we have come.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Obama+Names+LGBT+Landmark+As+National+Monument&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the early leaders of bluegrass music, Ralph Stanley, has died at age 89. His death was announced by his grandson \u003ca href=\"http://www.nathanstanleyentertainment.com/\" target=\"_blank\" rel=\"noopener\">Nathan Stanley\u003c/a>; Stanley’s publicist said in a statement that the cause was complications from skin cancer.\u003c/p>\n\u003cp>Ralph and his older brother Carter started out in the late 1940s as a duo. After Carter died in 1966, Ralph continued with his band the Clinch Mountain Boys and built a fan base fiercely devoted to his straightforward banjo and archaic-type singing known as the “high lonesome” mountain sound.\u003c/p>\n\u003ch3>High Lonesome\u003c/h3>\n\u003cp>Stanley’s sound came in part from the fact that he often sang in a minor key, while his band played in a happy-sounding major key.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WrnYWc4ZmG0\u003c/p>\n\u003cp>John Wright, who wrote a book on Stanley called \u003cem>Traveling the High Way Home\u003c/em>, says that tension between minor and major, plus what he called Stanley’s unearthly smokey vocal tone, “gives this old-time mysterious flavor to the singing. The voice sounds like it’s coming out of the past, like a ghost or something like that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stanley himself told WHYY’s \u003cem>Fresh Air\u003c/em> in 2002 that he was aware his voice was special, “a gift I think that God’s given me, and he means me to use that.”\u003c/p>\n\u003ch3>Virginia Roots\u003c/h3>\n\u003cp>Stanley recalled growing up poor on a farm in southwest Virginia, using a stick as a make-believe banjo.\u003c/p>\n\u003cp>He and his brother Carter started playing professionally on local radio in Bristol, Va., in 1946, calling their show \u003cem>Farm and Fun Time\u003c/em>. Trying to compete against more mainstream country music and rock-and-roll, they moved toward a smoother duet style.\u003c/p>\n\u003cp>After Carter’s death, Ralph moved back to the traditional sound. He also drew on his childhood experiences in the Baptist Church and started presenting a capella solo and quartet religious songs on the bluegrass stage, something that wasn’t common before.\u003c/p>\n\u003ch3>O, Brother\u003c/h3>\n\u003cp>Ralph Stanley entered the Bluegrass Hall of Fame in 1992, but his unearthly tenor catapulted him to much wider fame when, in 2000 at age 73, he was asked to sing the song “O, Death” for the movie \u003cem>O Brother, Where Art Thou\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ca7JCI5Jjhk\u003c/p>\n\u003cp>He told Fresh Air he was surprised by the reaction, but also gratified with the letters from people who said “that sound caused them to change their life, and I … believe that gift was given to me for that purpose.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9nn4Kbarc8w\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=Bluegrass+Pioneer+Ralph+Stanley+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stanley himself told WHYY’s \u003cem>Fresh Air\u003c/em> in 2002 that he was aware his voice was special, “a gift I think that God’s given me, and he means me to use that.”\u003c/p>\n\u003ch3>Virginia Roots\u003c/h3>\n\u003cp>Stanley recalled growing up poor on a farm in southwest Virginia, using a stick as a make-believe banjo.\u003c/p>\n\u003cp>He and his brother Carter started playing professionally on local radio in Bristol, Va., in 1946, calling their show \u003cem>Farm and Fun Time\u003c/em>. Trying to compete against more mainstream country music and rock-and-roll, they moved toward a smoother duet style.\u003c/p>\n\u003cp>After Carter’s death, Ralph moved back to the traditional sound. He also drew on his childhood experiences in the Baptist Church and started presenting a capella solo and quartet religious songs on the bluegrass stage, something that wasn’t common before.\u003c/p>\n\u003ch3>O, Brother\u003c/h3>\n\u003cp>Ralph Stanley entered the Bluegrass Hall of Fame in 1992, but his unearthly tenor catapulted him to much wider fame when, in 2000 at age 73, he was asked to sing the song “O, Death” for the movie \u003cem>O Brother, Where Art Thou\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ca7JCI5Jjhk'\n title='//www.youtube.com/embed/ca7JCI5Jjhk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He told Fresh Air he was surprised by the reaction, but also gratified with the letters from people who said “that sound caused them to change their life, and I … believe that gift was given to me for that purpose.” \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/9nn4Kbarc8w'\n title='//www.youtube.com/embed/9nn4Kbarc8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bluegrass+Pioneer+Ralph+Stanley+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Parliament-Funkadelic's Bernie Worrell, 'Wizard Of Woo,' Dies at 72",
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"content": "\u003cp>Keyboardist and composer Bernie Worrell, who helped shape the sound of the band Parliament-Funkadelic and influenced countless artists across a wide range of genres, died Friday at 72.\u003c/p>\n\u003cp>Worrell announced earlier this year that he had been diagnosed with late-stage lung cancer.\u003c/p>\n\u003cp>His musical life began early — according to his official biography, he started studying piano at age 3, wrote his first concerto at age 8 and performed with the National Symphony Orchestra in Washington, D.C., at 10.\u003c/p>\n\u003cp>The classically trained keyboardist (he studied at Juilliard and the New England Conservatory of Music) made his name — and an indelible mark on music — in the world of P-Funk.\u003c/p>\n\u003cp>Worrell, aka “The Wizard of Woo,” was an early member of Parliament-Funkadelic, George Clinton’s sprawling, theatrical and wildly influential funk collective.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UkLYlrE2lPs\u003c/p>\n\u003cp>The \u003ca href=\"https://rockhall.com/inductees/parliament-funkadelic/bio/#sthash.Ep6WPSI0.dpuf\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall of Fame\u003c/a> notes that Parliament and Funkadelic “prefigured everything from rap and hip-hop to techno and alternative,” with latter-day disciples including Prince and the Red Hot Chili Peppers. Worrell was one of the key collaborators shaping the sounds of the collective.\u003c/p>\n\u003cp>He was particularly famous for his innovative embrace of the sounds of synthesizers.\u003c/p>\n\u003cp>In the 1980s, Worrell helped reshape the sound of the Talking Heads and became a regular member of their expanded lineup.\u003c/p>\n\u003cp>Even if you don’t know Worrell, you’ve probably heard his work. As a studio musician he contributed to scores of albums, and P-Funk songs are \u003ca href=\"http://hiphopdx.com/news/id.18253/title.george-clinton-explains-saving-hip-hop-artists-on-samples-recalls-early-days-of-dr-dre-afrika-bambaataa-eminem\" target=\"_blank\" rel=\"noopener\">frequently sampled\u003c/a> on hip-hop tracks.\u003c/p>\n\u003cp>In 1991, when his second solo album came out, Worrell spoke to reporter Andy Lyman for \u003cem>Morning Edition. \u003c/em>Worrell said his mastery of musical fundamentals was central to his genre-mashing work.\u003c/p>\n\u003cp>“The art of creating is not just pushing a button,” he said. “We’re going to lose\u003cbr>the art of creating — composing — because they won’t even know how to make a chord. The chords are already just on a button. What is the root? What’s the third? What’s the fifth of the chord?\u003c/p>\n\u003cp>“I feel that a lot of artists and parents who are interested in music should get music back into the mainstream in school systems,” he said. “That’s being lost also.”\u003c/p>\n\u003cp>You can hear that whole piece, which also explores the social awareness of Parliament/Funkadelic as well as Worrell’s lasting influence on the Talking Heads, here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/482486305/482504633\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In January, Worrell announced that he had been diagnosed with late-stage lung cancer. An \u003ca href=\"https://www.youcaring.com/bernie-worell-501298\" target=\"_blank\" rel=\"noopener\">online fundraiser\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/news/inside-bernie-worrells-all-star-nyc-benefit-20160325\" target=\"_blank\" rel=\"noopener\">star-studded benefit concert\u003c/a> helped cover his medical expenses — and gave many in the music community a chance to honor his life while he was still there to hear it.\u003c/p>\n\u003cp>George Clinton and Bootsy Collins of P-Funk, David Byrne and Jerry Harrison of the Talking Heads, Fred Schneider of the B-52s, Buckethead, Living Colour and Questlove, among others, performed at the “All The WOO In The World” benefit concert in April. And Worrell played too, of course.\u003c/p>\n\u003cp>The crowd shouted “We love you, Bernie!” as he struggled for words, holding a proclamation from the mayor of Newark, N.J., in his honor. “I don’t know what to –” \u003ca href=\"https://www.youtube.com/watch?v=WmTg3qlODPk\" target=\"_blank\" rel=\"noopener\">Worrell said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Thank you,” he finally said. “I love you, too.” \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=Bernie+Worrell%2C+%27Wizard+Of+Woo%2C%27+Dies+At+72&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\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/UkLYlrE2lPs'\n title='//www.youtube.com/embed/UkLYlrE2lPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"https://rockhall.com/inductees/parliament-funkadelic/bio/#sthash.Ep6WPSI0.dpuf\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall of Fame\u003c/a> notes that Parliament and Funkadelic “prefigured everything from rap and hip-hop to techno and alternative,” with latter-day disciples including Prince and the Red Hot Chili Peppers. Worrell was one of the key collaborators shaping the sounds of the collective.\u003c/p>\n\u003cp>He was particularly famous for his innovative embrace of the sounds of synthesizers.\u003c/p>\n\u003cp>In the 1980s, Worrell helped reshape the sound of the Talking Heads and became a regular member of their expanded lineup.\u003c/p>\n\u003cp>Even if you don’t know Worrell, you’ve probably heard his work. As a studio musician he contributed to scores of albums, and P-Funk songs are \u003ca href=\"http://hiphopdx.com/news/id.18253/title.george-clinton-explains-saving-hip-hop-artists-on-samples-recalls-early-days-of-dr-dre-afrika-bambaataa-eminem\" target=\"_blank\" rel=\"noopener\">frequently sampled\u003c/a> on hip-hop tracks.\u003c/p>\n\u003cp>In 1991, when his second solo album came out, Worrell spoke to reporter Andy Lyman for \u003cem>Morning Edition. \u003c/em>Worrell said his mastery of musical fundamentals was central to his genre-mashing work.\u003c/p>\n\u003cp>“The art of creating is not just pushing a button,” he said. “We’re going to lose\u003cbr>the art of creating — composing — because they won’t even know how to make a chord. The chords are already just on a button. What is the root? What’s the third? What’s the fifth of the chord?\u003c/p>\n\u003cp>“I feel that a lot of artists and parents who are interested in music should get music back into the mainstream in school systems,” he said. “That’s being lost also.”\u003c/p>\n\u003cp>You can hear that whole piece, which also explores the social awareness of Parliament/Funkadelic as well as Worrell’s lasting influence on the Talking Heads, here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/482486305/482504633\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In January, Worrell announced that he had been diagnosed with late-stage lung cancer. An \u003ca href=\"https://www.youcaring.com/bernie-worell-501298\" target=\"_blank\" rel=\"noopener\">online fundraiser\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/news/inside-bernie-worrells-all-star-nyc-benefit-20160325\" target=\"_blank\" rel=\"noopener\">star-studded benefit concert\u003c/a> helped cover his medical expenses — and gave many in the music community a chance to honor his life while he was still there to hear it.\u003c/p>\n\u003cp>George Clinton and Bootsy Collins of P-Funk, David Byrne and Jerry Harrison of the Talking Heads, Fred Schneider of the B-52s, Buckethead, Living Colour and Questlove, among others, performed at the “All The WOO In The World” benefit concert in April. And Worrell played too, of course.\u003c/p>\n\u003cp>The crowd shouted “We love you, Bernie!” as he struggled for words, holding a proclamation from the mayor of Newark, N.J., in his honor. “I don’t know what to –” \u003ca href=\"https://www.youtube.com/watch?v=WmTg3qlODPk\" target=\"_blank\" rel=\"noopener\">Worrell said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Thank you,” he finally said. “I love you, too.” \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=Bernie+Worrell%2C+%27Wizard+Of+Woo%2C%27+Dies+At+72&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "\"And I'll Form ... The Head!\": 'Voltron' Reboot Gets (Almost) Everything Right",
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"content": "\u003cp>“Nostalgia,” a wise man once wrote, “is the nutrient agar upon which nerd culture grows.”\u003c/p>\n\u003cp>… Reader, it was me. \u003ca href=\"http://books.simonandschuster.com/The-Caped-Crusade/Glen-Weldon/9781476756691\" target=\"_blank\" rel=\"noopener\">I wrote that\u003c/a>. And truthfully, looking at it now, it seems less “wise” than “kind of tortured” in that it leans too hard into the biological definition of “culture” for the sake of a feeble demi-pun, but never mind. The point is: nerds hold on to the things we loved when we were kids. Tightly.\u003c/p>\n\u003cp>That’s why nerd culture so often seems regressive, even reactionary, to normals: as a species, we tend to prize things as they \u003cem>once were\u003c/em> over things as they \u003cem>are\u003c/em>. It’s not our finest quality, and there are many among us — too many — who allow this preference to decay into a kind of rancorous resolve. These are the people who build hills upon which they’re fully prepared to die, or at least get \u003cem>really really\u003c/em> mad, out of things like the original \u003cem>Ghostbusters\u003c/em> movie.\u003c/p>\n\u003cp>Most of us, however, are comparatively clear-eyed about the stuff we loved as kids. We understand that our memories are colored by that love, and any new iteration of a beloved thing simply adds to, and does not replace, said thing.\u003c/p>\n\u003cp>We can recognize, for example, when the passage of time has imbued something we love with a certain cheesy quality. But to us, the cheese makes it all the better, richer, more flavorful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which brings me to \u003cem>Voltron\u003c/em>, an anime series syndicated in the U.S. from 1984 to 1987 that was the top-rated syndicated show for kids for two of those years. Oh my, but it was odd.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YwNHfyZZIuo\u003c/p>\n\u003cp>For one thing, it was an anime series on U.S. television when such things were still relatively rare; \u003cem>Speed Racer\u003c/em>, \u003cem>Marine Boy\u003c/em> and \u003cem>Star Blazers\u003c/em> had prepared the way, but \u003cem>Voltron\u003c/em>‘s runaway success established a beachhead subsequently overrun by\u003cem> Dragonball Z\u003c/em> and, especially, inescapably, \u003cem>Pokemon\u003c/em>.\u003c/p>\n\u003cp>The \u003cem>Voltron\u003c/em> (technically \u003cem>Voltron: Defender of the Universe\u003c/em>) seen in the U.S. originated as two different wondrously-named Japanese cartoons, \u003cem>Beast King Go-Lion\u003c/em> and \u003cem>Armored Fleet Dairugger XV\u003c/em>. Executive producer Peter Keefe bought the rights to both series, cut the violence back, and constructed new plots, dialogue, character backstories, everything.\u003c/p>\n\u003cp>For 72 episodes — some of which Keefe created out of whole cloth, having run out of old \u003cem>Go-Lion\u003c/em> episodes — Voltron was a show about a giant robot.\u003c/p>\n\u003cp>That wasn’t why we loved it, though. Giant robots were nothing special. Giant robots were a dime a dozen.\u003c/p>\n\u003cp>But \u003cem>this\u003c/em> robot … was made of \u003cem>lions\u003c/em>.\u003c/p>\n\u003cp>Lion-shaped robot spaceships, that is. Five of them. With tails and fangs and ears and paws, the whole mecha-feline schmear, for no readily discernible reason except the only one that mattered: they looked cool.\u003c/p>\n\u003cp>And when danger threatened, the guy in the lead lion-shaped robot spaceship intoned a battle cry so gleefully cheesy it raised your risk of heart disease, thus:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Form! Feet! And! Legs!\u003c/em>\u003c/p>\n\u003cp>\u003cem>Form! Arms! And! Torso!\u003c/em>\u003c/p>\n\u003cp>\u003cem>And I’ll form … The HEAD!\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>And that’s exactly what would proceed to happen: those lion-shaped robot spaceships retracted their legs and tails to form themselves into limbs that attached themselves to the lead lion-shaped spaceship, and Voltron the giant robot was born.\u003c/p>\n\u003cp>A giant robot, mind you, \u003cem>whose feet and hands were the heads of robo-lions\u003c/em>. Imagine a knight in armor with a Muppet on each hand, shod in boots that Gene Simmons would reject as “too much.” That was the look. And we nerds saw it, and loved it, and love it still. (I haven’t even \u003cem>mentioned\u003c/em> his Blazing Sword. It was a sword. It blazed. It was awesome.)\u003c/p>\n\u003cp>After those first 72 robot-lion episodes, the series ran for 52 more, which were stitched together from episodes of \u003cem>Armored Fleet Dairugger XV. \u003c/em>The lion-shaped robot spaceships were replaced with … air, land and sea vehicles.\u003c/p>\n\u003cp>Seriously.\u003c/p>\n\u003cp>\u003cem>Yeah, kids, we know you like chocolate cake. But have you ever \u003c/em>tried\u003cem> a dry fistful of carob?\u003c/em>\u003c/p>\n\u003cp>We do not speak of Vehicle Voltron.\u003c/p>\n\u003cfigure id=\"attachment_11722826\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-1180x885.jpg\" alt=\"Voltron in 'Voltron: Legendary Defender'\" width=\"640\" height=\"480\" class=\"size-large wp-image-11722826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Voltron in ‘Voltron: Legendary Defender’ \u003ccite>(Photo: Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Robot, Rebooted\u003c/strong>\u003c/p>\n\u003cp>Last weekend Netflix released 13 episodes of an all-new (ALL-LION!!) Voltron series, \u003cem>Voltron: Legendary Defender\u003c/em>. It’s not the first attempt to reboot the ’80s series (noble attempts were made in 1998 and 2011), and there have been there have been several comics and toys over the years.\u003c/p>\n\u003cp>But this new series is different. Here’s why.\u003c/p>\n\u003cp>\u003cem>1. The Writers Get It\u003c/em>\u003c/p>\n\u003cp>The new series’ showrunners, and its head writer, have worked on several animated series, most importantly two little shows called \u003cem>Avatar: The Last Airbender\u003c/em> and \u003cem>The Legend of Korra. \u003c/em>\u003c/p>\n\u003cp>Both of those shows combined strong characterization with clever, often funny dialogue. But they also built deeply thought, and deeply felt, worlds teeming with history and mythology.\u003c/p>\n\u003cp>That attention to both macro- and micro- detail is evident from the first frame of Voltron: Legendary Defender. This time around, character personalities are larger, more distinct, and — interestingly — tied directly to the action: the robot-shaped spaceships, we are informed, serve as reflections of their pilots. As small tweak, perhaps, but one that opens up all sorts of possibilities.\u003c/p>\n\u003cp>And if you think the all-male makeup of the five Voltron pilots seems like a hoary holdover from the 1980s, just know that showrunners think so too. I’ll leave it at that.\u003c/p>\n\u003cp>\u003cem>2. \u003c/em>\u003cem>The Voice Actors Get It\u003c/em>\u003c/p>\n\u003cp>If the cast featured only New Zealand actor Rhys Darby — Murray on \u003cem>Flight of the Conchords\u003c/em> — it’d be reason enough to watch. But he’s joined by Tyler Labine of \u003cem>Tucker and Dale vs. Evil\u003c/em>. And Jeremy Shada (Finn on \u003cem>Adventure Time\u003c/em>). And Steven Yeun, who plays Glenn on \u003cem>The Walking Dead\u003c/em>. They’re expressive, energetic, and dependably land the series’ many jokes.\u003c/p>\n\u003cp>\u003cem>3. There Are Characters Named “Pidge” And “Hunk”\u003c/em>\u003c/p>\n\u003cp>Granted, these character names, and personalities, are simply imported from the original series, so are not really new. Even so, this is a show in which the words “PIDGE!” and/or “HUNK!” could — O.K., \u003cem>will\u003c/em> — get shouted a lot.\u003c/p>\n\u003cp>\u003cem>4. It’s Not All Good News\u003c/em>\u003c/p>\n\u003cp>It is with a heavy heart that I report the following: in each episode of the new series, when it at last comes time to form Voltron, the writers have made a bold decision.\u003c/p>\n\u003cp>A bold, \u003cem>hugely\u003c/em> disappointing decision.\u003c/p>\n\u003cp>As before, the pilot of the lead lion-shaped spaceship intones a catchphrase.\u003c/p>\n\u003cp>But instead of reeling off the halting litany of mecha-body-parts that has imprinted itself upon the cerebral cortex of legions of Voltron fans, (\u003cem>FORM! ARMS! AND! TORSO!\u003c/em>) he instead shouts something far less cheesy, less rich, less flavorful.\u003c/p>\n\u003cp>He says, “Form Voltron.”\u003c/p>\n\u003cp>That’s it. That’s all we get. “Form Voltron,” he says. “Form Voltron,” like he’s ordering a sandwich.\u003c/p>\n\u003cp>Seeing it the first time, I felt the familiar nerd-rage begin to churn behind my sternum. “Form Voltron,” indeed.\u003c/p>\n\u003cp>But I’m one of the reasonable ones, after all. So I managed to talk myself down. I reminded myself that this new series only added to, and did not replace, the classic one.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And when that didn’t work, I comforted myself by watching these dudes build a real-life replica of Voltron’s Blazing Sword. And I was content. \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=%27And+I%27ll+Form+...+The+Head%21%27%3A+%27Voltron%27+Reboot+Gets+%28Almost%29+Everything+Right&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Nostalgia,” a wise man once wrote, “is the nutrient agar upon which nerd culture grows.”\u003c/p>\n\u003cp>… Reader, it was me. \u003ca href=\"http://books.simonandschuster.com/The-Caped-Crusade/Glen-Weldon/9781476756691\" target=\"_blank\" rel=\"noopener\">I wrote that\u003c/a>. And truthfully, looking at it now, it seems less “wise” than “kind of tortured” in that it leans too hard into the biological definition of “culture” for the sake of a feeble demi-pun, but never mind. The point is: nerds hold on to the things we loved when we were kids. Tightly.\u003c/p>\n\u003cp>That’s why nerd culture so often seems regressive, even reactionary, to normals: as a species, we tend to prize things as they \u003cem>once were\u003c/em> over things as they \u003cem>are\u003c/em>. It’s not our finest quality, and there are many among us — too many — who allow this preference to decay into a kind of rancorous resolve. These are the people who build hills upon which they’re fully prepared to die, or at least get \u003cem>really really\u003c/em> mad, out of things like the original \u003cem>Ghostbusters\u003c/em> movie.\u003c/p>\n\u003cp>Most of us, however, are comparatively clear-eyed about the stuff we loved as kids. We understand that our memories are colored by that love, and any new iteration of a beloved thing simply adds to, and does not replace, said thing.\u003c/p>\n\u003cp>We can recognize, for example, when the passage of time has imbued something we love with a certain cheesy quality. But to us, the cheese makes it all the better, richer, more flavorful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which brings me to \u003cem>Voltron\u003c/em>, an anime series syndicated in the U.S. from 1984 to 1987 that was the top-rated syndicated show for kids for two of those years. Oh my, but it was odd.\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/YwNHfyZZIuo'\n title='//www.youtube.com/embed/YwNHfyZZIuo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For one thing, it was an anime series on U.S. television when such things were still relatively rare; \u003cem>Speed Racer\u003c/em>, \u003cem>Marine Boy\u003c/em> and \u003cem>Star Blazers\u003c/em> had prepared the way, but \u003cem>Voltron\u003c/em>‘s runaway success established a beachhead subsequently overrun by\u003cem> Dragonball Z\u003c/em> and, especially, inescapably, \u003cem>Pokemon\u003c/em>.\u003c/p>\n\u003cp>The \u003cem>Voltron\u003c/em> (technically \u003cem>Voltron: Defender of the Universe\u003c/em>) seen in the U.S. originated as two different wondrously-named Japanese cartoons, \u003cem>Beast King Go-Lion\u003c/em> and \u003cem>Armored Fleet Dairugger XV\u003c/em>. Executive producer Peter Keefe bought the rights to both series, cut the violence back, and constructed new plots, dialogue, character backstories, everything.\u003c/p>\n\u003cp>For 72 episodes — some of which Keefe created out of whole cloth, having run out of old \u003cem>Go-Lion\u003c/em> episodes — Voltron was a show about a giant robot.\u003c/p>\n\u003cp>That wasn’t why we loved it, though. Giant robots were nothing special. Giant robots were a dime a dozen.\u003c/p>\n\u003cp>But \u003cem>this\u003c/em> robot … was made of \u003cem>lions\u003c/em>.\u003c/p>\n\u003cp>Lion-shaped robot spaceships, that is. Five of them. With tails and fangs and ears and paws, the whole mecha-feline schmear, for no readily discernible reason except the only one that mattered: they looked cool.\u003c/p>\n\u003cp>And when danger threatened, the guy in the lead lion-shaped robot spaceship intoned a battle cry so gleefully cheesy it raised your risk of heart disease, thus:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>Form! Feet! And! Legs!\u003c/em>\u003c/p>\n\u003cp>\u003cem>Form! Arms! And! Torso!\u003c/em>\u003c/p>\n\u003cp>\u003cem>And I’ll form … The HEAD!\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>And that’s exactly what would proceed to happen: those lion-shaped robot spaceships retracted their legs and tails to form themselves into limbs that attached themselves to the lead lion-shaped spaceship, and Voltron the giant robot was born.\u003c/p>\n\u003cp>A giant robot, mind you, \u003cem>whose feet and hands were the heads of robo-lions\u003c/em>. Imagine a knight in armor with a Muppet on each hand, shod in boots that Gene Simmons would reject as “too much.” That was the look. And we nerds saw it, and loved it, and love it still. (I haven’t even \u003cem>mentioned\u003c/em> his Blazing Sword. It was a sword. It blazed. It was awesome.)\u003c/p>\n\u003cp>After those first 72 robot-lion episodes, the series ran for 52 more, which were stitched together from episodes of \u003cem>Armored Fleet Dairugger XV. \u003c/em>The lion-shaped robot spaceships were replaced with … air, land and sea vehicles.\u003c/p>\n\u003cp>Seriously.\u003c/p>\n\u003cp>\u003cem>Yeah, kids, we know you like chocolate cake. But have you ever \u003c/em>tried\u003cem> a dry fistful of carob?\u003c/em>\u003c/p>\n\u003cp>We do not speak of Vehicle Voltron.\u003c/p>\n\u003cfigure id=\"attachment_11722826\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-1180x885.jpg\" alt=\"Voltron in 'Voltron: Legendary Defender'\" width=\"640\" height=\"480\" class=\"size-large wp-image-11722826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/vlt_still_4-1-07a2217bce00bbaf6b288dc16013654d273a79c5-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Voltron in ‘Voltron: Legendary Defender’ \u003ccite>(Photo: Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Robot, Rebooted\u003c/strong>\u003c/p>\n\u003cp>Last weekend Netflix released 13 episodes of an all-new (ALL-LION!!) Voltron series, \u003cem>Voltron: Legendary Defender\u003c/em>. It’s not the first attempt to reboot the ’80s series (noble attempts were made in 1998 and 2011), and there have been there have been several comics and toys over the years.\u003c/p>\n\u003cp>But this new series is different. Here’s why.\u003c/p>\n\u003cp>\u003cem>1. The Writers Get It\u003c/em>\u003c/p>\n\u003cp>The new series’ showrunners, and its head writer, have worked on several animated series, most importantly two little shows called \u003cem>Avatar: The Last Airbender\u003c/em> and \u003cem>The Legend of Korra. \u003c/em>\u003c/p>\n\u003cp>Both of those shows combined strong characterization with clever, often funny dialogue. But they also built deeply thought, and deeply felt, worlds teeming with history and mythology.\u003c/p>\n\u003cp>That attention to both macro- and micro- detail is evident from the first frame of Voltron: Legendary Defender. This time around, character personalities are larger, more distinct, and — interestingly — tied directly to the action: the robot-shaped spaceships, we are informed, serve as reflections of their pilots. As small tweak, perhaps, but one that opens up all sorts of possibilities.\u003c/p>\n\u003cp>And if you think the all-male makeup of the five Voltron pilots seems like a hoary holdover from the 1980s, just know that showrunners think so too. I’ll leave it at that.\u003c/p>\n\u003cp>\u003cem>2. \u003c/em>\u003cem>The Voice Actors Get It\u003c/em>\u003c/p>\n\u003cp>If the cast featured only New Zealand actor Rhys Darby — Murray on \u003cem>Flight of the Conchords\u003c/em> — it’d be reason enough to watch. But he’s joined by Tyler Labine of \u003cem>Tucker and Dale vs. Evil\u003c/em>. And Jeremy Shada (Finn on \u003cem>Adventure Time\u003c/em>). And Steven Yeun, who plays Glenn on \u003cem>The Walking Dead\u003c/em>. They’re expressive, energetic, and dependably land the series’ many jokes.\u003c/p>\n\u003cp>\u003cem>3. There Are Characters Named “Pidge” And “Hunk”\u003c/em>\u003c/p>\n\u003cp>Granted, these character names, and personalities, are simply imported from the original series, so are not really new. Even so, this is a show in which the words “PIDGE!” and/or “HUNK!” could — O.K., \u003cem>will\u003c/em> — get shouted a lot.\u003c/p>\n\u003cp>\u003cem>4. It’s Not All Good News\u003c/em>\u003c/p>\n\u003cp>It is with a heavy heart that I report the following: in each episode of the new series, when it at last comes time to form Voltron, the writers have made a bold decision.\u003c/p>\n\u003cp>A bold, \u003cem>hugely\u003c/em> disappointing decision.\u003c/p>\n\u003cp>As before, the pilot of the lead lion-shaped spaceship intones a catchphrase.\u003c/p>\n\u003cp>But instead of reeling off the halting litany of mecha-body-parts that has imprinted itself upon the cerebral cortex of legions of Voltron fans, (\u003cem>FORM! ARMS! AND! TORSO!\u003c/em>) he instead shouts something far less cheesy, less rich, less flavorful.\u003c/p>\n\u003cp>He says, “Form Voltron.”\u003c/p>\n\u003cp>That’s it. That’s all we get. “Form Voltron,” he says. “Form Voltron,” like he’s ordering a sandwich.\u003c/p>\n\u003cp>Seeing it the first time, I felt the familiar nerd-rage begin to churn behind my sternum. “Form Voltron,” indeed.\u003c/p>\n\u003cp>But I’m one of the reasonable ones, after all. So I managed to talk myself down. I reminded myself that this new series only added to, and did not replace, the classic one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And when that didn’t work, I comforted myself by watching these dudes build a real-life replica of Voltron’s Blazing Sword. And I was content. \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=%27And+I%27ll+Form+...+The+Head%21%27%3A+%27Voltron%27+Reboot+Gets+%28Almost%29+Everything+Right&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/481249440/482206919\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In 1970, a young business school grad — and failed opera singer — named David Gockley landed a job as business manager of the Houston Grand Opera. After two years, at age 27, he moved up to general director.\u003c/p>\n\u003cp>Over the next 30 years, Gockley transformed the company into a hothouse for new and revived American opera. During his tenure in Houston, Gockley presented 35 world premieres, including John Adams’ \u003cem>Nixon in China\u003c/em>, Stewart Wallace’s \u003cem>Harvey Milk\u003c/em>, Leonard Bernstein’s \u003cem>A Quiet Place\u003c/em>, Mark Adamo’s \u003cem>Little Women\u003c/em> and three operas by Carlisle Floyd.\u003c/p>\n\u003cp>Gockley continued along the same path after moving to the San Francisco Opera in 2006. As general director he racked up more world premieres — Philip Glass’ Civil War drama \u003cem>Appomattox\u003c/em> and Christopher Theofanidis’ 9/11 story \u003cem>Heart of a Soldier\u003c/em>. A new opera from Bright Sheng, \u003cem>Dream of the Red Chamber\u003c/em>, debuts this fall, and Tuesday Gockley announced \u003cem>Girls of the Golden West\u003c/em>, an Adams opera premiering in November 2017.\u003c/p>\n\u003cp>Now this pioneering impresario is about to “pack it in,” as he says in the audio feature above. Gockley will retire in July. To mark the occasion, the San Francisco Opera is throwing a little party for him Thursday that will include a number of singers (“my kiddies”) whose careers he helped nurture, including \u003ca href=\"http://www.npr.org/artists/15656760/renee-fleming\" target=\"_blank\" rel=\"noopener\">Renée Fleming\u003c/a>, Susan Graham, Patricia Racette, René Pape and Dolora Zajick.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We asked Gockley to reminisce a little and tell a few stories about his early years and the great music he nurtured in Houston, beginning with his very first production of \u003ca href=\"http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=2810&ttype=BIOGRAPHY\" target=\"_blank\" rel=\"noopener\">Carlisle Floyd\u003c/a>‘s \u003cem>Susannah \u003c/em>in 1972. That opera convinced him “there was an opportunity to have an American opera repertoire.”\u003c/p>\n\u003cp>\u003cem>(Editor’s Note: There is one mildly objectional word used twice during the audio feature.) \u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" link=\"none\" ids=\"11700679,11700688,11700687,11700686,11700685,11700684,11700680,11700681,11700693,11700692\"]\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=An+American+Opera+Impresario+Takes+His+Final+Bow&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/481249440/482206919\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In 1970, a young business school grad — and failed opera singer — named David Gockley landed a job as business manager of the Houston Grand Opera. After two years, at age 27, he moved up to general director.\u003c/p>\n\u003cp>Over the next 30 years, Gockley transformed the company into a hothouse for new and revived American opera. During his tenure in Houston, Gockley presented 35 world premieres, including John Adams’ \u003cem>Nixon in China\u003c/em>, Stewart Wallace’s \u003cem>Harvey Milk\u003c/em>, Leonard Bernstein’s \u003cem>A Quiet Place\u003c/em>, Mark Adamo’s \u003cem>Little Women\u003c/em> and three operas by Carlisle Floyd.\u003c/p>\n\u003cp>Gockley continued along the same path after moving to the San Francisco Opera in 2006. As general director he racked up more world premieres — Philip Glass’ Civil War drama \u003cem>Appomattox\u003c/em> and Christopher Theofanidis’ 9/11 story \u003cem>Heart of a Soldier\u003c/em>. A new opera from Bright Sheng, \u003cem>Dream of the Red Chamber\u003c/em>, debuts this fall, and Tuesday Gockley announced \u003cem>Girls of the Golden West\u003c/em>, an Adams opera premiering in November 2017.\u003c/p>\n\u003cp>Now this pioneering impresario is about to “pack it in,” as he says in the audio feature above. Gockley will retire in July. To mark the occasion, the San Francisco Opera is throwing a little party for him Thursday that will include a number of singers (“my kiddies”) whose careers he helped nurture, including \u003ca href=\"http://www.npr.org/artists/15656760/renee-fleming\" target=\"_blank\" rel=\"noopener\">Renée Fleming\u003c/a>, Susan Graham, Patricia Racette, René Pape and Dolora Zajick.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>The Fits\u003c/em> is a movie that, if examined scene by scene and frame by frame, confirms its own uniqueness the way a conservationist might identify a member of an endangered species. The narrative directing debut of Anna Rose Holmer, the film mixes an all-amateur cast; a largely dialogue-free script; a whole lot of gliding and stationary long takes by cinematographer Paul Yee; and a scant 72-minute runtime to create the sort of mature and precise cinematic vision that is swiftly disappearing from the American landscape.\u003c/p>\n\u003cp>Set in and around a community center in Cincinnati’s majority-black West End, the film swiftly introduces us to Toni (Royalty Hightower), a shy, tightly braided preteen tomboy whose steely gaze tells us far more than the few words she utters. Toni walks to the rec center every day with her older brother Jermaine (Da’Sean Minor) to box with the boys, and, presumably, so the siblings can stay out of trouble after school with no parents around.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/134321235?title=0&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>But Toni shoots longing glances across the building to where the dance team (all older girls, all brimming with confidence and sexuality) practices their step routines. The team is played by the Q-Kidz, a real Cincinnati step team that also choreographed their own movements for the film — their founder, Marquicia Jones-Woods, is an Associate Producer. In a long tracking shot, the first of many instances where filmmaking technique doubles as character development, Toni lugs her heavy boxing equipment through a hallway while the dancers joyously sprint around her, hoisting their latest state championship trophy.\u003c/p>\n\u003cp>Soon there is a journey across the gym, as Toni ditches the boxing gloves for stretch pants and joins the new class of rookie dancers called “crabs.” (The film embraces rhythm and body movement, and mines humor from the ways the crabs are frequently out-of-sync with routine, each recruit performing her own idea of what dancing looks like.) Not long after, dread sets in: One by one, each of the older girls experiences seizure-like twitching spells, where their eyes fixate on some far-away place while their bodies writhe with violence. Later, when she emerges from her stupor, one girl says the trip “was like I was watching it from above.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s easy to guess what “the fits” are, or at least what they’re meant to symbolize when they’re only happening to teenage girls. But the film’s tone is careful enough that it never feels like a one-trick pony. “Unsafe water” is suspected at one point, a prescient analogy for Flint (the bits of the outside we see, with weeds poking through the concrete, share the same imagery). And Hightower’s silent-film expressiveness makes us feel the fear Toni has for the unknown. Her encroaching maturity is the crux the film hangs on, so small moments become prized gems, like a sequence where she and a crab friend (Alexis Neblett, very funny) sneak into storage to try on the new uniforms, blue-gold and sequined, and pretend they’re older until something childlike happens.\u003c/p>\n\u003cp>\u003cem>The Fits\u003c/em> is the latest in the recent independent film trend of a young, relatively untested white director crafting a narrative around a much younger, completely untested black lead. The club includes two other excellent features: fellow Sundance alum \u003cem>Morris From America \u003c/em>(coming in August) and the Oscar-nominated fantasy opus \u003ca href=\"http://www.npr.org/2012/06/26/155704471/post-storm-a-fairy-tale-and-reality-check-in-one\" target=\"_blank\" rel=\"noopener\">\u003cem>Beasts of the Southern Wild\u003c/em>\u003c/a>. On the one hand, it’s a sign that today’s filmmakers are taking greater risks to tell stories across race and class boundaries; on the other, it carries a whiff of what could be called cinema gentrification, where the film itself exists outside the community in which it’s set. It’s fraught territory, and opinions run high: \u003cem>Slate\u003c/em>‘s “\u003ca href=\"http://www.slate.com/articles/arts/cover_story/2016/05/the_50_greatest_films_by_black_directors.html\" target=\"_blank\" rel=\"noopener\">black film canon\u003c/a>,” published this week, doesn’t include movies, no matter their subjects, made by white directors. The website’s Aisha Harris and Dan Kois wrote that they wanted to emphasize “the power of black people telling their stories.”\u003c/p>\n\u003cp>So Holmer’s movie, the most exciting American indie in years, won’t be in this canon. But part of what makes \u003cem>The Fits\u003c/em> so exciting is how it defies the very idea of a canon: it’s made by women, it’s telling a new kind of story about teenage girls, it’s set below the poverty line but is not about poverty, and its genre is somewhere between social realism and comic-drama-horror. Like Toni, who floats on some unseen threshold between assumptions about ages and genders, \u003cem>The Fits \u003c/em>invents its own kind of belonging.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Fits\u003c/strong> opens at \u003ca href=\"https://www.landmarktheatres.com/san-francisco/opera-plaza-cinema/film-info/the-fits\" target=\"_blank\" rel=\"noopener\">Opera Plaza Cinemas\u003c/a> in San Francisco and \u003ca href=\"http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=15-43-10-6-3-2016-9291\" target=\"_blank\" rel=\"noopener\">Camera 3\u003c/a> in San Jose beginning Friday, June 17.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Fits\u003c/em> is a movie that, if examined scene by scene and frame by frame, confirms its own uniqueness the way a conservationist might identify a member of an endangered species. The narrative directing debut of Anna Rose Holmer, the film mixes an all-amateur cast; a largely dialogue-free script; a whole lot of gliding and stationary long takes by cinematographer Paul Yee; and a scant 72-minute runtime to create the sort of mature and precise cinematic vision that is swiftly disappearing from the American landscape.\u003c/p>\n\u003cp>Set in and around a community center in Cincinnati’s majority-black West End, the film swiftly introduces us to Toni (Royalty Hightower), a shy, tightly braided preteen tomboy whose steely gaze tells us far more than the few words she utters. Toni walks to the rec center every day with her older brother Jermaine (Da’Sean Minor) to box with the boys, and, presumably, so the siblings can stay out of trouble after school with no parents around.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/134321235?title=0&byline=0&portrait=0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>But Toni shoots longing glances across the building to where the dance team (all older girls, all brimming with confidence and sexuality) practices their step routines. The team is played by the Q-Kidz, a real Cincinnati step team that also choreographed their own movements for the film — their founder, Marquicia Jones-Woods, is an Associate Producer. In a long tracking shot, the first of many instances where filmmaking technique doubles as character development, Toni lugs her heavy boxing equipment through a hallway while the dancers joyously sprint around her, hoisting their latest state championship trophy.\u003c/p>\n\u003cp>Soon there is a journey across the gym, as Toni ditches the boxing gloves for stretch pants and joins the new class of rookie dancers called “crabs.” (The film embraces rhythm and body movement, and mines humor from the ways the crabs are frequently out-of-sync with routine, each recruit performing her own idea of what dancing looks like.) Not long after, dread sets in: One by one, each of the older girls experiences seizure-like twitching spells, where their eyes fixate on some far-away place while their bodies writhe with violence. Later, when she emerges from her stupor, one girl says the trip “was like I was watching it from above.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s easy to guess what “the fits” are, or at least what they’re meant to symbolize when they’re only happening to teenage girls. But the film’s tone is careful enough that it never feels like a one-trick pony. “Unsafe water” is suspected at one point, a prescient analogy for Flint (the bits of the outside we see, with weeds poking through the concrete, share the same imagery). And Hightower’s silent-film expressiveness makes us feel the fear Toni has for the unknown. Her encroaching maturity is the crux the film hangs on, so small moments become prized gems, like a sequence where she and a crab friend (Alexis Neblett, very funny) sneak into storage to try on the new uniforms, blue-gold and sequined, and pretend they’re older until something childlike happens.\u003c/p>\n\u003cp>\u003cem>The Fits\u003c/em> is the latest in the recent independent film trend of a young, relatively untested white director crafting a narrative around a much younger, completely untested black lead. The club includes two other excellent features: fellow Sundance alum \u003cem>Morris From America \u003c/em>(coming in August) and the Oscar-nominated fantasy opus \u003ca href=\"http://www.npr.org/2012/06/26/155704471/post-storm-a-fairy-tale-and-reality-check-in-one\" target=\"_blank\" rel=\"noopener\">\u003cem>Beasts of the Southern Wild\u003c/em>\u003c/a>. On the one hand, it’s a sign that today’s filmmakers are taking greater risks to tell stories across race and class boundaries; on the other, it carries a whiff of what could be called cinema gentrification, where the film itself exists outside the community in which it’s set. It’s fraught territory, and opinions run high: \u003cem>Slate\u003c/em>‘s “\u003ca href=\"http://www.slate.com/articles/arts/cover_story/2016/05/the_50_greatest_films_by_black_directors.html\" target=\"_blank\" rel=\"noopener\">black film canon\u003c/a>,” published this week, doesn’t include movies, no matter their subjects, made by white directors. The website’s Aisha Harris and Dan Kois wrote that they wanted to emphasize “the power of black people telling their stories.”\u003c/p>\n\u003cp>So Holmer’s movie, the most exciting American indie in years, won’t be in this canon. But part of what makes \u003cem>The Fits\u003c/em> so exciting is how it defies the very idea of a canon: it’s made by women, it’s telling a new kind of story about teenage girls, it’s set below the poverty line but is not about poverty, and its genre is somewhere between social realism and comic-drama-horror. Like Toni, who floats on some unseen threshold between assumptions about ages and genders, \u003cem>The Fits \u003c/em>invents its own kind of belonging.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Fits\u003c/strong> opens at \u003ca href=\"https://www.landmarktheatres.com/san-francisco/opera-plaza-cinema/film-info/the-fits\" target=\"_blank\" rel=\"noopener\">Opera Plaza Cinemas\u003c/a> in San Francisco and \u003ca href=\"http://www.cameracinemas.com/cgi-bin/movies.cgi?cmd=dm&m=15-43-10-6-3-2016-9291\" target=\"_blank\" rel=\"noopener\">Camera 3\u003c/a> in San Jose beginning Friday, June 17.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>My wife’s the reason anything gets done\u003c/em>\u003c/p>\n\u003cp>\u003cem>She nudges me towards promise, by degrees\u003c/em>\u003c/p>\n\u003cp>\u003cem>She is the perfect symphony of one\u003c/em>\u003c/p>\n\u003cp>\u003cem>Our son is her most beautiful reprise\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003cem>We chase the melodies that seem to find us \u003c/em>\u003c/p>\n\u003cp>\u003cem>Until they’re finished songs, and start to play\u003c/em>\u003c/p>\n\u003cp>\u003cem>When senseless acts of tragedy remind us\u003c/em>\u003c/p>\n\u003cp>\u003cem>That nothing here is promised, not one day\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>This show is proof that history remembers\u003c/em>\u003c/p>\n\u003cp>\u003cem>We live through times when hate and fear seem stronger\u003c/em>\u003c/p>\n\u003cp>\u003cem>We rise and fall and light from dying embers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Remembrances that hope and love last longer\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>And love is love is love is love is love is love is love is love\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cannot be killed or swept aside\u003c/em>\u003c/p>\n\u003cp>\u003cem>I sing Vanessa’s symphony, Eliza tells her story\u003c/em>\u003c/p>\n\u003cp>\u003cem>Now fill the world with music, love and pride\u003c/em>\u003c/p>\n\u003cp>Thank you so much for this.\u003c/p>\n\u003cp>— Lin-Manuel Miranda, accepting the best score Tony for \u003cem>Hamilton\u003c/em> last night.\u003c/p>\n\u003cp>(For the record, if you’re scoring at home, that “And love is love is love … ” line is when I, and the people with whom I was watching the broadcast, lost it completely.)\u003c/p>\n\u003cp>Yesterday was a day of horror and grief and mourning, and you’d think the last thing on the nation’s mind on such a terrible day would be “Let’s tune into CBS to see people in suits and nice dresses congratulate one another for three hours.”\u003c/p>\n\u003cp>You’d think. But the Tonys are different. (\u003ca href=\"https://ww2.kqed.org/arts/2016/06/13/hamilton-wins-11-tonys-but-fails-to-break-record/\" target=\"_blank\" rel=\"noopener\">Here’s the full rundown of last night’s winners\u003c/a>.)\u003c/p>\n\u003cp>The Oscars are about individual achievement, the exaltation of self, the sanctimonious deification of “dreams spun of shadow and light.” The Emmys are about people thanking their managers and network executives. The Grammys are about glamour, or at least glitz. The Golden Globes are about seeing which celebrities can hold their booze.\u003c/p>\n\u003cp>But the Tonys are, and have always been, about community: a small, fiercely determined and hopelessly devoted cohort of show people and those who love them, a safe haven for anyone who has ever felt like an outsider.\u003c/p>\n\u003cp>Or, as Tonys host James Corden put it, acknowledging the mass shooting in Orlando with a direct address to the camera at the top of the broadcast: “Your tragedy is our tragedy. Theater is a place where every race, creed, sexuality and gender is equal, is embraced, and is loved. Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle.”\u003c/p>\n\u003cp>It was awkward but sincere. In that sense it was very like every theater kid who has ever lip-synced to \u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It be Loverly” in his darkened bedroom. Said kid was the ostensible subject of Corden’s “That Could Be Me” opening number, which sent him caroming through a gleeful mashup of Broadway hits, from \u003cem>Les Miserables\u003c/em> to \u003cem>Phantom\u003c/em> to \u003cem>Lion King\u003c/em> to \u003cem>Grease\u003c/em> to \u003cem>Sweeney Todd\u003c/em> to \u003cem>Jesus Christ Superstar\u003c/em> to \u003cem>Sound of Music\u003c/em> to \u003cem>Music Man\u003c/em> to … you get the idea.\u003c/p>\n\u003cp>“To the theater kids from anyplace with stardust in their eyes,” Corden sang, joined onstage by the actor and actress nominees for best performance in a musical, “of every color, class and race and face and shape and size. To the boys and girls and transgenders, too. To every Broadway would-be. Why wonder if this could be you? \u003cem>It absolutely could be.\u003c/em>”\u003c/p>\n\u003cp>What followed was what most predicted: a \u003cem>Hamilton\u003c/em> blowout. The show/cultural phenomenon took home 11 of the 16 Tonys for which it was nominated, including best musical. It didn’t break the 12-Tony record set by \u003cem>The Producers\u003c/em> in 2001, but few expected it to, given that several members of its cast were up for the same awards. Writer/star Lin-Manuel Miranda won for both score and book, but lost best actor in a musical to castmate Leslie Odom Jr.\u003c/p>\n\u003cp>As it always does, the Tonys broadcast served as a three-hour recruitment ad for a life of jazz hands and dance belts. There were good jokes (Corden’s shout-out to the \u003cem>Law and Order\u003c/em> franchise, which for years has supplied the New York theater community with bit parts and steady paychecks) and earnest singing (Carmen Cusack sang the spirited, stripped-down bluegrass opening number from the Steve Martin/Edie Brickell show \u003cem>Bright Star\u003c/em>). There was the requisite color and splash (a number from the Gloria Estefan jukebox musical \u003cem>On Your Feet\u003c/em> featured Estefan herself), and there was good-natured humor (Josh Groban introduced a number from the revival of \u003cem>Fiddler on the Roof\u003c/em> by sheepishly acknowledging a grainy video of himself starring as Tevye in a high school production of the show).\u003c/p>\n\u003cp>Less successful were segments featuring the casts from various shows stepping outside the Beacon Theater to perform before a waiting crowd. Done in homage to the Hamilton cast’s beloved #Ham4Ham practice of performing for those waiting for the ticket lottery, the broadcast’s emulation seemed merely dutiful, as the performers delivered only a single verse from Broadway classics before sending viewers to commercials.\u003c/p>\n\u003cp>As host, Corden was genial and charming. If he lacked the sardonic edge that Neil Patrick Harris brought to the job in the past, it wasn’t missed. No, what was needed yesterday was something more full-throated and uncomplicated. Something simpler and more joyful.\u003c/p>\n\u003cp>And that something was brought, not by Corden, but by Cynthia Erivo, who stars as Celie in an acclaimed revival of \u003cem>The Color Purple\u003c/em>. She won best actress in a musical, and blew the roof off the Beacon Theatre with a performance that concluded with her standing center stage, belting a song of grace and gratitude and, yes, pride, on a day when its message desperately needed to be heard by an audience filled with grieving men and women and Broadway would-bes:\u003c/p>\n\u003cp>\u003cem>But most of all\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m thankful for\u003c/em>\u003c/p>\n\u003cp>\u003cem>Loving who I really am\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003cem>Yes I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>And I’m here\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=On+A+Dark+Day%2C+The+Tonys+Double+Down+On+Joy+%E2%80%94+And+Pride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003cem>We chase the melodies that seem to find us \u003c/em>\u003c/p>\n\u003cp>\u003cem>Until they’re finished songs, and start to play\u003c/em>\u003c/p>\n\u003cp>\u003cem>When senseless acts of tragedy remind us\u003c/em>\u003c/p>\n\u003cp>\u003cem>That nothing here is promised, not one day\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>This show is proof that history remembers\u003c/em>\u003c/p>\n\u003cp>\u003cem>We live through times when hate and fear seem stronger\u003c/em>\u003c/p>\n\u003cp>\u003cem>We rise and fall and light from dying embers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Remembrances that hope and love last longer\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cem>And love is love is love is love is love is love is love is love\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cannot be killed or swept aside\u003c/em>\u003c/p>\n\u003cp>\u003cem>I sing Vanessa’s symphony, Eliza tells her story\u003c/em>\u003c/p>\n\u003cp>\u003cem>Now fill the world with music, love and pride\u003c/em>\u003c/p>\n\u003cp>Thank you so much for this.\u003c/p>\n\u003cp>— Lin-Manuel Miranda, accepting the best score Tony for \u003cem>Hamilton\u003c/em> last night.\u003c/p>\n\u003cp>(For the record, if you’re scoring at home, that “And love is love is love … ” line is when I, and the people with whom I was watching the broadcast, lost it completely.)\u003c/p>\n\u003cp>Yesterday was a day of horror and grief and mourning, and you’d think the last thing on the nation’s mind on such a terrible day would be “Let’s tune into CBS to see people in suits and nice dresses congratulate one another for three hours.”\u003c/p>\n\u003cp>You’d think. But the Tonys are different. (\u003ca href=\"https://ww2.kqed.org/arts/2016/06/13/hamilton-wins-11-tonys-but-fails-to-break-record/\" target=\"_blank\" rel=\"noopener\">Here’s the full rundown of last night’s winners\u003c/a>.)\u003c/p>\n\u003cp>The Oscars are about individual achievement, the exaltation of self, the sanctimonious deification of “dreams spun of shadow and light.” The Emmys are about people thanking their managers and network executives. The Grammys are about glamour, or at least glitz. The Golden Globes are about seeing which celebrities can hold their booze.\u003c/p>\n\u003cp>But the Tonys are, and have always been, about community: a small, fiercely determined and hopelessly devoted cohort of show people and those who love them, a safe haven for anyone who has ever felt like an outsider.\u003c/p>\n\u003cp>Or, as Tonys host James Corden put it, acknowledging the mass shooting in Orlando with a direct address to the camera at the top of the broadcast: “Your tragedy is our tragedy. Theater is a place where every race, creed, sexuality and gender is equal, is embraced, and is loved. Hate will never win. Together we have to make sure of that. Tonight’s show stands as a symbol and a celebration of that principle.”\u003c/p>\n\u003cp>It was awkward but sincere. In that sense it was very like every theater kid who has ever lip-synced to \u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It be Loverly” in his darkened bedroom. Said kid was the ostensible subject of Corden’s “That Could Be Me” opening number, which sent him caroming through a gleeful mashup of Broadway hits, from \u003cem>Les Miserables\u003c/em> to \u003cem>Phantom\u003c/em> to \u003cem>Lion King\u003c/em> to \u003cem>Grease\u003c/em> to \u003cem>Sweeney Todd\u003c/em> to \u003cem>Jesus Christ Superstar\u003c/em> to \u003cem>Sound of Music\u003c/em> to \u003cem>Music Man\u003c/em> to … you get the idea.\u003c/p>\n\u003cp>“To the theater kids from anyplace with stardust in their eyes,” Corden sang, joined onstage by the actor and actress nominees for best performance in a musical, “of every color, class and race and face and shape and size. To the boys and girls and transgenders, too. To every Broadway would-be. Why wonder if this could be you? \u003cem>It absolutely could be.\u003c/em>”\u003c/p>\n\u003cp>What followed was what most predicted: a \u003cem>Hamilton\u003c/em> blowout. The show/cultural phenomenon took home 11 of the 16 Tonys for which it was nominated, including best musical. It didn’t break the 12-Tony record set by \u003cem>The Producers\u003c/em> in 2001, but few expected it to, given that several members of its cast were up for the same awards. Writer/star Lin-Manuel Miranda won for both score and book, but lost best actor in a musical to castmate Leslie Odom Jr.\u003c/p>\n\u003cp>As it always does, the Tonys broadcast served as a three-hour recruitment ad for a life of jazz hands and dance belts. There were good jokes (Corden’s shout-out to the \u003cem>Law and Order\u003c/em> franchise, which for years has supplied the New York theater community with bit parts and steady paychecks) and earnest singing (Carmen Cusack sang the spirited, stripped-down bluegrass opening number from the Steve Martin/Edie Brickell show \u003cem>Bright Star\u003c/em>). There was the requisite color and splash (a number from the Gloria Estefan jukebox musical \u003cem>On Your Feet\u003c/em> featured Estefan herself), and there was good-natured humor (Josh Groban introduced a number from the revival of \u003cem>Fiddler on the Roof\u003c/em> by sheepishly acknowledging a grainy video of himself starring as Tevye in a high school production of the show).\u003c/p>\n\u003cp>Less successful were segments featuring the casts from various shows stepping outside the Beacon Theater to perform before a waiting crowd. Done in homage to the Hamilton cast’s beloved #Ham4Ham practice of performing for those waiting for the ticket lottery, the broadcast’s emulation seemed merely dutiful, as the performers delivered only a single verse from Broadway classics before sending viewers to commercials.\u003c/p>\n\u003cp>As host, Corden was genial and charming. If he lacked the sardonic edge that Neil Patrick Harris brought to the job in the past, it wasn’t missed. No, what was needed yesterday was something more full-throated and uncomplicated. Something simpler and more joyful.\u003c/p>\n\u003cp>And that something was brought, not by Corden, but by Cynthia Erivo, who stars as Celie in an acclaimed revival of \u003cem>The Color Purple\u003c/em>. She won best actress in a musical, and blew the roof off the Beacon Theatre with a performance that concluded with her standing center stage, belting a song of grace and gratitude and, yes, pride, on a day when its message desperately needed to be heard by an audience filled with grieving men and women and Broadway would-bes:\u003c/p>\n\u003cp>\u003cem>But most of all\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m thankful for\u003c/em>\u003c/p>\n\u003cp>\u003cem>Loving who I really am\u003c/em>\u003c/p>\n\u003cp>\u003cem>I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003cem>Yes I’m beautiful\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>And I’m here\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=On+A+Dark+Day%2C+The+Tonys+Double+Down+On+Joy+%E2%80%94+And+Pride&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Maybe art’s fair in love and war.\u003c/p>\n\u003cp>While the San Jose Sharks and the Pittsburgh Penguins compete in the Stanley Cup Finals this week, museums from each city are wagering pieces from their collection that their hockey team will come out on top.\u003c/p>\n\u003cp>It all started on May 27, when the Carnegie Museum of Art in Pittsburgh challenged the San Jose Museum of Art to a friendly bet on Twitter.\u003c/p>\n\u003cp>https://twitter.com/cmoa/status/736170673500889088\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfchronicle.com/art/article/San-Jose-Pittsburgh-art-museums-face-off-in-7960587.php?t=801d8223337d4f3860&cmpid=twitter-premium#photo-10179912\" target=\"_blank\" rel=\"noopener\">If the Sharks win\u003c/a>, the CMOA will loan \u003ca href=\"http://www.cmoa.org/CollectionDetail.aspx?item=1003309&retPrompt=Back+to+Results&retUrl=CollectionSearch.aspx%3Fsrch%3DMel%2BBochner\">“Measurement: Plant (Palm),”\u003c/a> a 1969 conceptual work by Pittsburgh-born artist Mel Bochner. If the Penguins win, SJMA will have to relinquish \u003ca href=\"http://collection.sjmusart.org/Obj871?sid=3276&x=351127\" target=\"_blank\" rel=\"noopener\">“Mom Posing by Green Wall and Dad Watching T.V.,”\u003c/a> a 1984 photograph from the “Pictures from Home” series by California artist Larry Sultan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/cmoa/status/739516147125485569\u003c/p>\n\u003cp>It’s a bit of an uneven playing field: not only does the CMOA’s collection of 30,000 pieces far exceed the SJMA’s 2,500, but the Penguins are currently leading the Sharks 3-1 in the series.\u003c/p>\n\u003cp>This is just the latest artistic fun around a sports event. The Seattle Seahawks and the New England Patriots inspired a similar bet during the 2015 Super Bowl, wagering a pair of seascape paintings. When the Patriots took home the Vince Lombardi Trophy, the Clark Art Institute in Williamstown, Mass., took home the 1870 Albert Bierstadt painting “Puget Sound on the Pacific Coast,” which it won for three months from the Seattle Art Museum.\u003c/p>\n\u003cp>And more than just photographs — and, yes, the Stanley Cup — are at stake. Sen. Bob Casey, D-Pa., put up a bottle of Pittsburgh’s own Wigle Whiskey against a bottle of California chardonnay from Sen. Dianne Feinstein, D-Calif., and \u003ca href=\"http://www.boston.com/news/local-news/2014/05/02/the-long-dumb-history-of-mayors-making-sports-bets\" target=\"_blank\" rel=\"noopener\">per tradition\u003c/a>, Mayors Bill Peduto of Pittsburgh and Sam Liccardo of San Jose wagered on their cities as well.\u003c/p>\n\u003cp>https://twitter.com/SenBobCasey/status/736232316851396609\u003c/p>\n\u003cp>In addition to a gift basket of city-appropriate goods (a Primanti Bros. sandwich vs. La Victoria Taqueria orange sauce), the losing mayor will make a donation to the winning mayor’s charity of choice.\u003c/p>\n\u003cp>And while the losing mayor will donate a captain’s jersey to charity as well, he’ll need to take a photograph in it first — to prove his concession. At least neither will have to shovel snow, like the former mayor of Pittsburgh, Luke Ravenstahl, had to do for a Greenfield, Pa., church after the Steelers lost to the Green Bay Packers in the \u003ca href=\"http://multimedia.post-gazette.com/?ClipId=5592984&topVideoCatNo=default&autoStart=true\" target=\"_blank\" rel=\"noopener\">2011 Super Bowl\u003c/a>.\u003c/p>\n\u003cp>The Stanley Cup Finals continue Thursday night at Consol Energy Arena in Pittsburgh. Smack talk, however, has already begun, delivered in the way museums know best: artfully.\u003c/p>\n\u003cp>https://twitter.com/sjmusart/status/739971518642323456\u003c/p>\n\u003cp>https://twitter.com/cmoa/status/739976246491250688\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabe Rosenberg is a digital news intern.\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=Stanley+Cup+Inspires+Artwork+Bet%2C+Highbrow+Trash+Talk+Between+2+Museums&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe art’s fair in love and war.\u003c/p>\n\u003cp>While the San Jose Sharks and the Pittsburgh Penguins compete in the Stanley Cup Finals this week, museums from each city are wagering pieces from their collection that their hockey team will come out on top.\u003c/p>\n\u003cp>It all started on May 27, when the Carnegie Museum of Art in Pittsburgh challenged the San Jose Museum of Art to a friendly bet on Twitter.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It’s a bit of an uneven playing field: not only does the CMOA’s collection of 30,000 pieces far exceed the SJMA’s 2,500, but the Penguins are currently leading the Sharks 3-1 in the series.\u003c/p>\n\u003cp>This is just the latest artistic fun around a sports event. The Seattle Seahawks and the New England Patriots inspired a similar bet during the 2015 Super Bowl, wagering a pair of seascape paintings. When the Patriots took home the Vince Lombardi Trophy, the Clark Art Institute in Williamstown, Mass., took home the 1870 Albert Bierstadt painting “Puget Sound on the Pacific Coast,” which it won for three months from the Seattle Art Museum.\u003c/p>\n\u003cp>And more than just photographs — and, yes, the Stanley Cup — are at stake. Sen. Bob Casey, D-Pa., put up a bottle of Pittsburgh’s own Wigle Whiskey against a bottle of California chardonnay from Sen. Dianne Feinstein, D-Calif., and \u003ca href=\"http://www.boston.com/news/local-news/2014/05/02/the-long-dumb-history-of-mayors-making-sports-bets\" target=\"_blank\" rel=\"noopener\">per tradition\u003c/a>, Mayors Bill Peduto of Pittsburgh and Sam Liccardo of San Jose wagered on their cities as well.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In addition to a gift basket of city-appropriate goods (a Primanti Bros. sandwich vs. La Victoria Taqueria orange sauce), the losing mayor will make a donation to the winning mayor’s charity of choice.\u003c/p>\n\u003cp>And while the losing mayor will donate a captain’s jersey to charity as well, he’ll need to take a photograph in it first — to prove his concession. At least neither will have to shovel snow, like the former mayor of Pittsburgh, Luke Ravenstahl, had to do for a Greenfield, Pa., church after the Steelers lost to the Green Bay Packers in the \u003ca href=\"http://multimedia.post-gazette.com/?ClipId=5592984&topVideoCatNo=default&autoStart=true\" target=\"_blank\" rel=\"noopener\">2011 Super Bowl\u003c/a>.\u003c/p>\n\u003cp>The Stanley Cup Finals continue Thursday night at Consol Energy Arena in Pittsburgh. Smack talk, however, has already begun, delivered in the way museums know best: artfully.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabe Rosenberg is a digital news intern.\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=Stanley+Cup+Inspires+Artwork+Bet%2C+Highbrow+Trash+Talk+Between+2+Museums&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s odd to view the O.J. Simpson trial in a renewed cultural spotlight today, 22 years after the murders and 21 years after the verdicts, almost in defiance of our tendency to observe round-number anniversaries. But between FX’s \u003cem>The People vs. O.J. Simpson: American Crime Story \u003c/em>earlier this year and now Ezra Edelman’s 7 1/2-hour documentary \u003cem>O.J.: Made In America\u003c/em>, we are not observing a milestone, but attempting an almost convulsive reckoning with every open or tenuously bound wound the case touched and still touches: racism and sexism, certainly. Class distinctions, especially where they intersect with race. Domestic violence and police brutality as two of our most stubborn examples of a sometimes fatally broken criminal justice system. Extreme wealth and extraordinary celebrity as weapons of distortion and defense.\u003c/p>\n\u003cp>Through sheer repetition, so many words are shibboleths if you were old enough to watch the news in the ’90s: Nicole, Ron, O.J., A.C., Clark, Darden, Cochran, Fuhrman, Ito, Kato, Rockingham, Bundy. Other elements, perhaps half-forgotten, tumble out when the documentary jogs your memory: Paula Barbieri, Bruno Magli, that \u003cem>Saturday Night Live \u003c/em>sketch where all the defense attorneys are dressed as increasingly outlandish “African” caricatures. But Edelman’s eye for detail is so sharp that the film contains, along with its revelations, a contextualizing wisdom that gives it the feel of sociological exploratory surgery: painful and awful, but fascinating and ultimately in service of a much clearer picture.\u003c/p>\n\u003cp>In five parts — each is about 90 minutes without commercials and will run two hours during airings beginning on June 11 on ABC and continuing on ESPN beginning June 14 — the film shows Edelman’s seriousness simply in the scope of its attention. It spends a full chapter on Simpson’s college football career, his Heisman trophy, his rise to the pros, his transition into sportscasting and acting, and, crucially, his entrée into a heavily white circle of friends and business associates. (Says one of Simpson bringing Sidney Poitier to play golf at the Arcola Country Club, where Simpson was the first black member, “Even the bigots thought that was terrific.”)\u003c/p>\n\u003cp>The second chapter is about the two violent histories that would collide so explosively at his trial: his history of domestic violence against Nicole and the history of violence by the police (and sometimes by others) against black people in Los Angeles — particularly, but not exclusively, black men. The third and fourth chapters concern the murders, the investigation, the Bronco chase, and most of the trial. The fifth largely concerns itself with what happened after Simpson was acquitted, only to eventually go to prison over a plot to gather some guys (who brought at least one gun) and go take back sports memorabilia he thought had been stolen from him.\u003c/p>\n\u003cfigure id=\"attachment_11665310\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-1180x786.jpg\" alt=\"O.J. Simpson at the Buffalo Bills' Rich Stadium press conference circa 1975\" width=\"640\" height=\"426\" class=\"size-large wp-image-11665310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson at the Buffalo Bills’ Rich Stadium press conference circa 1975. \u003ccite>(Photo: Mickey Osterreicher via ESPN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Edelman draws, as only a man who has nearly eight hours to speak to you can, the connections between the story of O.J. Simpson and the history that was all around him — that’s what \u003cem>Made In America \u003c/em>means. There are strands connecting his case to Rodney King, obviously, but also to other cases of violence against black people in Los Angeles, not to mention the migration of black people into LA in the ’40s and ’50s to begin with. Edelman places Simpson’s collegiate celebrity in the context of rising activism among black athletes in the late 1960s — activism Simpson wanted no part of, according to Dr. Harry Edwards, the sociologist who quotes him as offering the now-famous words, “I’m not black, I’m O.J.” Those weren’t just playful words: Edwards says Simpson offered them specifically as his reason for not getting involved in civil rights activism. Everywhere Edelman turns in his examination of Simpson’s life, he finds something that resonated in the story that came to define that life even more than football. And it’s safe to say O.J. Simpson never expected to be defined by anything more than by football.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Edelman’s direction is confident throughout the project (which also got a theatrical release to qualify it for Oscars), and his expansive focus is complemented by a structural rigor that prevents pure sprawl. Other characters emerge with stories of their own. There’s Ron Shipp, a friend of Simpson’s who chose to testify against him and was subjected to a cross-examination he says was so brutal it convinced others not to do the same. There are civil rights activists who came to different conclusions about whether this was really properly viewed as a civil rights case. There’s Barry Scheck, the defense’s DNA expert, who strains to make understood his belief that what he believes as to guilt or innocence (or evidence-planting) is simply not the right question to ask a defense lawyer. There’s a juror who says the group barely deliberated because they’d simply been locked up too long, and another who suggests the prosecution could have won her vote if they had “come correct.” Every huge story is a patchwork of smaller stories, and what an excellent documentarian can do is both tell those stories and explain how they assembled themselves into this seemingly opaque sequence in which everyone involved seems to have done things that are hard to understand.\u003c/p>\n\u003cp>Perhaps most perplexing, though, are some of Edelman’s interviews with friends and former friends of Simpson’s, like Mike Gilbert, the ex-agent who now claims Simpson acknowledged guilt to him. Gilbert also seems to have been one of the people Simpson suspected of stealing from him, which led to that bizarre sports-memorabilia incident that put Simpson back in jail in 2008, convicted of kidnapping and armed robbery. One telling moment: the point at which Gilbert says he concluded Simpson was guilty was well before Ron Goldman’s family obtained a wrongful death judgment, but says he still helped haul valuables out of the house to hide them from becoming seized assets. Why? Why would Gilbert help a man he tearfully says he’d come to believe had slit the throats of two innocent people? Why help that man hide his football stuff so that the family of the man you think he killed couldn’t have even the satisfaction of collecting on their judgment?\u003c/p>\n\u003cp>Perhaps to understand, you have to see the remarkable sequence in which radio host Wendy Williams starts off not even being willing to say it’s good to have a post-acquittal Simpson on her show and then ends up applauding him, accepting a hug and kiss from him, and admitting she likes him by the time he’s through with her. Charisma is powerful and dangerous and almost literally intoxicating. It’s cheap to gripe about celebrity as if it’s a created, inorganic pollutant when celebrity, in many cases, while it’s goosed by money, is rooted in the weird gravity of personality. And everyone who’s dealt with him seemingly agrees that O.J. Simpson had, and perhaps has, that personality. (Even Marcia Clark recounts running into him years later with a strange, almost warm chuckle.)\u003c/p>\n\u003cp>It is only in that last chapter, when he decamps to Florida and starts making goofy, low-rent videos, that he begins to unravel in earnest. And, maybe not coincidentally, it’s after his image collapses that he’s locked up. Not for murder, but for being dumb enough to try his hand at armed robbery with a bunch of loosely affiliated accomplices while surveillance cameras are running.\u003c/p>\n\u003cp>Documentary film is analogous to painting on a canvas, perhaps, but also to sculpting from marble. It is a thousand meaningful sacrifices of perfectly good material. While Edelman doesn’t have Simpson on camera, or Chris Darden, or some of the other folks you’d want to hear from, he has members of the defense team, Ron Goldman’s dad, Nicole Brown’s sister, Mark Fuhrman, Marcia Clark, Gil Garcetti, and all kinds of journalists and commentators and scholars. From all these people, and from the barrels of archival footage he seems to have examined, he’s pulled the details that, when assembled, avoid the feeling of manipulation that comes from so many polemical documentaries while maintaining the feeling great journalism gives you that you are, against perhaps your own expectations, learning new things about events you thought you’d memorized to the point of exhaustion.\u003c/p>\n\u003cp>As a work of filmmaking, \u003cem>O.J.: Made In America \u003c/em>is distinguished by its good judgment. In particular, rather than cover every jot and tittle of the highly theatrical televised trial, it places that trial’s important moments in the context of the pressures that created them and the pressures they, in turn, created. Darden’s complicated role comes into sharper focus as a black juror explains how insulting she found it when he suddenly showed up, as if she wouldn’t notice they’d added a black lawyer for her benefit. Clark’s revulsion at being stuck with Fuhrman as a witness builds to her admission that, essentially, she was glad to feel confident he \u003cem>couldn’t \u003c/em>have planted the evidence, because she had no such confidence that he \u003cem>wouldn’t \u003c/em>have planted the evidence.\u003c/p>\n\u003cfigure id=\"attachment_11665312\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-1180x786.jpg\" alt=\"California Department Of Justice criminalist Renee Montgomery points to blood spots found on the leather glove at O. J. Simpson's Rockingham estate during redirect examination in the O.J. Simpson double-murder criminal trial on May 24, 1995, in Los Angeles.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11665312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">California Department Of Justice criminalist Renee Montgomery points to blood spots found on the leather glove at O. J. Simpson’s Rockingham estate during redirect examination in the O.J. Simpson double-murder criminal trial on May 24, 1995, in Los Angeles. \u003ccite>(Photo: Vince Bucci/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are those who receive any attention to this story as necessarily sensational. The word “sensational,” in its “scandalous” meaning, is sometimes used against entire sets of facts, as if a real thing that happens in the real world can be too “sensational” to be spoken of, simply because it’s shocking or, frankly, fascinating in the wrong way. The story of O.J. Simpson certainly is shocking. But Edelman does not intend the momentary, hushed pleasures of a lurid crime tale. He is making an argument that inside the story of how O.J. Simpson was acquitted — or maybe enveloping it — is the story of how police departments lose the trust of their communities. He is making an argument that inside and outside the murders is a story of what can happen when powerful men aren’t punished for violence against their wives. He is making an argument about the effects of one person’s charisma on other people’s consciences. He is making an argument about the way money can be used to fight prejudice or create it — how with injustice, money can be the disease or the cure. And he is making an argument, ultimately, that although an attraction to spectacle may have given this story its initial flash, its lasting power comes from real things that people care about, with good reason.\u003c/p>\n\u003cp>Over Memorial Day weekend, \u003cem>The New York Times \u003c/em>studied violence just in Chicago, and found six gun deaths in three days. Murder is, if not routine, certainly not in and of itself an act that would resonate across decades. A murder trial that is carried gavel-to-gavel doesn’t get that treatment simply because it is the loss of two lives at someone else’s hands. This one had a famous defendant people had spent 25 years rooting for in football, watching in movies, watching on television. His decision to defy the authority of a widely loathed police department by driving down the freeway when he was supposed to turn himself in seems to have endeared him particularly to those who felt that the police acted outside that authority every day anyway, and at least somebody was in a position to tell them he’d pull over when he was good and ready — and they seemed powerless or even afraid to say no to him.\u003c/p>\n\u003cp>In this telling, there were prosecution missteps, there was a key police witness in whose credibility even the prosecutor lost all confidence, there were flaws in the evidence collection that were exploited by a defense team with bottomless resources and considerable talent. But it was always going to be both a terrible case from which to generalize about the justice system and a great case to use as a cultural inflection point.\u003c/p>\n\u003cp>More than 20 years later, the Simpson trial — the Simpson story — is a vexing, interlocking tower of what-ifs that get bigger and broader as you go: What if they’d brought Darden on earlier, or not at all? What if Darden didn’t let F. Lee Bailey goad him into having Simpson try on the gloves? What if the glove at Rockingham had been collected by a police officer without a history of using racial slurs? What if LAPD officers hadn’t beaten Rodney King? What if they had been convicted? What if there were no riots? What if there were no racism? What if we lived in a completely different society with a completely different history than the one we have?\u003c/p>\n\u003cfigure id=\"attachment_11665313\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-1180x812.jpg\" alt=\"O.J. Simpson reacts as he is found not guilty of murdering his ex-wife, Nicole Brown Simpson, and her friend Ron Goldman at the Criminal Courts Building in Los Angeles on Oct. 3, 1995. At left is defense lawyer F. Lee Bailey and at right, defense attorney Johnnie Cochran Jr.\" width=\"640\" height=\"440\" class=\"size-large wp-image-11665313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-1180x812.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-1920x1322.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-960x661.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6.jpg 1964w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson reacts as he is found not guilty of murdering his ex-wife, Nicole Brown Simpson, and her friend Ron Goldman at the Criminal Courts Building in Los Angeles on Oct. 3, 1995. At left is defense lawyer F. Lee Bailey and at right, defense attorney Johnnie Cochran Jr. \u003ccite>(Photo: Myung J. Chun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, not for nothing, assuming you believe the police reports and his no-contest plea and the Polaroids of Nicole’s bruises she hid in a safe-deposit box with her will: What if Simpson had gone to jail earlier for beating his wife? What if that could have actually saved her life and Ron Goldman’s?\u003c/p>\n\u003cp>And that’s not to even mention some of the what-ifs that stand on that boundary line between “if only” and “thank goodness”: What if we’d had the Internet? What if we’d had Twitter? In light of Roy Firestone’s obsequious archival ESPN interview with Simpson blowing off the domestic violence issue, what if we’d had Deadspin? (Nothing — \u003cem>nothing —\u003c/em> will make you understand Deadspin’s upside better than that clip, by the way, in which Firestone tells Simpson, post-domestic-violence-conviction, that they’re there to discuss “how things can get distorted to such a point that you are portrayed as the bad guy.”) And, given that TMZ \u003ca href=\"http://www.thesmokinggun.com/documents/crime/gossip-site-paid-165000-oj-tape\">reportedly bought and publicized audiotapes of the memorabilia robbery in 2008\u003c/a>, what if we’d had TMZ back in 1989? Would everything be different now? Better? Worse?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ezra Edelman’s \u003cem>O.J.: Made In America \u003c/em>is a film of great patience and discipline. It is bracing in its wisdom and unforgettable in its details. It’s the story of where we were in the summer of 1994, in so many of the ways that still matter the most now. And its curiosity isn’t in examining how O.J. Simpson is explained by the fact that he was made in America, it’s in examining how America is explained by having made O.J. Simpson. \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=%27O.J.%3A+Made+In+America%27+Is+About+America%2C+Not+O.J.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s odd to view the O.J. Simpson trial in a renewed cultural spotlight today, 22 years after the murders and 21 years after the verdicts, almost in defiance of our tendency to observe round-number anniversaries. But between FX’s \u003cem>The People vs. O.J. Simpson: American Crime Story \u003c/em>earlier this year and now Ezra Edelman’s 7 1/2-hour documentary \u003cem>O.J.: Made In America\u003c/em>, we are not observing a milestone, but attempting an almost convulsive reckoning with every open or tenuously bound wound the case touched and still touches: racism and sexism, certainly. Class distinctions, especially where they intersect with race. Domestic violence and police brutality as two of our most stubborn examples of a sometimes fatally broken criminal justice system. Extreme wealth and extraordinary celebrity as weapons of distortion and defense.\u003c/p>\n\u003cp>Through sheer repetition, so many words are shibboleths if you were old enough to watch the news in the ’90s: Nicole, Ron, O.J., A.C., Clark, Darden, Cochran, Fuhrman, Ito, Kato, Rockingham, Bundy. Other elements, perhaps half-forgotten, tumble out when the documentary jogs your memory: Paula Barbieri, Bruno Magli, that \u003cem>Saturday Night Live \u003c/em>sketch where all the defense attorneys are dressed as increasingly outlandish “African” caricatures. But Edelman’s eye for detail is so sharp that the film contains, along with its revelations, a contextualizing wisdom that gives it the feel of sociological exploratory surgery: painful and awful, but fascinating and ultimately in service of a much clearer picture.\u003c/p>\n\u003cp>In five parts — each is about 90 minutes without commercials and will run two hours during airings beginning on June 11 on ABC and continuing on ESPN beginning June 14 — the film shows Edelman’s seriousness simply in the scope of its attention. It spends a full chapter on Simpson’s college football career, his Heisman trophy, his rise to the pros, his transition into sportscasting and acting, and, crucially, his entrée into a heavily white circle of friends and business associates. (Says one of Simpson bringing Sidney Poitier to play golf at the Arcola Country Club, where Simpson was the first black member, “Even the bigots thought that was terrific.”)\u003c/p>\n\u003cp>The second chapter is about the two violent histories that would collide so explosively at his trial: his history of domestic violence against Nicole and the history of violence by the police (and sometimes by others) against black people in Los Angeles — particularly, but not exclusively, black men. The third and fourth chapters concern the murders, the investigation, the Bronco chase, and most of the trial. The fifth largely concerns itself with what happened after Simpson was acquitted, only to eventually go to prison over a plot to gather some guys (who brought at least one gun) and go take back sports memorabilia he thought had been stolen from him.\u003c/p>\n\u003cfigure id=\"attachment_11665310\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-1180x786.jpg\" alt=\"O.J. Simpson at the Buffalo Bills' Rich Stadium press conference circa 1975\" width=\"640\" height=\"426\" class=\"size-large wp-image-11665310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson at the Buffalo Bills’ Rich Stadium press conference circa 1975. \u003ccite>(Photo: Mickey Osterreicher via ESPN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Edelman draws, as only a man who has nearly eight hours to speak to you can, the connections between the story of O.J. Simpson and the history that was all around him — that’s what \u003cem>Made In America \u003c/em>means. There are strands connecting his case to Rodney King, obviously, but also to other cases of violence against black people in Los Angeles, not to mention the migration of black people into LA in the ’40s and ’50s to begin with. Edelman places Simpson’s collegiate celebrity in the context of rising activism among black athletes in the late 1960s — activism Simpson wanted no part of, according to Dr. Harry Edwards, the sociologist who quotes him as offering the now-famous words, “I’m not black, I’m O.J.” Those weren’t just playful words: Edwards says Simpson offered them specifically as his reason for not getting involved in civil rights activism. Everywhere Edelman turns in his examination of Simpson’s life, he finds something that resonated in the story that came to define that life even more than football. And it’s safe to say O.J. Simpson never expected to be defined by anything more than by football.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Edelman’s direction is confident throughout the project (which also got a theatrical release to qualify it for Oscars), and his expansive focus is complemented by a structural rigor that prevents pure sprawl. Other characters emerge with stories of their own. There’s Ron Shipp, a friend of Simpson’s who chose to testify against him and was subjected to a cross-examination he says was so brutal it convinced others not to do the same. There are civil rights activists who came to different conclusions about whether this was really properly viewed as a civil rights case. There’s Barry Scheck, the defense’s DNA expert, who strains to make understood his belief that what he believes as to guilt or innocence (or evidence-planting) is simply not the right question to ask a defense lawyer. There’s a juror who says the group barely deliberated because they’d simply been locked up too long, and another who suggests the prosecution could have won her vote if they had “come correct.” Every huge story is a patchwork of smaller stories, and what an excellent documentarian can do is both tell those stories and explain how they assembled themselves into this seemingly opaque sequence in which everyone involved seems to have done things that are hard to understand.\u003c/p>\n\u003cp>Perhaps most perplexing, though, are some of Edelman’s interviews with friends and former friends of Simpson’s, like Mike Gilbert, the ex-agent who now claims Simpson acknowledged guilt to him. Gilbert also seems to have been one of the people Simpson suspected of stealing from him, which led to that bizarre sports-memorabilia incident that put Simpson back in jail in 2008, convicted of kidnapping and armed robbery. One telling moment: the point at which Gilbert says he concluded Simpson was guilty was well before Ron Goldman’s family obtained a wrongful death judgment, but says he still helped haul valuables out of the house to hide them from becoming seized assets. Why? Why would Gilbert help a man he tearfully says he’d come to believe had slit the throats of two innocent people? Why help that man hide his football stuff so that the family of the man you think he killed couldn’t have even the satisfaction of collecting on their judgment?\u003c/p>\n\u003cp>Perhaps to understand, you have to see the remarkable sequence in which radio host Wendy Williams starts off not even being willing to say it’s good to have a post-acquittal Simpson on her show and then ends up applauding him, accepting a hug and kiss from him, and admitting she likes him by the time he’s through with her. Charisma is powerful and dangerous and almost literally intoxicating. It’s cheap to gripe about celebrity as if it’s a created, inorganic pollutant when celebrity, in many cases, while it’s goosed by money, is rooted in the weird gravity of personality. And everyone who’s dealt with him seemingly agrees that O.J. Simpson had, and perhaps has, that personality. (Even Marcia Clark recounts running into him years later with a strange, almost warm chuckle.)\u003c/p>\n\u003cp>It is only in that last chapter, when he decamps to Florida and starts making goofy, low-rent videos, that he begins to unravel in earnest. And, maybe not coincidentally, it’s after his image collapses that he’s locked up. Not for murder, but for being dumb enough to try his hand at armed robbery with a bunch of loosely affiliated accomplices while surveillance cameras are running.\u003c/p>\n\u003cp>Documentary film is analogous to painting on a canvas, perhaps, but also to sculpting from marble. It is a thousand meaningful sacrifices of perfectly good material. While Edelman doesn’t have Simpson on camera, or Chris Darden, or some of the other folks you’d want to hear from, he has members of the defense team, Ron Goldman’s dad, Nicole Brown’s sister, Mark Fuhrman, Marcia Clark, Gil Garcetti, and all kinds of journalists and commentators and scholars. From all these people, and from the barrels of archival footage he seems to have examined, he’s pulled the details that, when assembled, avoid the feeling of manipulation that comes from so many polemical documentaries while maintaining the feeling great journalism gives you that you are, against perhaps your own expectations, learning new things about events you thought you’d memorized to the point of exhaustion.\u003c/p>\n\u003cp>As a work of filmmaking, \u003cem>O.J.: Made In America \u003c/em>is distinguished by its good judgment. In particular, rather than cover every jot and tittle of the highly theatrical televised trial, it places that trial’s important moments in the context of the pressures that created them and the pressures they, in turn, created. Darden’s complicated role comes into sharper focus as a black juror explains how insulting she found it when he suddenly showed up, as if she wouldn’t notice they’d added a black lawyer for her benefit. Clark’s revulsion at being stuck with Fuhrman as a witness builds to her admission that, essentially, she was glad to feel confident he \u003cem>couldn’t \u003c/em>have planted the evidence, because she had no such confidence that he \u003cem>wouldn’t \u003c/em>have planted the evidence.\u003c/p>\n\u003cfigure id=\"attachment_11665312\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-1180x786.jpg\" alt=\"California Department Of Justice criminalist Renee Montgomery points to blood spots found on the leather glove at O. J. Simpson's Rockingham estate during redirect examination in the O.J. Simpson double-murder criminal trial on May 24, 1995, in Los Angeles.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11665312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">California Department Of Justice criminalist Renee Montgomery points to blood spots found on the leather glove at O. J. Simpson’s Rockingham estate during redirect examination in the O.J. Simpson double-murder criminal trial on May 24, 1995, in Los Angeles. \u003ccite>(Photo: Vince Bucci/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are those who receive any attention to this story as necessarily sensational. The word “sensational,” in its “scandalous” meaning, is sometimes used against entire sets of facts, as if a real thing that happens in the real world can be too “sensational” to be spoken of, simply because it’s shocking or, frankly, fascinating in the wrong way. The story of O.J. Simpson certainly is shocking. But Edelman does not intend the momentary, hushed pleasures of a lurid crime tale. He is making an argument that inside the story of how O.J. Simpson was acquitted — or maybe enveloping it — is the story of how police departments lose the trust of their communities. He is making an argument that inside and outside the murders is a story of what can happen when powerful men aren’t punished for violence against their wives. He is making an argument about the effects of one person’s charisma on other people’s consciences. He is making an argument about the way money can be used to fight prejudice or create it — how with injustice, money can be the disease or the cure. And he is making an argument, ultimately, that although an attraction to spectacle may have given this story its initial flash, its lasting power comes from real things that people care about, with good reason.\u003c/p>\n\u003cp>Over Memorial Day weekend, \u003cem>The New York Times \u003c/em>studied violence just in Chicago, and found six gun deaths in three days. Murder is, if not routine, certainly not in and of itself an act that would resonate across decades. A murder trial that is carried gavel-to-gavel doesn’t get that treatment simply because it is the loss of two lives at someone else’s hands. This one had a famous defendant people had spent 25 years rooting for in football, watching in movies, watching on television. His decision to defy the authority of a widely loathed police department by driving down the freeway when he was supposed to turn himself in seems to have endeared him particularly to those who felt that the police acted outside that authority every day anyway, and at least somebody was in a position to tell them he’d pull over when he was good and ready — and they seemed powerless or even afraid to say no to him.\u003c/p>\n\u003cp>In this telling, there were prosecution missteps, there was a key police witness in whose credibility even the prosecutor lost all confidence, there were flaws in the evidence collection that were exploited by a defense team with bottomless resources and considerable talent. But it was always going to be both a terrible case from which to generalize about the justice system and a great case to use as a cultural inflection point.\u003c/p>\n\u003cp>More than 20 years later, the Simpson trial — the Simpson story — is a vexing, interlocking tower of what-ifs that get bigger and broader as you go: What if they’d brought Darden on earlier, or not at all? What if Darden didn’t let F. Lee Bailey goad him into having Simpson try on the gloves? What if the glove at Rockingham had been collected by a police officer without a history of using racial slurs? What if LAPD officers hadn’t beaten Rodney King? What if they had been convicted? What if there were no riots? What if there were no racism? What if we lived in a completely different society with a completely different history than the one we have?\u003c/p>\n\u003cfigure id=\"attachment_11665313\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-1180x812.jpg\" alt=\"O.J. Simpson reacts as he is found not guilty of murdering his ex-wife, Nicole Brown Simpson, and her friend Ron Goldman at the Criminal Courts Building in Los Angeles on Oct. 3, 1995. At left is defense lawyer F. Lee Bailey and at right, defense attorney Johnnie Cochran Jr.\" width=\"640\" height=\"440\" class=\"size-large wp-image-11665313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-1180x812.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-1920x1322.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-960x661.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6.jpg 1964w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson reacts as he is found not guilty of murdering his ex-wife, Nicole Brown Simpson, and her friend Ron Goldman at the Criminal Courts Building in Los Angeles on Oct. 3, 1995. At left is defense lawyer F. Lee Bailey and at right, defense attorney Johnnie Cochran Jr. \u003ccite>(Photo: Myung J. Chun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, not for nothing, assuming you believe the police reports and his no-contest plea and the Polaroids of Nicole’s bruises she hid in a safe-deposit box with her will: What if Simpson had gone to jail earlier for beating his wife? What if that could have actually saved her life and Ron Goldman’s?\u003c/p>\n\u003cp>And that’s not to even mention some of the what-ifs that stand on that boundary line between “if only” and “thank goodness”: What if we’d had the Internet? What if we’d had Twitter? In light of Roy Firestone’s obsequious archival ESPN interview with Simpson blowing off the domestic violence issue, what if we’d had Deadspin? (Nothing — \u003cem>nothing —\u003c/em> will make you understand Deadspin’s upside better than that clip, by the way, in which Firestone tells Simpson, post-domestic-violence-conviction, that they’re there to discuss “how things can get distorted to such a point that you are portrayed as the bad guy.”) And, given that TMZ \u003ca href=\"http://www.thesmokinggun.com/documents/crime/gossip-site-paid-165000-oj-tape\">reportedly bought and publicized audiotapes of the memorabilia robbery in 2008\u003c/a>, what if we’d had TMZ back in 1989? Would everything be different now? Better? Worse?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ezra Edelman’s \u003cem>O.J.: Made In America \u003c/em>is a film of great patience and discipline. It is bracing in its wisdom and unforgettable in its details. It’s the story of where we were in the summer of 1994, in so many of the ways that still matter the most now. And its curiosity isn’t in examining how O.J. Simpson is explained by the fact that he was made in America, it’s in examining how America is explained by having made O.J. Simpson. \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=%27O.J.%3A+Made+In+America%27+Is+About+America%2C+Not+O.J.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Unlikely Headbanger, 82, Goes from Singing Karaoke to 'America's Got Talent'",
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"content": "\u003cp>He flew jets for the Navy and helped fix the Hubble Space Telescope for NASA. But at 82, retiree John Hetlinger is making waves for his full-throttle take on a famous heavy metal song. Hetlinger’s gusto has taken him from karaoke night to an appearance on \u003cem>America’s Got Talent\u003c/em>.\u003c/p>\n\u003cp>Earlier Tuesday, Hetlinger also became an unlikely star for the \u003ca href=\"https://www.facebook.com/BornAndBredMetalhead/\" target=\"_blank\" rel=\"noopener\">Born and Bred Metalhead\u003c/a> Facebook page: A video of the octogenarian throwing himself into Drowning Pool’s 2001 song “Bodies” — the same song he performs on \u003cem>America’s Got Talent\u003c/em> — drew more than a million views in just seven hours Tuesday.\u003c/p>\n\u003cp>That’s far more people than the number who viewed Hetlinger’s own posting of the video back in 2014, when he gave it the caption, “karaoke at The Glenn 80 yr old man sings Drowning Pool ‘Bodies’!” We’ll warn you: The video ends with a bit of entirely earned profanity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q5C2QUrxFRo\u003c/p>\n\u003cp>Part of the fun of that video is watching a crowd of patrons at an outdoor karaoke bar being served a full range of dissonance — cognitive and sonic — as the man in the pleated dress shorts, with the leather belt and what looks to be a toucan on his (tucked-in) shirt, hurls himself into a face-melting version of the song that’s accompanied everything from pro wrestling matches to Guantanamo Bay detentions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a bigger stage for Tuesday night’s performance on \u003cem>America’s Got Talent\u003c/em>, the same effect takes hold, with Hetlinger, now in long pants but otherwise looking unchanged at 82, dives into the song’s opening chant — “Let the bodies hit the floor” — and the audience, along with Simon Cowell and the judges, gape at Hetlinger’s powerful version of the song.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BfR5O2PXzfc\u003c/p>\n\u003cp>We don’t have any inside info on how Hetlinger does on the show. But we’ll say this: It’s no coincidence that Hetlinger rhymes with headbanger.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for what took him so long to take the stage, Hetlinger explained to Cowell that he only started doing karaoke after he retired. \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=Unlikely+Headbanger%2C+82%2C+Goes+From+Singing+Karaoke+To+%27America%27s+Got+Talent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He flew jets for the Navy and helped fix the Hubble Space Telescope for NASA. But at 82, retiree John Hetlinger is making waves for his full-throttle take on a famous heavy metal song. Hetlinger’s gusto has taken him from karaoke night to an appearance on \u003cem>America’s Got Talent\u003c/em>.\u003c/p>\n\u003cp>Earlier Tuesday, Hetlinger also became an unlikely star for the \u003ca href=\"https://www.facebook.com/BornAndBredMetalhead/\" target=\"_blank\" rel=\"noopener\">Born and Bred Metalhead\u003c/a> Facebook page: A video of the octogenarian throwing himself into Drowning Pool’s 2001 song “Bodies” — the same song he performs on \u003cem>America’s Got Talent\u003c/em> — drew more than a million views in just seven hours Tuesday.\u003c/p>\n\u003cp>That’s far more people than the number who viewed Hetlinger’s own posting of the video back in 2014, when he gave it the caption, “karaoke at The Glenn 80 yr old man sings Drowning Pool ‘Bodies’!” We’ll warn you: The video ends with a bit of entirely earned profanity.\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/q5C2QUrxFRo'\n title='//www.youtube.com/embed/q5C2QUrxFRo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of the fun of that video is watching a crowd of patrons at an outdoor karaoke bar being served a full range of dissonance — cognitive and sonic — as the man in the pleated dress shorts, with the leather belt and what looks to be a toucan on his (tucked-in) shirt, hurls himself into a face-melting version of the song that’s accompanied everything from pro wrestling matches to Guantanamo Bay detentions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a bigger stage for Tuesday night’s performance on \u003cem>America’s Got Talent\u003c/em>, the same effect takes hold, with Hetlinger, now in long pants but otherwise looking unchanged at 82, dives into the song’s opening chant — “Let the bodies hit the floor” — and the audience, along with Simon Cowell and the judges, gape at Hetlinger’s powerful version of the song.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BfR5O2PXzfc'\n title='//www.youtube.com/embed/BfR5O2PXzfc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We don’t have any inside info on how Hetlinger does on the show. But we’ll say this: It’s no coincidence that Hetlinger rhymes with headbanger.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for what took him so long to take the stage, Hetlinger explained to Cowell that he only started doing karaoke after he retired. \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=Unlikely+Headbanger%2C+82%2C+Goes+From+Singing+Karaoke+To+%27America%27s+Got+Talent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Copycake: When Food Art Ideas Get Swiped",
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"content": "\u003cp>Where do you draw the line between inspiration and straight-up imitation when it comes to food?\u003c/p>\n\u003cp>A few years ago, we brought you the \u003ca href=\"http://www.npr.org/sections/thesalt/2013/04/15/177317449/modern-art-desserts-how-to-bake-a-mondrian-in-your-oven\" target=\"_blank\">story\u003c/a> of Caitlin Freeman, a pastry chef baking innovative, art-inspired cakes at the San Francisco Museum of Modern Art. Using modern art as her muse, Freeman translated what she saw in the museum into edible form at the SFMOMA's upstairs café.\u003c/p>\n\u003cfigure id=\"attachment_109974\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/sfmoma1.jpg\" alt=\"Caitlin Freeman's Oculus cake, which she and her team first created for a museum event several years ago.\" width=\"400\" height=\"601\" class=\"size-full wp-image-109974\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Freeman's Oculus cake, which she and her team first created for a museum event several years ago. \u003ccite>(Clay McLachlan/Modern Art Desserts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her creations eventually filled a cookbook, \u003cem>Modern Art Desserts\u003c/em>, and her most well-known dish, a cake composed of small, primary-colored blocks delicately cemented together with chocolate icing, graced its cover. Inspired by the geometric art of Piet Mondrian, it brought both Freeman and the café fame – and inspired many a home cook to tackle this masterpiece at home.\u003c/p>\n\u003cp>The museum closed for renovations in 2013. When it re-opened last month, the upstairs café was under new management, with a new baking team – but the art-themed desserts for sale looked suspiciously familiar to Freeman. Call it a case of copycake.\u003c/p>\n\u003cp>Blue Bottle, the coffeehouse chain owned by Freeman's husband, James Freeman, used to run the SFMOMA's upstairs café, but it failed to win its bid to return after the renovations. Freeman was disappointed, but, as a lifelong art lover, she nonetheless felt compelled to take her infant daughter to check out the refurbished museum. She even stopped for a few moments to take in the scene at the new café, now run by a catering company that had previously operated the museum's downstairs café.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That's when three \"art-inspired\" desserts the café was serving caught her eye.\u003c/p>\n\u003cp>\"I saw the Ellsworth Kelly cake, and I was like, wait a second,\" she tells NPR. That cake, according to the menu, is inspired by Kelly's painting \u003cem>Gaza\u003c/em>, and features cream mousses and sponge cake. Another, called \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-warhol-trip-sfmoma-20160606-snap-htmlstory.html\" target=\"_blank\">Andy Warhol's Triple Elvis\u003c/a>, is peanut butter cream, honey and banana cake. Finally, the Oculus, a sculptural nod to the museum's architectural turret, is cream-filled sponge cake with chocolate mousse and a white chocolate disc. That dish is strikingly\u003cstrong> \u003c/strong>\u003ca href=\"http://www.modernartdesserts.com/\" target=\"_blank\">similar in both spirit and design\u003c/a> to a dessert that Freeman and her team created several years ago for a museum event.\u003c/p>\n\u003cp>\"It stings because I felt like I was doing something for beauty and for love,\" she says. \"I'm just so bummed that the SFMOMA didn't want me and my future inspiration back.\"\u003c/p>\n\u003cp>Freeman's path to baking actually traces right back the museum. It's where, as an art student, she discovered \u003ca href=\"http://www.sfmoma.org/explore/collection/artwork/65\" target=\"_blank\">Display Cakes\u003c/a>,\u003cstrong> \u003c/strong>Wayne Thiebaud's 1963 painting of frosted confections, which inspired her to pursue a career as a pastry chef. The stable of modern art desserts\u003cstrong> \u003c/strong>(and some savory items) that\u003cstrong> \u003c/strong>she and her small team made at the SFMOMA evolved organically after Blue Bottle began operating the café in 2009.\u003c/p>\n\u003cp>\"This was entirely new to me,\" she says. \"I had never heard of somebody making art desserts. I wasn't like, 'Here's a chance to do that thing I heard about.' It just came because I was where I first found my Wayne Thiebold cake, and that inspired me to be a baker.\"\u003c/p>\n\u003cp>But the museum says art as a muse for food is not a concept that belongs to Freeman. Neither the SFMOMA nor the new caterer responded to interview requests, but, in a statement, the museum said:\u003c/p>\n\u003cblockquote>\n\u003cp>\"SFMOMA is highly respectful of the expression of our partners and their desire to draw inspiration from the museum's architecture and art collection to create new work across all media, including food. Our art-inspired desserts continue a long tradition of art-inspired food served at SFMOMA and at museums and cultural institutions all over the world. We were pleased that Caitlin Freeman was a part of that legacy and are very grateful and respectful of her contributions.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>In the art world as in the food world, creators are constantly finding inspiration in — and riffing off — each other's work. But food is a difficult medium to copyright, so some chefs give credit on the menu if a dish was inspired by another chef.\u003c/p>\n\u003cp>\"Recipes are not copyrightable, nor are methods of cooking, and ideas are never copyrightable. So the idea of making desserts inspired by artworks could not be copyrighted,\" says intellectual property \u003ca href=\"http://www.eater.com/2012/12/11/6509773/intellectual-property-lawyer-naomi-straus-on-how-chefs-can-protect\" target=\"_blank\">attorney Naomi Beckman-Straus\u003c/a> with the firm Mitchell Silberberg & Knupp in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_109965\" class=\"wp-caption aligncenter\" style=\"max-width: 2250px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48.jpg\" alt=\"Left: One of Piet Mondrian's grid-like color block compositions. Right: Caitlin Freeman's cake homage.\" width=\"2250\" height=\"1498\" class=\"size-full wp-image-109965\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48.jpg 2250w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-1440x959.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-960x639.jpg 960w\" sizes=\"(max-width: 2250px) 100vw, 2250px\">\u003cfigcaption class=\"wp-caption-text\">Left: One of Piet Mondrian's grid-like color block compositions. Right: Caitlin Freeman's cake homage. \u003ccite>(Mondrian/Holtzman Trust; Clay McLachlan/Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_109975\" class=\"wp-caption aligncenter\" style=\"max-width: 996px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM.png\" alt=\"John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles.\" width=\"996\" height=\"660\" class=\"size-full wp-image-109975\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM.png 996w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-400x265.png 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-800x530.png 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-768x509.png 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-960x636.png 960w\" sizes=\"(max-width: 996px) 100vw, 996px\">\u003cfigcaption class=\"wp-caption-text\">John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles. \u003ccite>(John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles. John Zurier; Charles Villyard/Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"However, there is no clear reason why the visual appearance of a dish could not be copyrighted,\" she says. \"Because our legal system works on precedent, a lot of it is just that it's generally accepted that there's no copyright protection for restaurant dishes or food.\"\u003c/p>\n\u003cp>Copyright does not extend to useful articles – the basic, functional objects that people need. Like food, clothing and furniture are also not protected by copyright.\u003c/p>\n\u003cp>But what if, say, the piece of furniture has an artistic element? In a landmark case in 1954, the Supreme Court decided that sculptural, artistic bases on lamps were \"conceptually separate\" from the lamp, and therefore were eligible for copyright protection.\u003c/p>\n\u003cp>\"In theory, that could be done with food, although it hasn't really been,\" Beckman-Straus says.\u003c/p>\n\u003cp>She notes that a case currently before the Supreme Court could potentially pave the way for more people to try to fight for food copyright. The high court has agreed to hear a case involving whether the designs on cheerleading uniforms can be copyrightable.\u003c/p>\n\u003cp>\"It will hopefully [bring] some clarity on when you can separate the artistic expression part from the usefulness,\" Beckman-Straus says. \"If the ruling makes it clearer how you can prove that the visual appearance of something is different from its useful aspects, then it could open the door to more claims based on food.\"\u003c/p>\n\u003cp>In trademark law, a business can protect the overall look and feel of a product if it serves to distinguish the brand. It's called \"trade dress\" and she argues that it could be applied to plating and the way food looks. (She wrote about \u003ca href=\"http://www.uclalawreview.org/trade-dress-protection-for-cuisine-monetizing-creativity-in-a-low-ip-industry/\" target=\"_blank\">trade dress and cuisine in the UCLA Law Review\u003c/a>.)\u003c/p>\n\u003cp>\"If there's a very specific style a chef uses, or a dish that they use to signify 'This is my restaurant,' then in theory, you could try to use trade dress to get that protection,\" Beckman-Straus says.\u003c/p>\n\u003cp>As for Freeman, she says she doesn't plan to pursue legal action. But future visits to the SFMOMA, and it's café, will surely be bittersweet. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"excerpt": "Caitlin Freeman made a name for herself selling modern art-inspired pastries at the SFMOMA. The museum's cafe just reopened with a new caterer — whose desserts look suspiciously familiar.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Where do you draw the line between inspiration and straight-up imitation when it comes to food?\u003c/p>\n\u003cp>A few years ago, we brought you the \u003ca href=\"http://www.npr.org/sections/thesalt/2013/04/15/177317449/modern-art-desserts-how-to-bake-a-mondrian-in-your-oven\" target=\"_blank\">story\u003c/a> of Caitlin Freeman, a pastry chef baking innovative, art-inspired cakes at the San Francisco Museum of Modern Art. Using modern art as her muse, Freeman translated what she saw in the museum into edible form at the SFMOMA's upstairs café.\u003c/p>\n\u003cfigure id=\"attachment_109974\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/sfmoma1.jpg\" alt=\"Caitlin Freeman's Oculus cake, which she and her team first created for a museum event several years ago.\" width=\"400\" height=\"601\" class=\"size-full wp-image-109974\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Freeman's Oculus cake, which she and her team first created for a museum event several years ago. \u003ccite>(Clay McLachlan/Modern Art Desserts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her creations eventually filled a cookbook, \u003cem>Modern Art Desserts\u003c/em>, and her most well-known dish, a cake composed of small, primary-colored blocks delicately cemented together with chocolate icing, graced its cover. Inspired by the geometric art of Piet Mondrian, it brought both Freeman and the café fame – and inspired many a home cook to tackle this masterpiece at home.\u003c/p>\n\u003cp>The museum closed for renovations in 2013. When it re-opened last month, the upstairs café was under new management, with a new baking team – but the art-themed desserts for sale looked suspiciously familiar to Freeman. Call it a case of copycake.\u003c/p>\n\u003cp>Blue Bottle, the coffeehouse chain owned by Freeman's husband, James Freeman, used to run the SFMOMA's upstairs café, but it failed to win its bid to return after the renovations. Freeman was disappointed, but, as a lifelong art lover, she nonetheless felt compelled to take her infant daughter to check out the refurbished museum. She even stopped for a few moments to take in the scene at the new café, now run by a catering company that had previously operated the museum's downstairs café.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That's when three \"art-inspired\" desserts the café was serving caught her eye.\u003c/p>\n\u003cp>\"I saw the Ellsworth Kelly cake, and I was like, wait a second,\" she tells NPR. That cake, according to the menu, is inspired by Kelly's painting \u003cem>Gaza\u003c/em>, and features cream mousses and sponge cake. Another, called \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-warhol-trip-sfmoma-20160606-snap-htmlstory.html\" target=\"_blank\">Andy Warhol's Triple Elvis\u003c/a>, is peanut butter cream, honey and banana cake. Finally, the Oculus, a sculptural nod to the museum's architectural turret, is cream-filled sponge cake with chocolate mousse and a white chocolate disc. That dish is strikingly\u003cstrong> \u003c/strong>\u003ca href=\"http://www.modernartdesserts.com/\" target=\"_blank\">similar in both spirit and design\u003c/a> to a dessert that Freeman and her team created several years ago for a museum event.\u003c/p>\n\u003cp>\"It stings because I felt like I was doing something for beauty and for love,\" she says. \"I'm just so bummed that the SFMOMA didn't want me and my future inspiration back.\"\u003c/p>\n\u003cp>Freeman's path to baking actually traces right back the museum. It's where, as an art student, she discovered \u003ca href=\"http://www.sfmoma.org/explore/collection/artwork/65\" target=\"_blank\">Display Cakes\u003c/a>,\u003cstrong> \u003c/strong>Wayne Thiebaud's 1963 painting of frosted confections, which inspired her to pursue a career as a pastry chef. The stable of modern art desserts\u003cstrong> \u003c/strong>(and some savory items) that\u003cstrong> \u003c/strong>she and her small team made at the SFMOMA evolved organically after Blue Bottle began operating the café in 2009.\u003c/p>\n\u003cp>\"This was entirely new to me,\" she says. \"I had never heard of somebody making art desserts. I wasn't like, 'Here's a chance to do that thing I heard about.' It just came because I was where I first found my Wayne Thiebold cake, and that inspired me to be a baker.\"\u003c/p>\n\u003cp>But the museum says art as a muse for food is not a concept that belongs to Freeman. Neither the SFMOMA nor the new caterer responded to interview requests, but, in a statement, the museum said:\u003c/p>\n\u003cblockquote>\n\u003cp>\"SFMOMA is highly respectful of the expression of our partners and their desire to draw inspiration from the museum's architecture and art collection to create new work across all media, including food. Our art-inspired desserts continue a long tradition of art-inspired food served at SFMOMA and at museums and cultural institutions all over the world. We were pleased that Caitlin Freeman was a part of that legacy and are very grateful and respectful of her contributions.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>In the art world as in the food world, creators are constantly finding inspiration in — and riffing off — each other's work. But food is a difficult medium to copyright, so some chefs give credit on the menu if a dish was inspired by another chef.\u003c/p>\n\u003cp>\"Recipes are not copyrightable, nor are methods of cooking, and ideas are never copyrightable. So the idea of making desserts inspired by artworks could not be copyrighted,\" says intellectual property \u003ca href=\"http://www.eater.com/2012/12/11/6509773/intellectual-property-lawyer-naomi-straus-on-how-chefs-can-protect\" target=\"_blank\">attorney Naomi Beckman-Straus\u003c/a> with the firm Mitchell Silberberg & Knupp in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_109965\" class=\"wp-caption aligncenter\" style=\"max-width: 2250px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48.jpg\" alt=\"Left: One of Piet Mondrian's grid-like color block compositions. Right: Caitlin Freeman's cake homage.\" width=\"2250\" height=\"1498\" class=\"size-full wp-image-109965\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48.jpg 2250w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-1440x959.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-960x639.jpg 960w\" sizes=\"(max-width: 2250px) 100vw, 2250px\">\u003cfigcaption class=\"wp-caption-text\">Left: One of Piet Mondrian's grid-like color block compositions. Right: Caitlin Freeman's cake homage. \u003ccite>(Mondrian/Holtzman Trust; Clay McLachlan/Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_109975\" class=\"wp-caption aligncenter\" style=\"max-width: 996px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM.png\" alt=\"John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles.\" width=\"996\" height=\"660\" class=\"size-full wp-image-109975\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM.png 996w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-400x265.png 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-800x530.png 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-768x509.png 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-960x636.png 960w\" sizes=\"(max-width: 996px) 100vw, 996px\">\u003cfigcaption class=\"wp-caption-text\">John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles. \u003ccite>(John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles. John Zurier; Charles Villyard/Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"However, there is no clear reason why the visual appearance of a dish could not be copyrighted,\" she says. \"Because our legal system works on precedent, a lot of it is just that it's generally accepted that there's no copyright protection for restaurant dishes or food.\"\u003c/p>\n\u003cp>Copyright does not extend to useful articles – the basic, functional objects that people need. Like food, clothing and furniture are also not protected by copyright.\u003c/p>\n\u003cp>But what if, say, the piece of furniture has an artistic element? In a landmark case in 1954, the Supreme Court decided that sculptural, artistic bases on lamps were \"conceptually separate\" from the lamp, and therefore were eligible for copyright protection.\u003c/p>\n\u003cp>\"In theory, that could be done with food, although it hasn't really been,\" Beckman-Straus says.\u003c/p>\n\u003cp>She notes that a case currently before the Supreme Court could potentially pave the way for more people to try to fight for food copyright. The high court has agreed to hear a case involving whether the designs on cheerleading uniforms can be copyrightable.\u003c/p>\n\u003cp>\"It will hopefully [bring] some clarity on when you can separate the artistic expression part from the usefulness,\" Beckman-Straus says. \"If the ruling makes it clearer how you can prove that the visual appearance of something is different from its useful aspects, then it could open the door to more claims based on food.\"\u003c/p>\n\u003cp>In trademark law, a business can protect the overall look and feel of a product if it serves to distinguish the brand. It's called \"trade dress\" and she argues that it could be applied to plating and the way food looks. (She wrote about \u003ca href=\"http://www.uclalawreview.org/trade-dress-protection-for-cuisine-monetizing-creativity-in-a-low-ip-industry/\" target=\"_blank\">trade dress and cuisine in the UCLA Law Review\u003c/a>.)\u003c/p>\n\u003cp>\"If there's a very specific style a chef uses, or a dish that they use to signify 'This is my restaurant,' then in theory, you could try to use trade dress to get that protection,\" Beckman-Straus says.\u003c/p>\n\u003cp>As for Freeman, she says she doesn't plan to pursue legal action. But future visits to the SFMOMA, and it's café, will surely be bittersweet. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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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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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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