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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. 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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. 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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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"slug": "o-j-made-in-america-is-about-america-not-o-j",
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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",
"title": "Copycake: When Food Art Ideas Get Swiped",
"headTitle": "Bay Area Bites | KQED Food",
"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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "muhammad-ali-the-boxing-poet-who-inspired-liquid-prose",
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"headTitle": "Muhammad Ali, the Boxing Poet Who Inspired Liquid Prose | KQED",
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"content": "\u003cp>Maybe it was the way his life transected areas that define America – race and religion; war and sports – or perhaps it was his own love for words. Whatever the reason, Muhammad Ali’s life and career inspired writing that was nearly as captivating as the man himself.\u003c/p>\n\u003cp>With Ali – The Greatest – \u003ca href=\"http://www.npr.org/2016/06/04/171025748/boxer-muhammad-ali-the-greatest-of-all-time-dies-at-74\" target=\"_blank\" rel=\"noopener\">now dead at age 74\u003c/a>, here’s a list of some of the best stories written about him. Ali’s large personality was perfectly suited to books, such as Norman Mailer’s \u003cem>The Fight\u003c/em>. For this subjective list, we’re looking at shorter pieces. Feel free to share your favorites in the comment section.\u003c/p>\n\u003cp>\u003cstrong>‘Lawdy, Lawdy, He’s Great’\u003c/strong> – \u003ca href=\"https://twitter.com/HistoryToLearn/status/738921292250812416\" target=\"_blank\" rel=\"noopener\">Mark Kram in Sports Illustrated, 1975\u003c/a>\u003c/p>\n\u003cp>“True to his plan, arrogant and contemptuous of an opponent’s worth as never before, Ali opened the fight flat-footed in the center of the ring, his hands whipping out and back like the pistons of an enormous and magnificent engine. Much broader than he has ever been, the look of swift destruction defined by his every move, Ali seemed indestructible. Once, so long ago, he had been a splendidly plumed bird who wrote on the wind a singular kind of poetry of the body, but now he was down to earth, brought down by the changing shape of his body, by a sense of his own vulnerability, and by the years of excess. Dancing was for a ballroom; the ugly hunt was on. Head up and unprotected, Frazier stayed in the mouth of the cannon, and the big gun roared again and again.”\u003c/p>\n\u003cp>\u003cstrong>My Dinner With Ali\u003c/strong> — \u003ca href=\"http://thestacks.deadspin.com/my-dinner-with-ali-511528500\" target=\"_blank\" rel=\"noopener\">Davis Miller in the Louisville Courier-Journal,\u003cem> \u003c/em>1989; republished in Deadspin. 2013\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“‘I know why this has happened,’ Ali said. ‘God is showing me, and showing \u003cem>you’\u003c/em>—he pointed his shaking index finger at me and widened his eyes—’that I’m just a man, just like everybody else.’\u003c/p>\n\u003cp>“We sat a long, quiet time then, and watched his flickering image on the television screen. It was now 1971 and there was footage of him training for the first Frazier fight. Our Most Public Figure was then The World’s Most Beautiful Man and The Greatest Athlete of All Times, his copper skin glowing under the fluorescents, secret rhythms springing in loose firmness from his fingertips.\u003c/p>\n\u003cp>“‘Champ, I think it’s time for me to go,’ I said again and made an effort to stand.\u003c/p>\n\u003cp>“‘No, stay. You my man,’ he says, and pats my leg. He has always been this way, always wanted to be around people. I take his accolade as one of the greatest compliments of my life.”\u003c/p>\n\u003cp>\u003cstrong>Showing Muhammad Ali as a Martyr for Refusing to Fight in a Bad War\u003c/strong> — \u003ca href=\"http://www.georgelois.com/pages/Esquire/Esq.Ali.html\" target=\"_blank\" rel=\"noopener\">photographer George Lois writes about his 1968 \u003cem>Esquire\u003c/em> cover.\u003c/a>\u003c/p>\n\u003cp>“‘Hey George, this cat’s a Christian!’\u003c/p>\n\u003cp>“I blurted back, ‘Holy Moses, you’re right, Champ!’\u003c/p>\n\u003cp>“I explained to Ali that St. Sebastian was a Roman soldier who survived execution by arrows for converting to Christianity. He was then clubbed to death, and has gone down in history as the definitive martyr. Before we could affix any arrows to Ali, he got on the phone with his religious leader, Elijah Mummad. Ali explained the painting in excruciating detail. He was concerned about the propriety of using a Christian source for the portrayal of his martyrdom. He finally put me, a non-practicing Greek Orthodox, on the phone. After a lengthy theological discussion, Elijah gave his okay.”\u003c/p>\n\u003cp>\u003cstrong>Muhammad Ali in Excelsis\u003c/strong> — \u003ca href=\"http://www.gq.com/story/muhammad-ali-in-excelsis-gq-1998\" target=\"_blank\" rel=\"noopener\">Peter Richmond in GQ, 1998\u003c/a>\u003c/p>\n\u003cp>“I’d expected the disease to have robbed him of the vitality that once exploded from him. I’d expected the disease to represent the ultimate cruel triumph of the world that had always wanted the black boy from Louisville, Kentucky, to shut the hell up.”\u003c/p>\n\u003cp>“But up close, I am discovering that his affliction has taken nothing away, none of the energy, none of the wit, none of the pride; it has only bound all of it, captured and constricted it, with the entirely unexpected result that, as an aeon of geologic forces can compress a large vein of coal into a very small diamond, whatever was the essence of Muhammad Ali is now somehow magnified. He is at last what he always pretended to be but never was: the Greatest. For it must be axiomatic that if someone calls himself the Greatest, as Ali did for years, he cannot possibly be; the Greatest would never have to label himself as such. Only when he was forced to stop proclaiming his greatness did it become possible.”\u003c/p>\n\u003cp>\u003cstrong>The Outsized Life of Muhammad Ali \u003c/strong>— \u003ca href=\"http://www.newyorker.com/news/news-desk/the-outsized-life-of-muhammad-ali\" target=\"_blank\" rel=\"noopener\">David Remnick in The New Yorker, 2016\u003c/a>\u003c/p>\n\u003cp>“Cassius’s father was a man of thwarted dreams. He distrusted whites, and felt he was prevented from becoming a painter of canvasses rather than of signs and billboards. He drank too much, and his bitterness sometimes tipped into chaos. He was, one of Ali’s friends said, the source of a great deal of pain in the family. His mother, Odessa, was usually the object of Cassius, Sr.,’s fury and fists, and she was the boy’s comfort. Odessa was the first to know that her son was hyperverbal and quick with a left hand. As she once recalled, ‘He was always a talker. He tried to talk so hard when he was a baby. He used to jabber so, you know? And people’d laugh and he’d shake his face and jabber so fast. I don’t see how anybody could talk so fast, just like lightning. And he never sat still. He was in the bed with me at six months old, and you know how babies stretch? He had little muscle arms and he hit me in the mouth when he stretched and it loosened my front tooth and it affected my other front tooth and I had to have both of them pulled out. So I always say his first knockout punch was in my mouth.’ ”\u003c/p>\n\u003cp>\u003cstrong>Muhammad Ali, who riveted the world as ‘The Greatest,’ dies\u003c/strong> – \u003ca href=\"http://bigstory.ap.org/dedb61d1ce6d4aac972f8e479992723c\" target=\"_blank\" rel=\"noopener\">the AP’s Tim Dahlberg, 2016\u003c/a>\u003c/p>\n\u003cp>” ‘I don’t call him the best boxer of all time, but he’s the greatest human being I ever met,’ Foreman said. ‘To this day he’s the most exciting person I ever met in my life.’\u003c/p>\n\u003cp>“Born Cassius Marcellus Clay on Jan. 17, 1942, in Louisville, Kentucky, Ali began boxing at age 12 after his new bicycle was stolen and he vowed to policeman Joe Martin that he would ‘whup’ the person who took it.\u003c/p>\n\u003cp>“He was only 89 pounds at the time, but Martin began training him at his boxing gym, the beginning of a six-year amateur career that ended with the light heavyweight Olympic gold medal in 1960.”\u003c/p>\n\u003cp>Of writing the obituary of a man who both reshaped and transcended the world of boxing, the AP’s Dahlberg \u003ca href=\"https://twitter.com/timdahlberg/status/738961995387535360\">says via Twitter\u003c/a> that it was “a labor of love. Very sad to see him go.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://twitter.com/HistoryToLearn/status/738921292250812416\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=Muhammad+Ali%2C+The+Boxing+Poet+Who+Inspired+Liquid+Prose&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe it was the way his life transected areas that define America – race and religion; war and sports – or perhaps it was his own love for words. Whatever the reason, Muhammad Ali’s life and career inspired writing that was nearly as captivating as the man himself.\u003c/p>\n\u003cp>With Ali – The Greatest – \u003ca href=\"http://www.npr.org/2016/06/04/171025748/boxer-muhammad-ali-the-greatest-of-all-time-dies-at-74\" target=\"_blank\" rel=\"noopener\">now dead at age 74\u003c/a>, here’s a list of some of the best stories written about him. Ali’s large personality was perfectly suited to books, such as Norman Mailer’s \u003cem>The Fight\u003c/em>. For this subjective list, we’re looking at shorter pieces. Feel free to share your favorites in the comment section.\u003c/p>\n\u003cp>\u003cstrong>‘Lawdy, Lawdy, He’s Great’\u003c/strong> – \u003ca href=\"https://twitter.com/HistoryToLearn/status/738921292250812416\" target=\"_blank\" rel=\"noopener\">Mark Kram in Sports Illustrated, 1975\u003c/a>\u003c/p>\n\u003cp>“True to his plan, arrogant and contemptuous of an opponent’s worth as never before, Ali opened the fight flat-footed in the center of the ring, his hands whipping out and back like the pistons of an enormous and magnificent engine. Much broader than he has ever been, the look of swift destruction defined by his every move, Ali seemed indestructible. Once, so long ago, he had been a splendidly plumed bird who wrote on the wind a singular kind of poetry of the body, but now he was down to earth, brought down by the changing shape of his body, by a sense of his own vulnerability, and by the years of excess. Dancing was for a ballroom; the ugly hunt was on. Head up and unprotected, Frazier stayed in the mouth of the cannon, and the big gun roared again and again.”\u003c/p>\n\u003cp>\u003cstrong>My Dinner With Ali\u003c/strong> — \u003ca href=\"http://thestacks.deadspin.com/my-dinner-with-ali-511528500\" target=\"_blank\" rel=\"noopener\">Davis Miller in the Louisville Courier-Journal,\u003cem> \u003c/em>1989; republished in Deadspin. 2013\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“‘I know why this has happened,’ Ali said. ‘God is showing me, and showing \u003cem>you’\u003c/em>—he pointed his shaking index finger at me and widened his eyes—’that I’m just a man, just like everybody else.’\u003c/p>\n\u003cp>“We sat a long, quiet time then, and watched his flickering image on the television screen. It was now 1971 and there was footage of him training for the first Frazier fight. Our Most Public Figure was then The World’s Most Beautiful Man and The Greatest Athlete of All Times, his copper skin glowing under the fluorescents, secret rhythms springing in loose firmness from his fingertips.\u003c/p>\n\u003cp>“‘Champ, I think it’s time for me to go,’ I said again and made an effort to stand.\u003c/p>\n\u003cp>“‘No, stay. You my man,’ he says, and pats my leg. He has always been this way, always wanted to be around people. I take his accolade as one of the greatest compliments of my life.”\u003c/p>\n\u003cp>\u003cstrong>Showing Muhammad Ali as a Martyr for Refusing to Fight in a Bad War\u003c/strong> — \u003ca href=\"http://www.georgelois.com/pages/Esquire/Esq.Ali.html\" target=\"_blank\" rel=\"noopener\">photographer George Lois writes about his 1968 \u003cem>Esquire\u003c/em> cover.\u003c/a>\u003c/p>\n\u003cp>“‘Hey George, this cat’s a Christian!’\u003c/p>\n\u003cp>“I blurted back, ‘Holy Moses, you’re right, Champ!’\u003c/p>\n\u003cp>“I explained to Ali that St. Sebastian was a Roman soldier who survived execution by arrows for converting to Christianity. He was then clubbed to death, and has gone down in history as the definitive martyr. Before we could affix any arrows to Ali, he got on the phone with his religious leader, Elijah Mummad. Ali explained the painting in excruciating detail. He was concerned about the propriety of using a Christian source for the portrayal of his martyrdom. He finally put me, a non-practicing Greek Orthodox, on the phone. After a lengthy theological discussion, Elijah gave his okay.”\u003c/p>\n\u003cp>\u003cstrong>Muhammad Ali in Excelsis\u003c/strong> — \u003ca href=\"http://www.gq.com/story/muhammad-ali-in-excelsis-gq-1998\" target=\"_blank\" rel=\"noopener\">Peter Richmond in GQ, 1998\u003c/a>\u003c/p>\n\u003cp>“I’d expected the disease to have robbed him of the vitality that once exploded from him. I’d expected the disease to represent the ultimate cruel triumph of the world that had always wanted the black boy from Louisville, Kentucky, to shut the hell up.”\u003c/p>\n\u003cp>“But up close, I am discovering that his affliction has taken nothing away, none of the energy, none of the wit, none of the pride; it has only bound all of it, captured and constricted it, with the entirely unexpected result that, as an aeon of geologic forces can compress a large vein of coal into a very small diamond, whatever was the essence of Muhammad Ali is now somehow magnified. He is at last what he always pretended to be but never was: the Greatest. For it must be axiomatic that if someone calls himself the Greatest, as Ali did for years, he cannot possibly be; the Greatest would never have to label himself as such. Only when he was forced to stop proclaiming his greatness did it become possible.”\u003c/p>\n\u003cp>\u003cstrong>The Outsized Life of Muhammad Ali \u003c/strong>— \u003ca href=\"http://www.newyorker.com/news/news-desk/the-outsized-life-of-muhammad-ali\" target=\"_blank\" rel=\"noopener\">David Remnick in The New Yorker, 2016\u003c/a>\u003c/p>\n\u003cp>“Cassius’s father was a man of thwarted dreams. He distrusted whites, and felt he was prevented from becoming a painter of canvasses rather than of signs and billboards. He drank too much, and his bitterness sometimes tipped into chaos. He was, one of Ali’s friends said, the source of a great deal of pain in the family. His mother, Odessa, was usually the object of Cassius, Sr.,’s fury and fists, and she was the boy’s comfort. Odessa was the first to know that her son was hyperverbal and quick with a left hand. As she once recalled, ‘He was always a talker. He tried to talk so hard when he was a baby. He used to jabber so, you know? And people’d laugh and he’d shake his face and jabber so fast. I don’t see how anybody could talk so fast, just like lightning. And he never sat still. He was in the bed with me at six months old, and you know how babies stretch? He had little muscle arms and he hit me in the mouth when he stretched and it loosened my front tooth and it affected my other front tooth and I had to have both of them pulled out. So I always say his first knockout punch was in my mouth.’ ”\u003c/p>\n\u003cp>\u003cstrong>Muhammad Ali, who riveted the world as ‘The Greatest,’ dies\u003c/strong> – \u003ca href=\"http://bigstory.ap.org/dedb61d1ce6d4aac972f8e479992723c\" target=\"_blank\" rel=\"noopener\">the AP’s Tim Dahlberg, 2016\u003c/a>\u003c/p>\n\u003cp>” ‘I don’t call him the best boxer of all time, but he’s the greatest human being I ever met,’ Foreman said. ‘To this day he’s the most exciting person I ever met in my life.’\u003c/p>\n\u003cp>“Born Cassius Marcellus Clay on Jan. 17, 1942, in Louisville, Kentucky, Ali began boxing at age 12 after his new bicycle was stolen and he vowed to policeman Joe Martin that he would ‘whup’ the person who took it.\u003c/p>\n\u003cp>“He was only 89 pounds at the time, but Martin began training him at his boxing gym, the beginning of a six-year amateur career that ended with the light heavyweight Olympic gold medal in 1960.”\u003c/p>\n\u003cp>Of writing the obituary of a man who both reshaped and transcended the world of boxing, the AP’s Dahlberg \u003ca href=\"https://twitter.com/timdahlberg/status/738961995387535360\">says via Twitter\u003c/a> that it was “a labor of love. Very sad to see him go.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Popstar' Makes the Most of its Big, Chest-Thumping Joke",
"headTitle": "‘Popstar’ Makes the Most of its Big, Chest-Thumping Joke | KQED",
"content": "\u003cp>The Lonely Island comedy trio — Akiva Schaffer, Jorma Taccone, and Andy Samberg — have been writing and performing together since 2000, but they didn’t reach national prominence until 2005, when their Saturday Night Live digital short \u003ca href=\"http://www.hulu.com/watch/1397\" target=\"_blank\" rel=\"noopener\">“Lazy Sunday”\u003c/a> went viral. “Lazy Sunday” crystallized the troupe’s winning musical formula: Ferocious, chest-thumping rap braggadocio in service of silly and self-deprecating lyrics, like eating cupcakes and seeing a matinee of \u003cem>The Chronicles of Narnia\u003c/em>. On \u003cem>SNL\u003c/em>, three albums, and a run of consistently hilarious music videos, The Lonely Island has become the hip-hop equivalent to Jack Black and Kyle Gass’ long-running heavy metal parody/homage, Tenacious D. And the lingering question for both is: How far can one joke be stretched?\u003c/p>\n\u003cp>https://youtu.be/Q9RoNzJrmDo\u003c/p>\n\u003cp>For Tenacious D, the answer was the humbling 2006 farce \u003cem>Tenacious D in The Pick of Destiny\u003c/em>, which sputtered after a \u003ca href=\"https://www.youtube.com/watch?v=kVbbtuJfgIc\" target=\"_blank\" rel=\"noopener\">brilliant standalone opening\u003c/a>. The Lonely Island fares considerably better with \u003cem>Popstar: Never Stop Never Stopping\u003c/em>, perhaps because the concept isn’t limited to rap parody, but acts as a net that trawls the entire pop universe, in all its pomposity and excess and chronic eccentricity. Taking a mock-documentary form that draws from \u003cem>This is Spinal Tap\u003c/em>, VH-1’s \u003cem>Behind the Music\u003c/em>, and promotional movies like \u003cem>Justin Bieber: Never Say Never\u003c/em> and \u003cem>Katy Perry: Part of Me\u003c/em>, \u003cem>Popstar\u003c/em> isn’t a satire so much as a warped funhouse reflection of the contemporary scene. It’s bright, affectionate, and so keyed into our particular pop moment that it all but hurls itself into a time capsule.\u003c/p>\n\u003cp>It’s also full of jokes, lots of them, pouring out from the dialogue, the soundtrack, and an onslaught of graphics, references, foreground/background jokes, and random jokes tucked into the crevasses. Schaffer, Taccone, and Samberg had tried to make a feature-length comedy before in the underrated \u003cem>Hot Rod\u003c/em>, which tanked, but this is their first true Lonely Island movie and they’re not leaving any potential laughs off the table. The manic pacing gives \u003cem>Popstar\u003c/em> the jagged rhythm of a hit-or-miss spoof in the \u003cem>Airplane!\u003c/em> tradition, but there’s enough hits to sustain every scene and a simple arc about friendship and collaboration to carry the finale across.\u003c/p>\n\u003cp>As \u003cem>Popstar\u003c/em> opens, Conner4Real (Samberg) is an ascendent phenom, having used the early success of The Style Boyz, the band he started with childhood buddies Owen (Taccone) and Lawrence (Schaffer), to catapult, Justin Timberlake-like, to solo glory. Now surrounded entirely by sycophants, including 23 personal assistants, Conner is readying the launch of his new album, \u003cem>Connquest\u003c/em>, for which he wrote all the songs and slickened with the services of 100 producers. With singles like “Equal Rights,” a marriage equality anthem laced with gay panic, and “Finest Girl (Bin Laden Song),” a sex track littered with references to the Osama Bin Laden killing, \u003cem>Connquest\u003c/em> is a critical flop and a commercial disaster. (\u003cem>Pitchfork\u003c/em> gives it -4.0 out of 10 while \u003cem>Rolling Stone\u003c/em> opts for the poop emoji on its four-star scale.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nonetheless, Conner tours in support of the record, breaking out new gimmicks to stave off his dwindling fortune. In that, \u003cem>Popstar\u003c/em> acts as a scaled-up \u003cem>This is Spinal Tap\u003c/em>, following a washed-up outfit through half-filled arenas as its latest LP drifts into obscurity. The film has a sentimental side, too, as Conner seeks to mend fences with Owen and Lawrence, who are reduced to DJ-ing with an iPod and working on a dust-choked farm, respectively. Samberg’s breakout success as a TV and movie star likely informs this subplot, with The Style Boyz as a stand-in for The Lonely Island, but a comedy this untroubled doesn’t hint at any true discord.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Conner’s image as a runaway egotist and conspicuous spender feeds into blockbuster scope of \u003cem>Popstar\u003c/em>, which doesn’t allow for the more modest observational comedy of \u003ci>Spinal Tap\u003c/i> or a Christopher Guest comedy like \u003cem>A Mighty Wind\u003c/em>. The film is jammed with a who’s-who of celebrity cameos and bit parts, like Timberlake as a personal chef with a yen for carrot preparation, and massive setpieces, like Seal presiding over a wedding proposal disrupted by a pack of wild wolves. Some of the jokes undercut pop grotesquerie, others are merely silly for the sake of it. And as with any good Lonely Island song, all of them are delivered with infectious brio.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Lonely Island comedy trio — Akiva Schaffer, Jorma Taccone, and Andy Samberg — have been writing and performing together since 2000, but they didn’t reach national prominence until 2005, when their Saturday Night Live digital short \u003ca href=\"http://www.hulu.com/watch/1397\" target=\"_blank\" rel=\"noopener\">“Lazy Sunday”\u003c/a> went viral. “Lazy Sunday” crystallized the troupe’s winning musical formula: Ferocious, chest-thumping rap braggadocio in service of silly and self-deprecating lyrics, like eating cupcakes and seeing a matinee of \u003cem>The Chronicles of Narnia\u003c/em>. On \u003cem>SNL\u003c/em>, three albums, and a run of consistently hilarious music videos, The Lonely Island has become the hip-hop equivalent to Jack Black and Kyle Gass’ long-running heavy metal parody/homage, Tenacious D. And the lingering question for both is: How far can one joke be stretched?\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/Q9RoNzJrmDo'\n title='//www.youtube.com/embed/Q9RoNzJrmDo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For Tenacious D, the answer was the humbling 2006 farce \u003cem>Tenacious D in The Pick of Destiny\u003c/em>, which sputtered after a \u003ca href=\"https://www.youtube.com/watch?v=kVbbtuJfgIc\" target=\"_blank\" rel=\"noopener\">brilliant standalone opening\u003c/a>. The Lonely Island fares considerably better with \u003cem>Popstar: Never Stop Never Stopping\u003c/em>, perhaps because the concept isn’t limited to rap parody, but acts as a net that trawls the entire pop universe, in all its pomposity and excess and chronic eccentricity. Taking a mock-documentary form that draws from \u003cem>This is Spinal Tap\u003c/em>, VH-1’s \u003cem>Behind the Music\u003c/em>, and promotional movies like \u003cem>Justin Bieber: Never Say Never\u003c/em> and \u003cem>Katy Perry: Part of Me\u003c/em>, \u003cem>Popstar\u003c/em> isn’t a satire so much as a warped funhouse reflection of the contemporary scene. It’s bright, affectionate, and so keyed into our particular pop moment that it all but hurls itself into a time capsule.\u003c/p>\n\u003cp>It’s also full of jokes, lots of them, pouring out from the dialogue, the soundtrack, and an onslaught of graphics, references, foreground/background jokes, and random jokes tucked into the crevasses. Schaffer, Taccone, and Samberg had tried to make a feature-length comedy before in the underrated \u003cem>Hot Rod\u003c/em>, which tanked, but this is their first true Lonely Island movie and they’re not leaving any potential laughs off the table. The manic pacing gives \u003cem>Popstar\u003c/em> the jagged rhythm of a hit-or-miss spoof in the \u003cem>Airplane!\u003c/em> tradition, but there’s enough hits to sustain every scene and a simple arc about friendship and collaboration to carry the finale across.\u003c/p>\n\u003cp>As \u003cem>Popstar\u003c/em> opens, Conner4Real (Samberg) is an ascendent phenom, having used the early success of The Style Boyz, the band he started with childhood buddies Owen (Taccone) and Lawrence (Schaffer), to catapult, Justin Timberlake-like, to solo glory. Now surrounded entirely by sycophants, including 23 personal assistants, Conner is readying the launch of his new album, \u003cem>Connquest\u003c/em>, for which he wrote all the songs and slickened with the services of 100 producers. With singles like “Equal Rights,” a marriage equality anthem laced with gay panic, and “Finest Girl (Bin Laden Song),” a sex track littered with references to the Osama Bin Laden killing, \u003cem>Connquest\u003c/em> is a critical flop and a commercial disaster. (\u003cem>Pitchfork\u003c/em> gives it -4.0 out of 10 while \u003cem>Rolling Stone\u003c/em> opts for the poop emoji on its four-star scale.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nonetheless, Conner tours in support of the record, breaking out new gimmicks to stave off his dwindling fortune. In that, \u003cem>Popstar\u003c/em> acts as a scaled-up \u003cem>This is Spinal Tap\u003c/em>, following a washed-up outfit through half-filled arenas as its latest LP drifts into obscurity. The film has a sentimental side, too, as Conner seeks to mend fences with Owen and Lawrence, who are reduced to DJ-ing with an iPod and working on a dust-choked farm, respectively. Samberg’s breakout success as a TV and movie star likely informs this subplot, with The Style Boyz as a stand-in for The Lonely Island, but a comedy this untroubled doesn’t hint at any true discord.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Conner’s image as a runaway egotist and conspicuous spender feeds into blockbuster scope of \u003cem>Popstar\u003c/em>, which doesn’t allow for the more modest observational comedy of \u003ci>Spinal Tap\u003c/i> or a Christopher Guest comedy like \u003cem>A Mighty Wind\u003c/em>. The film is jammed with a who’s-who of celebrity cameos and bit parts, like Timberlake as a personal chef with a yen for carrot preparation, and massive setpieces, like Seal presiding over a wedding proposal disrupted by a pack of wild wolves. Some of the jokes undercut pop grotesquerie, others are merely silly for the sake of it. And as with any good Lonely Island song, all of them are delivered with infectious brio.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the New York City Opera (NYCO) announced its final performances and imminent bankruptcy in September 2013, opera lovers, not just in Manhattan, were shocked. How could a 70-year-old company, dubbed “The People’s Opera,” which nurtured the careers of emerging stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11618782\" target=\"_blank\" rel=\"noopener\">Beverly Sills\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15442924/placido-domingo\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, fall so far and \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/02/228171680/chronicle-of-a-death-foretold-new-york-city-opera-shuts-its-doors\" target=\"_blank\" rel=\"noopener\">suddenly cease to be\u003c/a>?\u003c/p>\n\u003cp>Almost as soon as the doors were shuttered, suitors lined up to try to reboot the company. Only in January did a victor emerge in the form of NYCO Renaissance, a group chaired by hedge fund manager Roy G. Niederhoffer, which announced the company’s return with a production of \u003ca href=\"http://www.nytimes.com/2016/01/22/arts/music/review-tosca-from-nyco-renaissance-puts-a-grand-ambition-to-the-test.html\" target=\"_blank\" rel=\"noopener\">Puccini’s \u003cem>Tosca\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Michael Capasso is the NYCO’s new general director. He formerly led Dicapo Opera, a small Manhattan-based company. Wednesday, in a telephone interview, he talked about what’s ahead. The conversation was edited for clarity and concision.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tom Huizenga: \u003cstrong>I was surprised, I must admit, to see such a wide-ranging, \u003ca href=\"http://nycopera.com/tickets/\" target=\"_blank\" rel=\"noopener\">ambitious season\u003c/a> announced so soon after the company reopened just a few months ago. \u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Michael\u003c/strong> \u003cstrong>Capasso:\u003c/strong> I’m proud of the kind of season it shaped up to be, because it really evokes what I think what City Opera always was in the past in terms of the way it serves the opera world, in its breadth of repertoire. We have everything from Baroque to extremely contemporary to a big Romantic piece by an underperformed composer, at least underperformed in opera anyway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong>Did it seem like a quick turnaround to you?\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>No, because throughout the entire bankruptcy process we were working and planning. We were quite diligent in getting everything prepared and in order. I had repertory plans. I had the venue lined up, I had lots of things in place throughout the time of the bankruptcy period of two years. This just didn’t happen in the last 60 days. We pulled the trigger on everything recently but we knew what we were going to do. We were prepared for it.\u003c/p>\n\u003cp>\u003cstrong>You come to the NYCO from an operatic background.\u003c/strong>\u003c/p>\n\u003cp>I founded and ran Dicapo Opera, which was a boutique, niche but very popular, company since 1981.\u003c/p>\n\u003cp>\u003cstrong>And your new job will be opera on a much larger scale.\u003c/strong>\u003c/p>\n\u003cp>It’s a much larger scale in one sense and it’s the same in the other. Producing an opera from A to Z takes what it takes. You have to find the piece, you have to license it. You have to cast it, you have to build the set, you have to sell the tickets, you have to market it. All of these things are the same throughout the industry. The difference is there are more zeros and commas involved in what you’re doing.\u003c/p>\n\u003cp>But the steps that are needed to produce professional opera, in a union condition, are something I’m very familiar with and have been doing for years. While the stakes are larger, the audiences are larger and the venue is larger, the process is still very much the same.\u003c/p>\n\u003cp>\u003cstrong>One thing that struck me immediately was the cost of such a robust season. I couldn’t help but think, “Where’s all the money coming from?”\u003c/strong>\u003c/p>\n\u003cp>It doesn’t cost as much as you might think, but it certainly isn’t cheap. One of our mainstage productions costs around $1 million. The money comes from various sources. We have a very dedicated board that has made significant contributions. We have been the happy recipient of a very large bequest. We have the money in place for the season that we’ve announced, obviously. And we are in the process of reinvigorating a fundraising program that was extremely strong in the company’s history.\u003c/p>\n\u003cp>It’s not going to happen overnight. If we can get back to, in a short period of time, even 30 percent of what the former company was easily raising, we’ll be OK. In the final years, the City Opera was raising close to $15 million even when they left Lincoln Center.\u003c/p>\n\u003cp>\u003cstrong>But back in late summer, early fall of 2013, it was hard for NYCO to raise any money at all. They tried a $1 million Kickstarter campaign and they couldn’t even raise that.\u003c/strong>\u003c/p>\n\u003cp>They couldn’t raise $1 million because they were in distress. The distress was well known and their approach, while valiant, was not well received because it was almost a threat to the funding community: Either help us or we’re going to go away. It was actually very successful in that thousands of people donated but they didn’t make their goal.\u003c/p>\n\u003cp>\u003cstrong>What’s the ballpark figure for the budget for this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>It’s around $7 million.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about the repertoire. There seems to be a number of lesser-known offerings, including Ottorino Respighi’s \u003cem>La campana sommersa\u003c/em> and Rachmaninoff’s first opera, the one-act \u003cem>Aleko.\u003c/em> And then there’s Bernstein’s beloved \u003cem>Candide,\u003c/em> the staple \u003cem>Pagliacci\u003c/em> and \u003cem>Angels\u003c/em> \u003cem>in\u003c/em> \u003cem>America\u003c/em> by Péter Eötvös. Why these particular operas?\u003c/strong>\u003c/p>\n\u003cp>I tried to plan a season that would be reminiscent of the glory years, if you will, of City Opera. Which were years that combined standard repertory with American works with new works and rarities, but by familiar composers.\u003c/p>\n\u003cp>\u003cem>Aleko\u003c/em> and \u003cem>Pagliacci\u003c/em> — you know they were written in the same year — I believe complement each other. It’ll have the fascination of seeing Rachmaninoff’s first opera combined with the comfort of an opera like \u003cem>Pagliacci,\u003c/em> which is appealing to the public.\u003c/p>\n\u003cp>Then we have a contemporary chamber opera, \u003cem>Fallujah\u003c/em>, which comes from Long Beach Opera. It’s something I want to do around Veterans Day; it’s the first opera written about the Iraq War. Then we go to \u003cem>Candide\u003c/em>, which is iconic. The opera house version was created for City Opera by Bernstein and Hal Prince. And we luckily have Hal Prince to direct it for us.\u003c/p>\n\u003cp>\u003cstrong>That’s a major coup.\u003c/strong>\u003c/p>\n\u003cp>It is a major coup. He loves the City Opera. City Opera gave him the first chance to direct an opera. He gave them \u003cem>Candide\u003c/em> and it was a valuable asset to them for years and years, and he wants to do something to give back and to help us succeed.\u003c/p>\n\u003cp>And then the Respighi piece fits into the neglected but important works that City Opera was known for. This is a piece that needs to be heard. It hasn’t been in New York since 1928, when the Met did it. It’s something that is very City Opera and it’s beautiful yet completely unknown to today’s audiences, and I have high hopes for it. Then we have a Spanish Baroque piece, \u003cem>Los Elementos\u003c/em>, which continues our new mission to perform an opera in Spanish every year. It also speaks to the long history City Opera has had with Baroque music. And then \u003cem>Angels in America\u003c/em> — an important piece never been done in New York, remarkably. And it ticks all the boxes for City Opera as I see it.\u003c/p>\n\u003cp>\u003cstrong>One thing NYCO is known for is the cultivation of young singers. I wonder if you could talk a little about that as there are no singers listed in the upcoming season announcement.\u003c/strong>\u003c/p>\n\u003cp>We like to announce the singers with the production and make that a separate announcement because it focuses on them more, rather than them just getting lost in the flurry of everything we’re saying right now. On top of it, I find that the longer we wait to cast, the higher level of artists we’re able to get. And I know that sounds contrary to what you might think. But the larger companies that pay the larger fees, they cast far in advance but they can tie people up.\u003c/p>\n\u003cp>We are not going to be able to tie somebody up with our fee structure long in advance. But now when I’m looking to cast for eight, 12, 16 months ahead, I have a greater likelihood of being able to get a higher caliber artist who’s available and will stick to the contract.\u003c/p>\n\u003cp>\u003cstrong>The original NYCO was heralded as “Opera for the People,” but recently a lot of small, flexible opera companies have sprouted in New York. I’m thinking Loft Opera, On Site Opera, the Prototype Festival and the many smaller ones associated with the New York Opera Alliance. How does the new NYCO fit into this more crowded field?\u003c/strong>\u003c/p>\n\u003cp>I see it as an uncrowded field. I think we’re in a class by ourselves. I think it’s crowded on that level, yes. And then there’s the Met. But the full scale, completely realized productions, in a proscenium theater with a union orchestra and chorus, which those companies don’t have, with scenery and costumes and all the elements of grand opera — perhaps not with superstars, but with emerging stars but on a grander scale, but not on the scale of the Met or La Scala — is where we fit in. And that’s where City Opera was always able to fit in.\u003c/p>\n\u003cp>\u003cstrong>Sounds like you must have had to redo your contracts with the union musicians.\u003c/strong>\u003c/p>\n\u003cp>We’ve successfully renegotiated all our contracts at a substantial discount from what they were before. We have an excellent relationship with all the unions, and we’ve had their cooperation. And it’s because of their cooperation that we’ve been able to restart this company. And I’m grateful to them and it’s very much a partnership.\u003c/p>\n\u003cp>\u003cstrong>Everyone talks of attracting younger audiences to opera. I suppose you are you thinking about that, too?\u003c/strong>\u003c/p>\n\u003cp>It’s perhaps the most important thing we have to do. We have our educational programs, which are wonderful for younger people who are going to grow up to enjoy opera, and that’s important. But it’s trying to attract the 25- to 40-year-olds who are not opera lovers and get them engaged and at the same time serve the traditional audience.\u003c/p>\n\u003cp>One of the things we try to do is make the opera going experience different. Our venue at the Rose Theater in Columbus Circle really helps us do that. There’s no other theater in the world where you can go and have the dining options, the cocktail options, the shopping options, a five-star hotel in the building. And so we can make a different experience rather than the opera as just a destination. And frankly, on my board I have seven members under 50 years old. And under 50 is young in opera terms.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk future. Where do you see the company five years from now?\u003c/strong>\u003c/p>\n\u003cp>I know we can do what we’re doing now. I know I can raise the money to support this programming. And I believe our audience will support this size of programming. Would I like to add performances and productions? Yes. Will I? I only will if I know that the money is in place to do it and the demand from the audience is there.\u003c/p>\n\u003cp>The opera world, and especially the New York entertainment world, is so different now. And we have to adjust to that world and find a place where the audience is there for us. Is that 75 performances a year? Is it 80, or 60? We’re going to find out and the public is going to tell us. The public and the ability to fundraise for it are what’s going to dictate where we are in five years. It’s not going to ever be, in my opinion, 120 performances a year. I don’t think the market will take it.\u003c/p>\n\u003cp>\u003cstrong>One final question. You know, your name looks Italian …\u003c/strong>\u003c/p>\n\u003cp>It is definitely Italian.\u003c/p>\n\u003cp>\u003cstrong>I’m wondering if you grew up with opera in the house as a kid.\u003c/strong>\u003c/p>\n\u003cp>Actually, no. I grew up in an Italian-speaking household, constantly blaring Italian music, but never opera. My grandfather always maintained that the greatest Italian singer was Enrico Caruso.\u003c/p>\n\u003cp>\u003cstrong>He was right!\u003c/strong>\u003c/p>\n\u003cp>But we were not listening to Caruso because they were the old scratchy 78s that we had in cartons in the garage. But I went to the library and got this book by Francis Robinson called \u003cem>Caruso: His Life in Pictures\u003c/em>. I devoured this book and I asked to go to the opera. And my mother took me, and I went to see \u003cem>L’elisir d’amore\u003c/em> at the Met, in that old production that was by Nathaniel Merrill where Dulcamara came in in a hot air balloon, and I was captivated.\u003c/p>\n\u003cp>\u003cstrong>And now, all these years later, you’re heading up the New York City Opera. So it’s a happy ending.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a very happy ending. I’m the luckiest guy in the world because I get up in the morning and I do exactly what I want to do. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Resurrected+New+York+City+Opera%27s+Ambitious+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the New York City Opera (NYCO) announced its final performances and imminent bankruptcy in September 2013, opera lovers, not just in Manhattan, were shocked. How could a 70-year-old company, dubbed “The People’s Opera,” which nurtured the careers of emerging stars like \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11618782\" target=\"_blank\" rel=\"noopener\">Beverly Sills\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15442924/placido-domingo\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, fall so far and \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/02/228171680/chronicle-of-a-death-foretold-new-york-city-opera-shuts-its-doors\" target=\"_blank\" rel=\"noopener\">suddenly cease to be\u003c/a>?\u003c/p>\n\u003cp>Almost as soon as the doors were shuttered, suitors lined up to try to reboot the company. Only in January did a victor emerge in the form of NYCO Renaissance, a group chaired by hedge fund manager Roy G. Niederhoffer, which announced the company’s return with a production of \u003ca href=\"http://www.nytimes.com/2016/01/22/arts/music/review-tosca-from-nyco-renaissance-puts-a-grand-ambition-to-the-test.html\" target=\"_blank\" rel=\"noopener\">Puccini’s \u003cem>Tosca\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Michael Capasso is the NYCO’s new general director. He formerly led Dicapo Opera, a small Manhattan-based company. Wednesday, in a telephone interview, he talked about what’s ahead. The conversation was edited for clarity and concision.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tom Huizenga: \u003cstrong>I was surprised, I must admit, to see such a wide-ranging, \u003ca href=\"http://nycopera.com/tickets/\" target=\"_blank\" rel=\"noopener\">ambitious season\u003c/a> announced so soon after the company reopened just a few months ago. \u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Michael\u003c/strong> \u003cstrong>Capasso:\u003c/strong> I’m proud of the kind of season it shaped up to be, because it really evokes what I think what City Opera always was in the past in terms of the way it serves the opera world, in its breadth of repertoire. We have everything from Baroque to extremely contemporary to a big Romantic piece by an underperformed composer, at least underperformed in opera anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong>Did it seem like a quick turnaround to you?\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp>No, because throughout the entire bankruptcy process we were working and planning. We were quite diligent in getting everything prepared and in order. I had repertory plans. I had the venue lined up, I had lots of things in place throughout the time of the bankruptcy period of two years. This just didn’t happen in the last 60 days. We pulled the trigger on everything recently but we knew what we were going to do. We were prepared for it.\u003c/p>\n\u003cp>\u003cstrong>You come to the NYCO from an operatic background.\u003c/strong>\u003c/p>\n\u003cp>I founded and ran Dicapo Opera, which was a boutique, niche but very popular, company since 1981.\u003c/p>\n\u003cp>\u003cstrong>And your new job will be opera on a much larger scale.\u003c/strong>\u003c/p>\n\u003cp>It’s a much larger scale in one sense and it’s the same in the other. Producing an opera from A to Z takes what it takes. You have to find the piece, you have to license it. You have to cast it, you have to build the set, you have to sell the tickets, you have to market it. All of these things are the same throughout the industry. The difference is there are more zeros and commas involved in what you’re doing.\u003c/p>\n\u003cp>But the steps that are needed to produce professional opera, in a union condition, are something I’m very familiar with and have been doing for years. While the stakes are larger, the audiences are larger and the venue is larger, the process is still very much the same.\u003c/p>\n\u003cp>\u003cstrong>One thing that struck me immediately was the cost of such a robust season. I couldn’t help but think, “Where’s all the money coming from?”\u003c/strong>\u003c/p>\n\u003cp>It doesn’t cost as much as you might think, but it certainly isn’t cheap. One of our mainstage productions costs around $1 million. The money comes from various sources. We have a very dedicated board that has made significant contributions. We have been the happy recipient of a very large bequest. We have the money in place for the season that we’ve announced, obviously. And we are in the process of reinvigorating a fundraising program that was extremely strong in the company’s history.\u003c/p>\n\u003cp>It’s not going to happen overnight. If we can get back to, in a short period of time, even 30 percent of what the former company was easily raising, we’ll be OK. In the final years, the City Opera was raising close to $15 million even when they left Lincoln Center.\u003c/p>\n\u003cp>\u003cstrong>But back in late summer, early fall of 2013, it was hard for NYCO to raise any money at all. They tried a $1 million Kickstarter campaign and they couldn’t even raise that.\u003c/strong>\u003c/p>\n\u003cp>They couldn’t raise $1 million because they were in distress. The distress was well known and their approach, while valiant, was not well received because it was almost a threat to the funding community: Either help us or we’re going to go away. It was actually very successful in that thousands of people donated but they didn’t make their goal.\u003c/p>\n\u003cp>\u003cstrong>What’s the ballpark figure for the budget for this upcoming season?\u003c/strong>\u003c/p>\n\u003cp>It’s around $7 million.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk about the repertoire. There seems to be a number of lesser-known offerings, including Ottorino Respighi’s \u003cem>La campana sommersa\u003c/em> and Rachmaninoff’s first opera, the one-act \u003cem>Aleko.\u003c/em> And then there’s Bernstein’s beloved \u003cem>Candide,\u003c/em> the staple \u003cem>Pagliacci\u003c/em> and \u003cem>Angels\u003c/em> \u003cem>in\u003c/em> \u003cem>America\u003c/em> by Péter Eötvös. Why these particular operas?\u003c/strong>\u003c/p>\n\u003cp>I tried to plan a season that would be reminiscent of the glory years, if you will, of City Opera. Which were years that combined standard repertory with American works with new works and rarities, but by familiar composers.\u003c/p>\n\u003cp>\u003cem>Aleko\u003c/em> and \u003cem>Pagliacci\u003c/em> — you know they were written in the same year — I believe complement each other. It’ll have the fascination of seeing Rachmaninoff’s first opera combined with the comfort of an opera like \u003cem>Pagliacci,\u003c/em> which is appealing to the public.\u003c/p>\n\u003cp>Then we have a contemporary chamber opera, \u003cem>Fallujah\u003c/em>, which comes from Long Beach Opera. It’s something I want to do around Veterans Day; it’s the first opera written about the Iraq War. Then we go to \u003cem>Candide\u003c/em>, which is iconic. The opera house version was created for City Opera by Bernstein and Hal Prince. And we luckily have Hal Prince to direct it for us.\u003c/p>\n\u003cp>\u003cstrong>That’s a major coup.\u003c/strong>\u003c/p>\n\u003cp>It is a major coup. He loves the City Opera. City Opera gave him the first chance to direct an opera. He gave them \u003cem>Candide\u003c/em> and it was a valuable asset to them for years and years, and he wants to do something to give back and to help us succeed.\u003c/p>\n\u003cp>And then the Respighi piece fits into the neglected but important works that City Opera was known for. This is a piece that needs to be heard. It hasn’t been in New York since 1928, when the Met did it. It’s something that is very City Opera and it’s beautiful yet completely unknown to today’s audiences, and I have high hopes for it. Then we have a Spanish Baroque piece, \u003cem>Los Elementos\u003c/em>, which continues our new mission to perform an opera in Spanish every year. It also speaks to the long history City Opera has had with Baroque music. And then \u003cem>Angels in America\u003c/em> — an important piece never been done in New York, remarkably. And it ticks all the boxes for City Opera as I see it.\u003c/p>\n\u003cp>\u003cstrong>One thing NYCO is known for is the cultivation of young singers. I wonder if you could talk a little about that as there are no singers listed in the upcoming season announcement.\u003c/strong>\u003c/p>\n\u003cp>We like to announce the singers with the production and make that a separate announcement because it focuses on them more, rather than them just getting lost in the flurry of everything we’re saying right now. On top of it, I find that the longer we wait to cast, the higher level of artists we’re able to get. And I know that sounds contrary to what you might think. But the larger companies that pay the larger fees, they cast far in advance but they can tie people up.\u003c/p>\n\u003cp>We are not going to be able to tie somebody up with our fee structure long in advance. But now when I’m looking to cast for eight, 12, 16 months ahead, I have a greater likelihood of being able to get a higher caliber artist who’s available and will stick to the contract.\u003c/p>\n\u003cp>\u003cstrong>The original NYCO was heralded as “Opera for the People,” but recently a lot of small, flexible opera companies have sprouted in New York. I’m thinking Loft Opera, On Site Opera, the Prototype Festival and the many smaller ones associated with the New York Opera Alliance. How does the new NYCO fit into this more crowded field?\u003c/strong>\u003c/p>\n\u003cp>I see it as an uncrowded field. I think we’re in a class by ourselves. I think it’s crowded on that level, yes. And then there’s the Met. But the full scale, completely realized productions, in a proscenium theater with a union orchestra and chorus, which those companies don’t have, with scenery and costumes and all the elements of grand opera — perhaps not with superstars, but with emerging stars but on a grander scale, but not on the scale of the Met or La Scala — is where we fit in. And that’s where City Opera was always able to fit in.\u003c/p>\n\u003cp>\u003cstrong>Sounds like you must have had to redo your contracts with the union musicians.\u003c/strong>\u003c/p>\n\u003cp>We’ve successfully renegotiated all our contracts at a substantial discount from what they were before. We have an excellent relationship with all the unions, and we’ve had their cooperation. And it’s because of their cooperation that we’ve been able to restart this company. And I’m grateful to them and it’s very much a partnership.\u003c/p>\n\u003cp>\u003cstrong>Everyone talks of attracting younger audiences to opera. I suppose you are you thinking about that, too?\u003c/strong>\u003c/p>\n\u003cp>It’s perhaps the most important thing we have to do. We have our educational programs, which are wonderful for younger people who are going to grow up to enjoy opera, and that’s important. But it’s trying to attract the 25- to 40-year-olds who are not opera lovers and get them engaged and at the same time serve the traditional audience.\u003c/p>\n\u003cp>One of the things we try to do is make the opera going experience different. Our venue at the Rose Theater in Columbus Circle really helps us do that. There’s no other theater in the world where you can go and have the dining options, the cocktail options, the shopping options, a five-star hotel in the building. And so we can make a different experience rather than the opera as just a destination. And frankly, on my board I have seven members under 50 years old. And under 50 is young in opera terms.\u003c/p>\n\u003cp>\u003cstrong>Let’s talk future. Where do you see the company five years from now?\u003c/strong>\u003c/p>\n\u003cp>I know we can do what we’re doing now. I know I can raise the money to support this programming. And I believe our audience will support this size of programming. Would I like to add performances and productions? Yes. Will I? I only will if I know that the money is in place to do it and the demand from the audience is there.\u003c/p>\n\u003cp>The opera world, and especially the New York entertainment world, is so different now. And we have to adjust to that world and find a place where the audience is there for us. Is that 75 performances a year? Is it 80, or 60? We’re going to find out and the public is going to tell us. The public and the ability to fundraise for it are what’s going to dictate where we are in five years. It’s not going to ever be, in my opinion, 120 performances a year. I don’t think the market will take it.\u003c/p>\n\u003cp>\u003cstrong>One final question. You know, your name looks Italian …\u003c/strong>\u003c/p>\n\u003cp>It is definitely Italian.\u003c/p>\n\u003cp>\u003cstrong>I’m wondering if you grew up with opera in the house as a kid.\u003c/strong>\u003c/p>\n\u003cp>Actually, no. I grew up in an Italian-speaking household, constantly blaring Italian music, but never opera. My grandfather always maintained that the greatest Italian singer was Enrico Caruso.\u003c/p>\n\u003cp>\u003cstrong>He was right!\u003c/strong>\u003c/p>\n\u003cp>But we were not listening to Caruso because they were the old scratchy 78s that we had in cartons in the garage. But I went to the library and got this book by Francis Robinson called \u003cem>Caruso: His Life in Pictures\u003c/em>. I devoured this book and I asked to go to the opera. And my mother took me, and I went to see \u003cem>L’elisir d’amore\u003c/em> at the Met, in that old production that was by Nathaniel Merrill where Dulcamara came in in a hot air balloon, and I was captivated.\u003c/p>\n\u003cp>\u003cstrong>And now, all these years later, you’re heading up the New York City Opera. So it’s a happy ending.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a very happy ending. I’m the luckiest guy in the world because I get up in the morning and I do exactly what I want to do. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Resurrected+New+York+City+Opera%27s+Ambitious+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A good ingénue role is stuffed with smarts, as Gracie Allen, Marilyn Monroe, Lucille Ball and other comic greats all understood. Greta Gerwig, an accomplished filmmaker and actress who’s been pinned (\u003cem>Damsels in Distress\u003c/em>, \u003cem>Frances Ha Ha\u003c/em>, and others) as the go-to ingénue of American independent film, gets that, too. On the whole, she’s made hay with the knowledge, even when the purported ditz isn’t drawn distinctly enough to give room for expansion.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GmYHG6_pri4\u003c/p>\n\u003cp>In \u003cem>Maggie’s Plan\u003c/em>, a sweet-tempered if rambling romantic comedy by Rebecca Miller from a story by Karen Rinaldi, Gerwig demonstrates again that playing innocent doesn’t mean playing stupid. She plays Maggie Hardin, an earnest young New York singleton in pinafore frocks and sensible tights, who longs for a child and an authentic life, whatever that is. Maggie’s a practical sort, so with nothing doing on the love front, she commandeers the presumably robust sperm of Guy (Travis Fimmel), a Viking-like former college mate — and grade-A innocent in his own right — who’s starting out in the pickle business.\u003c/p>\n\u003cp>At that very moment, Maggie meets and falls for a college professor named John Harding (serendipity!), played in wire rims and sticky-up hair by Ethan Hawke. That John is already married, if none too happily, to a hotshot Columbia academic from Denmark (Julianne Moore, in a wavering German accent) presents little obstacle. Maggie persuades herself that John’s discontent gives her the green light to shack up with him. The pickle purveyor is shunted to the wings, and we cut without ceremony to a couple of years later, when Maggie and John’s troubles really begin.\u003c/p>\n\u003cp>Slushy streets aside (this is a deglamorized Manhattan to be struggled with) what follows is early Woody Allen. Nobody knows what they’re doing, and everyone’s chasing blind instinct. In the name of honesty and following the heart and all that stuff, damage is done; partners are switched. The madness is noted with wry disbelief by the in-house Greek-chorus couple, Maggie’s best friends (Bill Hader and Maya Rudolph). Miller has a more forgiving heart than Allen, and the payoff is less about the wages of sin than it is about the lethal potential of a control freak armed with good intentions based on faulty assumptions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At its best, \u003cem>Maggie’s Plan\u003c/em> shows genuine wit as a comedy of manners set among the peculiarly ill-defined “professions” that grow like moss between the cracks of the new economy, for want of a better term. John calls himself a “fictio-critical anthropologist,” which means he can’t decide whether he’s a novelist or a social scientist, while his breakfast-nook chat with the first missus features a lot of straight-faced references to commodity fetishism. The pickle guy sells on the street, and Hader mostly wheels a stroller around town. As for Maggie, ever the would-be reconciler, she’s trying to make a living by “bridging art and commerce,” which means trying to sell the strange educational toys of kooky inventors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, for someone who’s cast as the vital connective tissue in this shifting ménage, Maggie comes off as intelligent but a bit nerveless. Gerwig’s blend of smart and clueless is always charming and astute, but as a lover tells Maggie with unfortunate accuracy, “You’re such a hall monitor.” Of such undersexed stuff romantic comedy is rarely made, and though Miller is a bit lighter on her feet here than in some of her other movies, \u003cem>Maggie’s Plan\u003c/em> doesn’t clip along smartly enough for screwball. In the end, there just isn’t enough chemistry to go round — until the return of Mr. Pickle, and even he’s too little, too late.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A good ingénue role is stuffed with smarts, as Gracie Allen, Marilyn Monroe, Lucille Ball and other comic greats all understood. Greta Gerwig, an accomplished filmmaker and actress who’s been pinned (\u003cem>Damsels in Distress\u003c/em>, \u003cem>Frances Ha Ha\u003c/em>, and others) as the go-to ingénue of American independent film, gets that, too. On the whole, she’s made hay with the knowledge, even when the purported ditz isn’t drawn distinctly enough to give room for expansion.\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/GmYHG6_pri4'\n title='//www.youtube.com/embed/GmYHG6_pri4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Maggie’s Plan\u003c/em>, a sweet-tempered if rambling romantic comedy by Rebecca Miller from a story by Karen Rinaldi, Gerwig demonstrates again that playing innocent doesn’t mean playing stupid. She plays Maggie Hardin, an earnest young New York singleton in pinafore frocks and sensible tights, who longs for a child and an authentic life, whatever that is. Maggie’s a practical sort, so with nothing doing on the love front, she commandeers the presumably robust sperm of Guy (Travis Fimmel), a Viking-like former college mate — and grade-A innocent in his own right — who’s starting out in the pickle business.\u003c/p>\n\u003cp>At that very moment, Maggie meets and falls for a college professor named John Harding (serendipity!), played in wire rims and sticky-up hair by Ethan Hawke. That John is already married, if none too happily, to a hotshot Columbia academic from Denmark (Julianne Moore, in a wavering German accent) presents little obstacle. Maggie persuades herself that John’s discontent gives her the green light to shack up with him. The pickle purveyor is shunted to the wings, and we cut without ceremony to a couple of years later, when Maggie and John’s troubles really begin.\u003c/p>\n\u003cp>Slushy streets aside (this is a deglamorized Manhattan to be struggled with) what follows is early Woody Allen. Nobody knows what they’re doing, and everyone’s chasing blind instinct. In the name of honesty and following the heart and all that stuff, damage is done; partners are switched. The madness is noted with wry disbelief by the in-house Greek-chorus couple, Maggie’s best friends (Bill Hader and Maya Rudolph). Miller has a more forgiving heart than Allen, and the payoff is less about the wages of sin than it is about the lethal potential of a control freak armed with good intentions based on faulty assumptions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At its best, \u003cem>Maggie’s Plan\u003c/em> shows genuine wit as a comedy of manners set among the peculiarly ill-defined “professions” that grow like moss between the cracks of the new economy, for want of a better term. John calls himself a “fictio-critical anthropologist,” which means he can’t decide whether he’s a novelist or a social scientist, while his breakfast-nook chat with the first missus features a lot of straight-faced references to commodity fetishism. The pickle guy sells on the street, and Hader mostly wheels a stroller around town. As for Maggie, ever the would-be reconciler, she’s trying to make a living by “bridging art and commerce,” which means trying to sell the strange educational toys of kooky inventors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, for someone who’s cast as the vital connective tissue in this shifting ménage, Maggie comes off as intelligent but a bit nerveless. Gerwig’s blend of smart and clueless is always charming and astute, but as a lover tells Maggie with unfortunate accuracy, “You’re such a hall monitor.” Of such undersexed stuff romantic comedy is rarely made, and though Miller is a bit lighter on her feet here than in some of her other movies, \u003cem>Maggie’s Plan\u003c/em> doesn’t clip along smartly enough for screwball. In the end, there just isn’t enough chemistry to go round — until the return of Mr. Pickle, and even he’s too little, too late.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Chechen strongman Ramzan Kadyrov and HBO host John Oliver are locked in a public spat over a lost cat.\u003c/p>\n\u003cp>First, Kadyrov — the leader of the Russian republic of Chechnya whose forces have been \u003ca href=\"https://www.hrw.org/news/2016/04/13/dispatches-price-dissent-chechnya\">accused of torture\u003c/a> — asked his 1.8 million Instagram followers for help finding his missing cat.\u003c/p>\n\u003cp>“We have completely lost our cat,” the staunch ally of Russian President Vladmir Putin posted, according to \u003ca href=\"http://www.theguardian.com/world/2016/may/20/chechen-leader-kadyrov-instagram-cat\" target=\"_blank\" rel=\"noopener\">a translation from \u003cem>The Guardian\u003c/em>\u003c/a>. “We have begun to seriously worry.” He appealed to his followers for any information about the feline’s whereabouts.\u003c/p>\n\u003cp>https://www.instagram.com/p/BFd2vWNiRul/\u003c/p>\n\u003cp>Then, Oliver picked up the news for a segment on his satirical current events show, \u003cem>Last Week Tonight with John Oliver\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oliver pokes fun at Kadyrov’s prolific Instagram feed, which, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/21/478968296/chechen-strongman-takes-to-instagram-to-search-for-his-lost-cat\" target=\"_blank\" rel=\"noopener\">as we reported\u003c/a>, runs the gamut from mundane to completely outrageous — including a video \u003ca href=\"https://www.instagram.com/p/71FvV0iRjq/\" target=\"_blank\" rel=\"noopener\">where he apparently wrestles a crocodile\u003c/a>, and a \u003ca href=\"https://www.instagram.com/p/3G06hziRmd/\" target=\"_blank\" rel=\"noopener\">trailer for a Hollywood-style action film\u003c/a> in which he stars. Kadyrov’s workout routine (mainly weightlifting and boxing) \u003ca href=\"https://www.instagram.com/p/BByQeDtiRgW/\" target=\"_blank\" rel=\"noopener\">is also a regular feature\u003c/a>.\u003c/p>\n\u003cp>“Kadyrov is basically like a can of Monster energy drink come to life,” Oliver says. “And honestly, I cannot recommend his Instagram feed enough.” He continues:\u003c/p>\n\u003cblockquote>\n\u003cp>“It almost makes you forget he was once accused of beating a prisoner with a shovel handle before executing him. Almost, but not quite.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Oliver’s conclusion: “For the good of the Chechen people and stability in the whole region, we have to find this f*****’s cat.” He urges viewers to join a campaign called #FindKadyrovsCat — basically designed to taunt the strongman by flooding him with pictures of random cats asking if they belong to him.\u003c/p>\n\u003cp>For example:\u003c/p>\n\u003cp>https://twitter.com/iamjohnoliver/status/734728962119770112\u003c/p>\n\u003cp>Oliver also points out that in picture after picture on his account, Kadyrov is wearing T-shirts adorned with images of Putin, like this one:\u003c/p>\n\u003cp>https://www.instagram.com/p/_UWFKhiRlI/\u003c/p>\n\u003cp>In response, the apparently incensed authoritarian leader altered Oliver’s picture to remove the cat and replace it with a Putin T-shirt.\u003c/p>\n\u003cp>https://www.instagram.com/p/BFwpvHMiRqM/\u003c/p>\n\u003cp>“I’m tired of jokes. I want to care for cats in Chechnya. By the way, Putin is our leader!” text on the photo reads.\u003c/p>\n\u003cp>Kadyrov says Oliver’s campaign prompted a big response. “I receive lots of photos. Some people say that they saw the cat in Vladivostok, Japan, Iceland, New Zealand, and even in the Oval Office of the White House!” the caption reads. He adds: “I am grateful to all, but this is NOT my cat.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Kadyrov downplayed concerns about the missing cat’s well-being, saying the cat leaves the house “in spring from time to time.” He explains:\u003c/p>\n\u003cblockquote>\n\u003cp>“He also needs to meet with friends, mingle and share news. By cat rumors he has in our district a familiar she-cat with which he’s going to start a family. I’m sure that after spring affairs, the cat will return to native walls. Perhaps, he’ll bring his sweet love with him.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+The+Cat%27s+Away%3A+Chechen+Strongman+Spars+With+John+Oliver+Over+Lost+Feline&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oliver pokes fun at Kadyrov’s prolific Instagram feed, which, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/21/478968296/chechen-strongman-takes-to-instagram-to-search-for-his-lost-cat\" target=\"_blank\" rel=\"noopener\">as we reported\u003c/a>, runs the gamut from mundane to completely outrageous — including a video \u003ca href=\"https://www.instagram.com/p/71FvV0iRjq/\" target=\"_blank\" rel=\"noopener\">where he apparently wrestles a crocodile\u003c/a>, and a \u003ca href=\"https://www.instagram.com/p/3G06hziRmd/\" target=\"_blank\" rel=\"noopener\">trailer for a Hollywood-style action film\u003c/a> in which he stars. Kadyrov’s workout routine (mainly weightlifting and boxing) \u003ca href=\"https://www.instagram.com/p/BByQeDtiRgW/\" target=\"_blank\" rel=\"noopener\">is also a regular feature\u003c/a>.\u003c/p>\n\u003cp>“Kadyrov is basically like a can of Monster energy drink come to life,” Oliver says. “And honestly, I cannot recommend his Instagram feed enough.” He continues:\u003c/p>\n\u003cblockquote>\n\u003cp>“It almost makes you forget he was once accused of beating a prisoner with a shovel handle before executing him. Almost, but not quite.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Oliver’s conclusion: “For the good of the Chechen people and stability in the whole region, we have to find this f*****’s cat.” He urges viewers to join a campaign called #FindKadyrovsCat — basically designed to taunt the strongman by flooding him with pictures of random cats asking if they belong to him.\u003c/p>\n\u003cp>For example:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Looking for a musically sensitive, responsive bandmate? Maybe you should try out Shimon.\u003c/p>\n\u003cp>Shimon is a jazz-playing robot created by \u003ca href=\"http://www.gtcmt.gatech.edu/projects/shimon\" target=\"_blank\" rel=\"noopener\">Gil Weinberg\u003c/a> and his team at the Georgia Tech Center for Music Technology. Shimon was debuted seven years ago, but the robot gave a performance alongside a human collaborator yesterday at Moogfest in Durham, N.C., a festival concentrating on the intersection of music and technology. The video was captured by Quartz reporter Mike Murphy, who has \u003ca href=\"http://qz.com/689827/moogfest-shimon-music-robot/\" target=\"_blank\" rel=\"noopener\">written\u003c/a> about Shimon.\u003c/p>\n\u003cp>This four-handed robot was designed not just to \u003cem>play\u003c/em> music, but to listen and improvise alongside a human — each pushing each other to new creative ideas. In the video, you see the robot responding with something of a human’s sense of pacing and phrasing, changing tempos appropriately and seeming to take in his human colleague’s material and riffing on it in a way that makes harmonic sense.\u003c/p>\n\u003cp>In the performance, Shimon’s head bobs along with the groove. That particular anthropomorphic touch isn’t just for novelty’s sake. According to the description of Shimon on the Georgia Tech website, “An embodied anthropomorphic robot can create familiar, acoustically rich, and visual interactions with humans … the visual connection between sound and motion can allow humans to anticipate, coordinate and synchronize their gestures with the robot.” That is, Shimon’s head motions are supposed to help the human anticipate the robot’s next moves.\u003c/p>\n\u003cp>Back when Shimon made his debut in 2009, Weinberg said in an interview with NPR’s Robert Siegel on \u003cem>All Things Considered,\u003c/em> “The whole idea is to use computer algorithms to create music in ways that humans will never create,” Weinberg said. “Our motto is, ‘Listen like a human, but \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=121763193\" target=\"_blank\" rel=\"noopener\">improvise like a machine\u003c/a>.’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When you close your eyes and listen to them perform together, it feels quite organic, like two human percussionists working together. (Or really three, considering Shimon’s extra arms, which the robot starts employing around 2:32.) But visually, the spectacle of human and robot responding to each other’s playing is quite marvelous.\u003c/p>\n\u003cp>Shimon isn’t the only music-minded machine that has come out of this Georgia Tech group. Its other creations include \u003ca href=\"https://www.youtube.com/watch?v=p0WptndaR7Y\" target=\"_blank\" rel=\"noopener\">Travis\u003c/a>, a smartphone-enabled speaker system/”music companion” that responds to the music you play, including swiveling its built-in speakers toward you as you dance around and making new music recommendations.\u003c/p>\n\u003cp>Another is a robotic drumming arm developed for amputees. Working with a drummer named Jason Barnes, Weinberg and his team built a drumming prosthesis that includes motors and two drumsticks. One stick is controlled by the musician’s bicep muscles and electromyography (EMG) muscle sensors; the other stick “listens” and improvises. And as you can see and hear, it can zip right along. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mfXkFFUW_bU\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=Your+New+Robot+Overlord+Turns+Out+To+Be+A+Pretty+Good+Marimba+Player&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for a musically sensitive, responsive bandmate? Maybe you should try out Shimon.\u003c/p>\n\u003cp>Shimon is a jazz-playing robot created by \u003ca href=\"http://www.gtcmt.gatech.edu/projects/shimon\" target=\"_blank\" rel=\"noopener\">Gil Weinberg\u003c/a> and his team at the Georgia Tech Center for Music Technology. Shimon was debuted seven years ago, but the robot gave a performance alongside a human collaborator yesterday at Moogfest in Durham, N.C., a festival concentrating on the intersection of music and technology. The video was captured by Quartz reporter Mike Murphy, who has \u003ca href=\"http://qz.com/689827/moogfest-shimon-music-robot/\" target=\"_blank\" rel=\"noopener\">written\u003c/a> about Shimon.\u003c/p>\n\u003cp>This four-handed robot was designed not just to \u003cem>play\u003c/em> music, but to listen and improvise alongside a human — each pushing each other to new creative ideas. In the video, you see the robot responding with something of a human’s sense of pacing and phrasing, changing tempos appropriately and seeming to take in his human colleague’s material and riffing on it in a way that makes harmonic sense.\u003c/p>\n\u003cp>In the performance, Shimon’s head bobs along with the groove. That particular anthropomorphic touch isn’t just for novelty’s sake. According to the description of Shimon on the Georgia Tech website, “An embodied anthropomorphic robot can create familiar, acoustically rich, and visual interactions with humans … the visual connection between sound and motion can allow humans to anticipate, coordinate and synchronize their gestures with the robot.” That is, Shimon’s head motions are supposed to help the human anticipate the robot’s next moves.\u003c/p>\n\u003cp>Back when Shimon made his debut in 2009, Weinberg said in an interview with NPR’s Robert Siegel on \u003cem>All Things Considered,\u003c/em> “The whole idea is to use computer algorithms to create music in ways that humans will never create,” Weinberg said. “Our motto is, ‘Listen like a human, but \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=121763193\" target=\"_blank\" rel=\"noopener\">improvise like a machine\u003c/a>.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When you close your eyes and listen to them perform together, it feels quite organic, like two human percussionists working together. (Or really three, considering Shimon’s extra arms, which the robot starts employing around 2:32.) But visually, the spectacle of human and robot responding to each other’s playing is quite marvelous.\u003c/p>\n\u003cp>Shimon isn’t the only music-minded machine that has come out of this Georgia Tech group. Its other creations include \u003ca href=\"https://www.youtube.com/watch?v=p0WptndaR7Y\" target=\"_blank\" rel=\"noopener\">Travis\u003c/a>, a smartphone-enabled speaker system/”music companion” that responds to the music you play, including swiveling its built-in speakers toward you as you dance around and making new music recommendations.\u003c/p>\n\u003cp>Another is a robotic drumming arm developed for amputees. Working with a drummer named Jason Barnes, Weinberg and his team built a drumming prosthesis that includes motors and two drumsticks. One stick is controlled by the musician’s bicep muscles and electromyography (EMG) muscle sensors; the other stick “listens” and improvises. And as you can see and hear, it can zip right along. \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/mfXkFFUW_bU'\n title='//www.youtube.com/embed/mfXkFFUW_bU'\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=Your+New+Robot+Overlord+Turns+Out+To+Be+A+Pretty+Good+Marimba+Player&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From the outside, it looked like any of the other mugs in the Auschwitz museum.\u003c/p>\n\u003cp>But on the inside, this one had a secret — faithfully kept for seven decades.\u003c/p>\n\u003cp>A false bottom concealed a gold necklace and a gold ring inlaid with stones.\u003c/p>\n\u003cp>The enameled mug was one of more than 12,000 pieces of kitchenware that Nazis stole from people sent to the Auschwitz concentration camp in occupied Poland.\u003c/p>\n\u003cp>“The Germans incessantly lied to the Jews deported for extermination,” Dr. Piotr M.A. Cywinski, the director of the Auschwitz-Birkenau State Museum, \u003ca href=\"http://auschwitz.org/en/museum/news/gold-ring-found-under-a-double-bottom-after-more-than-70-years,1200.html\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “They were told about resettlement, work and life in a different location.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the Nazis would allow Jews to take only a small amount of luggage. It was a calculated move: If you were going to start a new life, and could only take a small bag, you’d fill it with your most precious possessions.\u003c/p>\n\u003cp>So when a victim arrived at Auschwitz, the Germans could be confident they’d be able to loot their luggage and find valuables.\u003c/p>\n\u003cfigure id=\"attachment_11608014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg\" alt=\" Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11608014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s \u003ccite>(Photo: Marcin Inglot/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Victims often tried to hide costly possessions from sight.\u003c/p>\n\u003cp>On one hand, Cywinski says, that’s proof that Jewish families were well aware that their belongings would be looted during their deportation.\u003c/p>\n\u003cp>But it’s also a heartbreaking reminder of how much people didn’t know about the fate they faced at Auschwitz.\u003c/p>\n\u003cp>Every effort to hide valuables “shows that the Jewish families constantly had a ray of hope that these items will be required for their existence,” Cywinski says.\u003c/p>\n\u003cfigure id=\"attachment_11608015\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg\" alt=\"An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11608015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years. \u003ccite>(Photo: Courtesy of Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Despite the passage of more than 70 years since the liberation of the German Nazi concentration and extermination camp, there are still cases of accidental discovery of objects hidden by the victims,” the museum statement read.\u003c/p>\n\u003cp>And that’s what happened with the mug, which was being examined as part of routine work at the museum when the false bottom was discovered.\u003c/p>\n\u003cp>Beneath, there was a necklace coiled in a circle and wrapped in canvas, and a ring with some stones remaining in the setting.\u003c/p>\n\u003cp>“It was very well hidden, however, due to the passage of time, the materials underwent gradual degradation, and the second bottom separated from the mug,” Hanna Kubik of the Memorial Collections said in the museum’s statement.\u003c/p>\n\u003cp>The museum says that while every find is “carefully documented,” it is often impossible to connect a personal item to the victim who owned it because of a a lack of identifying characteristics.\u003c/p>\n\u003cfigure id=\"attachment_11608016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg\" alt=\"The necklace was carefully wrapped in canvas before being concealed in the mug\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11608016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The necklace was carefully wrapped in canvas before being concealed in the mug \u003ccite>(Courtesy of Mirosław Maciaszczyk/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The jewellery found in the mug will be stored in the Collections of the Museum in the form reflecting the manner in which it had been hidden by the owner, as a testimony to the fate of the Jews deported to the German Nazi concentration and extermination camp,” the museum writes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than 1 million prisoners, mostly Jews, died at Auschwitz during the Holocaust. \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=For+70+Years%2C+A+Mug+In+Auschwitz+Held+A+Secret+Treasure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the outside, it looked like any of the other mugs in the Auschwitz museum.\u003c/p>\n\u003cp>But on the inside, this one had a secret — faithfully kept for seven decades.\u003c/p>\n\u003cp>A false bottom concealed a gold necklace and a gold ring inlaid with stones.\u003c/p>\n\u003cp>The enameled mug was one of more than 12,000 pieces of kitchenware that Nazis stole from people sent to the Auschwitz concentration camp in occupied Poland.\u003c/p>\n\u003cp>“The Germans incessantly lied to the Jews deported for extermination,” Dr. Piotr M.A. Cywinski, the director of the Auschwitz-Birkenau State Museum, \u003ca href=\"http://auschwitz.org/en/museum/news/gold-ring-found-under-a-double-bottom-after-more-than-70-years,1200.html\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “They were told about resettlement, work and life in a different location.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Nazis would allow Jews to take only a small amount of luggage. It was a calculated move: If you were going to start a new life, and could only take a small bag, you’d fill it with your most precious possessions.\u003c/p>\n\u003cp>So when a victim arrived at Auschwitz, the Germans could be confident they’d be able to loot their luggage and find valuables.\u003c/p>\n\u003cfigure id=\"attachment_11608014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg\" alt=\" Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11608014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_7-ohucn6imphcvqckhzpy_wide-198884be01e57e3871947bdf267a8038378aea12.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tests revealed that the ring has the properties of gold 583, used in products made in Poland in the 1920s \u003ccite>(Photo: Marcin Inglot/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Victims often tried to hide costly possessions from sight.\u003c/p>\n\u003cp>On one hand, Cywinski says, that’s proof that Jewish families were well aware that their belongings would be looted during their deportation.\u003c/p>\n\u003cp>But it’s also a heartbreaking reminder of how much people didn’t know about the fate they faced at Auschwitz.\u003c/p>\n\u003cp>Every effort to hide valuables “shows that the Jewish families constantly had a ray of hope that these items will be required for their existence,” Cywinski says.\u003c/p>\n\u003cfigure id=\"attachment_11608015\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg\" alt=\"An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11608015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_2-ohucn6imphcvqckhzpy_sq-040c558eccdaae9b3bbbe0853d4641453f30cba5-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">An X-ray reveals the jewelry concealed behind the false bottom, which separated from the mug after more than 70 years. \u003ccite>(Photo: Courtesy of Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Despite the passage of more than 70 years since the liberation of the German Nazi concentration and extermination camp, there are still cases of accidental discovery of objects hidden by the victims,” the museum statement read.\u003c/p>\n\u003cp>And that’s what happened with the mug, which was being examined as part of routine work at the museum when the false bottom was discovered.\u003c/p>\n\u003cp>Beneath, there was a necklace coiled in a circle and wrapped in canvas, and a ring with some stones remaining in the setting.\u003c/p>\n\u003cp>“It was very well hidden, however, due to the passage of time, the materials underwent gradual degradation, and the second bottom separated from the mug,” Hanna Kubik of the Memorial Collections said in the museum’s statement.\u003c/p>\n\u003cp>The museum says that while every find is “carefully documented,” it is often impossible to connect a personal item to the victim who owned it because of a a lack of identifying characteristics.\u003c/p>\n\u003cfigure id=\"attachment_11608016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg\" alt=\"The necklace was carefully wrapped in canvas before being concealed in the mug\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11608016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/20160512_kubek_6-ohucn6imphcvqckhzpy_custom-8507fa6aa004d9aaae023bc39342e1e5cbbaeb48.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The necklace was carefully wrapped in canvas before being concealed in the mug \u003ccite>(Courtesy of Mirosław Maciaszczyk/Auschwitz Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The jewellery found in the mug will be stored in the Collections of the Museum in the form reflecting the manner in which it had been hidden by the owner, as a testimony to the fate of the Jews deported to the German Nazi concentration and extermination camp,” the museum writes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than 1 million prisoners, mostly Jews, died at Auschwitz during the Holocaust. \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=For+70+Years%2C+A+Mug+In+Auschwitz+Held+A+Secret+Treasure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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": "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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"politicalbreakdown": {
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"title": "Political Breakdown",
"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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"title": "Possible",
"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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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"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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"order": 16
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},
"science-friday": {
"id": "science-friday",
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