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"content": "\u003cp>Here’s a recipe for the ideal man: Take the speed and ruthlessness of a brain-damaged sociopath and combine them with the smarts and tenderness of a CIA agent who’s also a husband and father. Yet for some reason, the new movie about this champion is titled not \u003cem>The Perfect Guy\u003c/em>, but \u003cem>Criminal\u003c/em>.\u003c/p>\n\u003cp>That apparently refers to Jerico (Kevin Costner), who lacks all decency and empathy because he was abused as a child by his father. (So he’s a monster, but a victim, too.) Since he has “frontal lobe syndrome,” he’s the ideal temporary recipient of the consciousness of nice-guy spy Bill (Ryan Reynolds), who was just tortured to death by a Spanish anarchist with a Nordic name, Heimdahl (Jordi Molla).\u003c/p>\n\u003cp>https://youtu.be/3bvnoqsvY-M\u003c/p>\n\u003cp>There’s something about Reynolds’ male-model looks, it seems, that makes filmmakers want to disfigure him. \u003cem>Criminal\u003c/em> is no \u003cem>Deadpool\u003c/em>, though. It packs only a handful of ironic asides, and they’re all allocated to Costner. (While we’re on the subject of Reynolds’ odd career, by the way, let’s note that it’s been less than a year since the actor was seen in \u003cem>Self/less\u003c/em>, playing a body implanted with another man’s mind.)\u003c/p>\n\u003cp>Bill dies in London, and has stashed a Dutch hacker (Michael Pitt) without telling anyone where the guy is. The computer whiz can control the U.S. military arsenal from his laptop, so he’s frantically sought by CIA London station chief Quaker Wells (Gary Oldman with some sort of American accent). Also striving to make “a deal better than Snowden got” with the Dutchman are Heimdahl and the Russians — and, most likely, Apple and Google.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wells calls a plodding American brain tinkerer, played by a lumbering Tommy Lee Jones and named Dr. Franks. (The family probably shortened its surname after relocating from the Old Country.) Franks springs Jerico from a cell that looks as if it had been designed for Hannibal Lecter and flies him to Britain. The brute receives some of Bill’s memories, which come mingled with feelings for the dead man’s wife, Jill (Gal Gadot), and young daughter, Emma (Lara DeCaro).\u003c/p>\n\u003cp>But Jerico is hard to control, and soon he’s busted loose to terrorize both trendy coffee bars and working-class dives. His funniest moments come when he finds himself saying things Bill would have, and doesn’t understand them.\u003c/p>\n\u003cp>Even the gags arrive in the company of bone-crushing violence, as Jerico finds himself at war with the CIA and the anarchists — led by Heimdahl’s sexy lover/enforcer (Antje Traue) — as well as all sorts of ancillary law-enforcement types, who exist just to be bashed, smashed, or blown up.\u003c/p>\n\u003cp>The only person who doesn’t seem out to kill Jerico is Emma, with whom the guy develops the inevitable special bond. Thank heaven for little girls.\u003c/p>\n\u003cp>\u003cem>Criminal\u003c/em> was written by Douglas Cook and David Weisberg, who scripted \u003cem>The Rock\u003c/em>, a nutty 1996 Nicolas Cage vehicle. The director is Ariel Vromen, whose \u003cem>The Iceman\u003c/em> was a competent from-real-life 2013 drama that also involved mayhem and family values. But with its European locations, electro-thump score, and near-ceaseless violence, the movie plays like something tooled in French producer-scripter Luc Besson’s factory for international action mashups.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Besson probably would have imagined a more timely threat than Spanish anarchism. He likely wouldn’t have allowed Pitt to pronounce his Dutch character’s name, Strook, as if it were an American one. Most importantly, he would brought a lighter touch to this silly-in-concept but earnest-in-execution trifle. So when \u003cem>Criminal\u003c/em> hints at the possibility of a sequel, viewers might chuckle rather than cringe.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wells calls a plodding American brain tinkerer, played by a lumbering Tommy Lee Jones and named Dr. Franks. (The family probably shortened its surname after relocating from the Old Country.) Franks springs Jerico from a cell that looks as if it had been designed for Hannibal Lecter and flies him to Britain. The brute receives some of Bill’s memories, which come mingled with feelings for the dead man’s wife, Jill (Gal Gadot), and young daughter, Emma (Lara DeCaro).\u003c/p>\n\u003cp>But Jerico is hard to control, and soon he’s busted loose to terrorize both trendy coffee bars and working-class dives. His funniest moments come when he finds himself saying things Bill would have, and doesn’t understand them.\u003c/p>\n\u003cp>Even the gags arrive in the company of bone-crushing violence, as Jerico finds himself at war with the CIA and the anarchists — led by Heimdahl’s sexy lover/enforcer (Antje Traue) — as well as all sorts of ancillary law-enforcement types, who exist just to be bashed, smashed, or blown up.\u003c/p>\n\u003cp>The only person who doesn’t seem out to kill Jerico is Emma, with whom the guy develops the inevitable special bond. Thank heaven for little girls.\u003c/p>\n\u003cp>\u003cem>Criminal\u003c/em> was written by Douglas Cook and David Weisberg, who scripted \u003cem>The Rock\u003c/em>, a nutty 1996 Nicolas Cage vehicle. The director is Ariel Vromen, whose \u003cem>The Iceman\u003c/em> was a competent from-real-life 2013 drama that also involved mayhem and family values. But with its European locations, electro-thump score, and near-ceaseless violence, the movie plays like something tooled in French producer-scripter Luc Besson’s factory for international action mashups.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Besson probably would have imagined a more timely threat than Spanish anarchism. He likely wouldn’t have allowed Pitt to pronounce his Dutch character’s name, Strook, as if it were an American one. Most importantly, he would brought a lighter touch to this silly-in-concept but earnest-in-execution trifle. So when \u003cem>Criminal\u003c/em> hints at the possibility of a sequel, viewers might chuckle rather than cringe.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Comic W. Kamau Bell on Standing Tall and Finding Humor in America's Racism",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/474215754/474246945\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Comic W. Kamau Bell finds humor in the parts of America that make him uncomfortable. Speaking to \u003cem>Fresh Air\u003c/em>‘s Terry Gross, Bell likens his new CNN series, \u003cem>United Shades of America, \u003c/em>to a travel show that takes him “to all sorts of different places that I [am] either afraid to go, or you wouldn’t expect me to go.”\u003c/p>\n\u003cp>“I’ve always been a fan of [\u003cem>Parts Unknown\u003c/em> host Anthony] Bourdain,” Bell says. “I always thought if I had a show like that, you would replace food with racism. Instead of sampling the food, I would sample the racism or the culture.”\u003c/p>\n\u003cp>On the first few episodes of\u003cem> United Shades of America,\u003c/em> Bell, who is black, attends a Ku Klux Klan gathering, spends time at Daytona Beach during spring break and visits a gated retirement community.\u003c/p>\n\u003cp>Bell says that it is a blend of curiosity and fear that drives him forward in his work. For the episode in which he met up with Klan members in the middle of the night, he says, “I was more curious than I was afraid — until I got there and then … the fear sort of crept in.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On finding humor in his meeting with the Ku Klux Klan\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Klan is wrapped up in their mythology and I think they know they’re the boogeyman, and I think that they like that side of it. … There’s also a side of it where they’re also aware if they’re on a bright road wearing those outfits, they’re going to attract a lot of unwanted attention. They know those robes are as unpopular as I know those robes are unpopular. … All the Klan members I met who were dressed like that were on their own property or at night by the side of the road. Nobody was like, “Meet me at a coffee shop in downtown Arkansas and let’s get together at the Denny’s and talk about this.” Nobody wanted that.\u003c/p>\n\u003cp>\u003cstrong>On the demise of his former show, \u003cem>Totally Biased With W. Kamau Bell\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I was stranded in New York in an apartment that was way too expensive for a guy who didn’t have a job. I had one daughter; she was 3 years old. … We [had] moved into an apartment that was the budget of a guy with a TV show and then I didn’t have a TV show … and [it] really felt like that was a referendum on me, because I put all of myself into that show.\u003c/p>\n\u003cp>But at the same time, [I] was happy that it was canceled. We all worked really hard on that show, and when we went to four days a week, we weren’t ready for that. Also, I had a lot of friends on that show, and by the end, relationships had changed. People who had been my friends were now not my friends because now I was their boss. … By the end, I compared it to every Vietnam War movie, where everyone goes in their separate directions. … There was a real sense of I’m sad this is over, and thank God it’s over.\u003c/p>\n\u003cp>\u003cstrong>On how he dealt with depression after the end of \u003cem>Totally Biased\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I can’t slip off the planet. I can’t just give into it, so I have to slowly put one foot in front of the other. But there was a real sense if I had been not married with a kid, I would have booked that Dave Chappelle ticket to South Africa. … I would have disappeared for a while. I don’t mean in any sort of dangerous way, but I would have been like, “I think I’m done with whatever this is.”\u003c/p>\n\u003cp>But I couldn’t do it. And I slowly realized that the canceling of the show was probably better for my career anyway, because the show was sort of going by in drips and drabs at that point. We weren’t getting good ratings, we weren’t getting a lot of attention, the wear and tear was seen on my face. My friends who watched the show could see that it was hard for me, and when the show got canceled, it became like Woodstock — more people claimed they were there than who were clearly there.\u003c/p>\n\u003cp>\u003cstrong>On having biracial daughters\u003c/strong>\u003c/p>\n\u003cp>It’s important to me that my daughter learn what I learned, that no matter how you feel you’re being treated by black people at any given time, those are your people. My wife knows that those are my daughter’s people. … We had a lot of conversations; she understood that she was having a black daughter. … It was her parents that had to realize this. …\u003c/p>\n\u003cp>My wife told me that at one point her mom came to her — I think while my wife was still pregnant — and said, “So wait, Sammy is going to be black.” And my wife was like, “Yes that’s true,” and her mom was like, “OK.”\u003c/p>\n\u003cp>In that tiny thing, was years of race discussions with my wife and her getting her family into the idea of, “My boyfriend is this black guy; my husband is this black guy.” There was a whole “Circle Of Life” that happened in that moment that I wasn’t there for, but I was like, “Yaaay.”\u003c/p>\n\u003cp>\u003cstrong>On the advantages of being tall \u003c/strong>\u003c/p>\n\u003cp>There is nothing bad about being tall. … When you’re tall you sort of get more points, like people think you’re better looking. Tall people get paid more money generally; presidents are taller than the average man.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I feel like it’s been great for me to be tall because it gives me something in the world that sometimes being black takes away from me … and when need be, I can use my height and my size to my advantage to get out of difficult situations. For example, with the Klan, those guys are all pretty short. So as much as they hate a black guy, the 6-foot-4-inch, 250-pound black guy is a different thing than maybe the black guy they imagined. So that’s a time to stand up taller, and to stand over people and go, “Yes, can you tell me about this cross?” … That’s a benefit. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comic+W.+Kamau+Bell+On+Standing+Tall+And+Finding+Humor+In+America%27s+Racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Time was when every other drama about troubled youth came packaged with evil, inept or uncomprehending government functionaries itching to make matters worse. In Emmanuelle Bercot’s sympathetic \u003cem>Standing Tall\u003c/em>, one sorely lacking caseworker shows up briefly to rub salt in the prior wounds of a damaged youngster. He is quickly dispatched though, and from then on the film tags along with a team of dedicated workers trying to rescue the teenager from a rotten past, a lousy future, and his own hair-trigger temper. There’s not a saint among them, but their devotion rarely flags.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oucJZHGN9ic\u003c/p>\n\u003cp>If that’s a rosy view of how things go down in the halls of juvenile correction, it’s one that shows a refreshing appreciation for the compassion and perseverance of those on the front lines of a system that often seems primed for failure. For anyone who loves films about who we are when we’re working, \u003cem>Standing Tall\u003c/em> is a fine procedural that’s less concerned with the roots of delinquency or with institutional inertia than with the hair-raising ebb and flow of daily life in the juvie trenches.\u003c/p>\n\u003cp>No fingers are pointed here, and the movie brigns no fresh news about the forces that warped young Malony (played by Rod Paradot, an electric natural plucked from carpentry school) into the bundle of warring impulses he’s become since we first met him as a cute, terrified six-year-old. Abandoned by an ill-equipped mother (a very good Sara Forestier) who loves him in her way but is barely more than a child herself, Malony now bounces between foster families and juvenile courts, running wild with only a compassionate judge (Catherine Deneuve) standing between him and adult prison.\u003c/p>\n\u003cp>As a blowsy late bloomer in Bercot’s pleasantly knockabout 2013 road movie \u003cem>On My Way\u003c/em>, Deneuve clearly relished the release from her reputation as an ice queen. Here she offers a precisely observed friction between serenely maternal, crafty and exasperated as the magistrate who, on the verge of retirement, knows how stacked the deck is against the likes of Malony, yet never quite succumbs to cynicism or despair. She’s helped, mostly, by a caseworker (Benoit Magimel) who’s up from the gutter himself and careens between tenacious support of his young charge and terror that he my never be fully out of the woods himself. Picking their way through a system that stands ready to put Malony away for good, they steer the boy to a residential home in a bucolic country setting, where we see him struggle with other kids as volatile and as vulnerable as he is.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pleasure of \u003cem>Standing Tall\u003c/em> lies in its intelligent fidelity to process, to the Sisyphean struggle that both Malony and his stubborn but tested protectors face. We see the minuscule steps forward and the helpless backsliding that hold this frequently unlikable youngster captive to a reactivity that threatens his frail yet potent attachment to his mother, to the troubled yet loving girl (Diane Rouxel) who offers him love and hope, to the judge who refuses to give up on him. Deftly shuffling points of view with a soundtrack that veers between classical pieces and rap, Bercot moves the action along with unsteady, staccato rhythms that juggle Malony’s simmering rage with his yearning for an ordinary life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>By the end of this kindly film we want to give it to him, and though it’s easy enough to write off the climax as frankly wishful, Bercot has cunningly stashed a nascent gift in the prologue to \u003cem>Standing Tall\u003c/em>. This tortured young man has an innate talent that will help him earn the future she has bestowed on him, and send his helper into retirement resting easy.\u003c/p>\n\n",
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"title": "Who Owns 'We Shall Overcome'? All of Us, a Lawsuit Claims",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/474120870/474120871\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>One of the most iconic songs of the civil rights movement is now the subject of a lawsuit.\u003c/p>\n\u003cp>The same law firm that recently \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/09/22/442694777/happy-birthday-to-us-all-judge-rules-tune-is-public-domain\" target=\"_blank\" rel=\"noopener\">succeeded in releasing\u003c/a> “Happy Birthday” from copyright rules is now hoping to do the same for “We Shall Overcome.” Filed Tuesday in New York federal court, \u003ca href=\"http://www.whafh.com/case/we-shall-overcome-foundation-v-the-richmond-organization-inc/\" target=\"_blank\" rel=\"noopener\">the suit\u003c/a> claims the song belongs in the public domain, and seeks a return of “unlawful licensing fees” from the publishers.\u003c/p>\n\u003cp>The lawsuit was filed on behalf of the \u003ca href=\"http://weshallovercomefoundation.org/\" target=\"_blank\" rel=\"noopener\">We Shall Overcome Foundation\u003c/a>, a non-profit lead by Isaias Gamboa. A few years ago, Gamboa wrote a book about the history of the song. Now, he’s working on a documentary based on his research. When he contacted the song’s publishers, “they actually prevented me from using the song in the film, which I wasn’t expecting,” he says.\u003c/p>\n\u003cp>Knowing the song’s origins, Gamboa says he couldn’t understand why “We Shall Overcome” would be copyrighted in the first place. “It was always a derivative work,” he says, “and was based on a spiritual from back in the day, as they say.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The song’s roots run deep. Slaves sang “I’ll Overcome” in the fields; striking workers sang “we will overcome” on the picket lines. It was an African-American spiritual. So how did the version we know today get copyrighted at all?\u003c/p>\n\u003cp>A little more history: In the 1940s, African-American tobacco workers sang a version of the song on the picket lines in South Carolina. They introduced the song at the Highlander Folk Center in Tennessee, a meeting place for black and white labor activists. Highlander’s music director, Zilphia Horton, introduced the song to \u003ca href=\"http://www.npr.org/artists/15869924/pete-seeger\" target=\"_blank\" rel=\"noopener\">Pete Seeger\u003c/a>, who helped turn it into an international protest anthem.\u003c/p>\n\u003cp>In the early 1960s, Ludlow Music registered “We Shall Overcome” as an “unpublished derivative work.” The plaintiff claims this copyright only covers some new verses and an arrangement, not the original melody and lyrics.\u003c/p>\n\u003cp>Ludlow’s copyright names four people, including Zilphia Horton and Pete Seeger. In a 1993 book, Seeger said he and the others only signed the copyright to protect its legacy. “In the early ’60s our publishers said to us, ‘If you don’t copyright this now, some Hollywood types will have a version out next year — like, ‘come on baby, we shall overcome tonight,'” Seeger wrote.\u003c/p>\n\u003cp>The defendants in the case, The Richmond Organization and Ludlow Music, declined to be interviewed. In a statement to NPR, they write the lawsuit “goes too far and attempts to nullify the contribution of these authors which brought into being the iconic song we know today.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The publishers also write that “100% of the writers’ royalties generated by ‘We Shall Overcome’ have gone to the ‘We Shall Overcome Fund’ operating in affiliation with the Highlander Folk School in Monteagle, Tennessee, supporting the Fund’s mission to nurture grassroots efforts within African American communities to use art and activism against injustice.” \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=Who+Owns+%27We+Shall+Overcome%27%3F+All+Of+Us%2C+A+Lawsuit+Claims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/474120870/474120871\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>One of the most iconic songs of the civil rights movement is now the subject of a lawsuit.\u003c/p>\n\u003cp>The same law firm that recently \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/09/22/442694777/happy-birthday-to-us-all-judge-rules-tune-is-public-domain\" target=\"_blank\" rel=\"noopener\">succeeded in releasing\u003c/a> “Happy Birthday” from copyright rules is now hoping to do the same for “We Shall Overcome.” Filed Tuesday in New York federal court, \u003ca href=\"http://www.whafh.com/case/we-shall-overcome-foundation-v-the-richmond-organization-inc/\" target=\"_blank\" rel=\"noopener\">the suit\u003c/a> claims the song belongs in the public domain, and seeks a return of “unlawful licensing fees” from the publishers.\u003c/p>\n\u003cp>The lawsuit was filed on behalf of the \u003ca href=\"http://weshallovercomefoundation.org/\" target=\"_blank\" rel=\"noopener\">We Shall Overcome Foundation\u003c/a>, a non-profit lead by Isaias Gamboa. A few years ago, Gamboa wrote a book about the history of the song. Now, he’s working on a documentary based on his research. When he contacted the song’s publishers, “they actually prevented me from using the song in the film, which I wasn’t expecting,” he says.\u003c/p>\n\u003cp>Knowing the song’s origins, Gamboa says he couldn’t understand why “We Shall Overcome” would be copyrighted in the first place. “It was always a derivative work,” he says, “and was based on a spiritual from back in the day, as they say.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The song’s roots run deep. Slaves sang “I’ll Overcome” in the fields; striking workers sang “we will overcome” on the picket lines. It was an African-American spiritual. So how did the version we know today get copyrighted at all?\u003c/p>\n\u003cp>A little more history: In the 1940s, African-American tobacco workers sang a version of the song on the picket lines in South Carolina. They introduced the song at the Highlander Folk Center in Tennessee, a meeting place for black and white labor activists. Highlander’s music director, Zilphia Horton, introduced the song to \u003ca href=\"http://www.npr.org/artists/15869924/pete-seeger\" target=\"_blank\" rel=\"noopener\">Pete Seeger\u003c/a>, who helped turn it into an international protest anthem.\u003c/p>\n\u003cp>In the early 1960s, Ludlow Music registered “We Shall Overcome” as an “unpublished derivative work.” The plaintiff claims this copyright only covers some new verses and an arrangement, not the original melody and lyrics.\u003c/p>\n\u003cp>Ludlow’s copyright names four people, including Zilphia Horton and Pete Seeger. In a 1993 book, Seeger said he and the others only signed the copyright to protect its legacy. “In the early ’60s our publishers said to us, ‘If you don’t copyright this now, some Hollywood types will have a version out next year — like, ‘come on baby, we shall overcome tonight,'” Seeger wrote.\u003c/p>\n\u003cp>The defendants in the case, The Richmond Organization and Ludlow Music, declined to be interviewed. In a statement to NPR, they write the lawsuit “goes too far and attempts to nullify the contribution of these authors which brought into being the iconic song we know today.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The publishers also write that “100% of the writers’ royalties generated by ‘We Shall Overcome’ have gone to the ‘We Shall Overcome Fund’ operating in affiliation with the Highlander Folk School in Monteagle, Tennessee, supporting the Fund’s mission to nurture grassroots efforts within African American communities to use art and activism against injustice.” \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=Who+Owns+%27We+Shall+Overcome%27%3F+All+Of+Us%2C+A+Lawsuit+Claims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'You Couldn't Help But Be The Student': Remembering Tony Conrad",
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"content": "\u003cp>Tony Conrad’s violin was a suture on the soul. Using those droning strings, he conjured bracing and beautiful hues between colors, between notes, between worlds. The experimental musician, composer and filmmaker who was a key component of the ’60s Lower Manhattan art scene — and who never really stopped innovating — died Saturday of pneumonia at the age of 76.\u003c/p>\n\u003cp>Conrad’s influence and discography goes wide. Playing alongside La Monte Young, \u003ca href=\"http://www.npr.org/artists/17090462/john-cale\" target=\"_blank\" rel=\"noopener\">John Cale\u003c/a>, Angus MacLise and Marian Zazeela in the Theatre of Eternal Music (a.k.a. The Dream Syndicate), he introduced drone music to Western audiences. In the mid-’60s, Conrad and Cale were recruited to back a short-lived band called The Primitives featuring a young \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> — Conrad left, but the remaining members would start \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>. His 1973 album \u003cem>Outside The Dream Syndicate\u003c/em>, recorded with the German band Faust, became a benchmark of minimalism, thudding with motorik rhythm and lost in Conrad’s kaleidoscopic violin. From the ’90s onward, his recorded works grew exponentially, including collaborations with the likes of Charlemagne Palestine, \u003ca href=\"http://www.npr.org/artists/121639212/jim-o-rourke\" target=\"_blank\" rel=\"noopener\">Jim O’Rourke\u003c/a>, MV Carbon, Genesis Breyer P-Orridge and David Grubbs, among others.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FGMnDcwoXns\u003c/p>\n\u003cp>Over the weekend, while many praised Conrad’s musical innovation and inspiration, those who knew him intimately, spoke of his natural gift to teach. Since 1976, he had been a faculty member at SUNY-Buffalo, where he taught media studies — writer Brandon Stosuy has a \u003ca href=\"http://pitchfork.com/thepitch/1094-remembering-my-friend-tony-conrad-and-his-eternal-music/\" target=\"_blank\" rel=\"noopener\">touching essay\u003c/a> on his time as a student there that’s worth reading. But Conrad was also open beyond his academic duties, freely sharing his knowledge and wisdom. Even in the briefest of moments, Conrad could turn an offhand comment into a meditation. Before a gig at the now-shuttered Brooklyn space New York Paris London West Nile, clarinetist and composer \u003ca href=\"http://www.npr.org/artists/464329445/jeremiah-cymerman\">Jeremiah Cymerman\u003c/a> told Conrad he could barely play a note on the bass clarinet. Tony’s response was, “You only need one note, as long it’s the right note.”\u003c/p>\n\u003cp>“For somebody of his stature, he had no airs,” guitarist \u003ca href=\"http://www.npr.org/artists/341656889/chris-forsyth\" target=\"_blank\" rel=\"noopener\">Chris Forsyth\u003c/a> says of his time taking a workshop with Tony Conrad.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Forsyth is one of six musicians and composers with whom I talked about Conrad’s role as a teacher — not only a professor, but also a guide onstage and in practice rooms, often with people generations removed. “I think that he genuinely wanted to be around people who were not jaded,” says David Grubbs, “and that generally meant younger people.” Conrad built a community on which he not only imparted history and insight but that he also supported by constantly attending shows and improvising with its new breed of experimentalists. Grubbs, C. Spencer Yeh, Jennifer Walshe, Chris Forsyth, \u003ca href=\"http://www.npr.org/artists/95052631/mercury-rev\" target=\"_blank\" rel=\"noopener\">Mercury Rev\u003c/a>‘s Sean “Grasshopper” Mackowiak and Ben Vida (Bird Show, Town and Country) all share their stories, which showcase Conrad’s gently challenging methods. And in his own undefinable way, it also turns out that Tony Conrad was a helluva cut-up.\u003c/p>\n\u003chr>\n\u003ch3>David Grubbs\u003c/h3>\n\u003cp>\u003cem>Grubbs met Conrad in 1994, as a member of the band Gastr Del Sol with Jim O’Rourke, and not long after found himself in Chicago, recording \u003ca href=\"https://www.youtube.com/watch?v=virk_cjfBt8\" target=\"_blank\" rel=\"noopener\">Slapping Pythagoras\u003c/a>\u003c/em>\u003cem>. Afterwards, the two remained colleagues and friends.\u003c/em>\u003c/p>\n\u003cp>My first encounter with him was in the studio at Steve Albini’s house, there were six guitar players and it was already a little bit like a classroom situation. You know, we were all in a row with our guitars horizontally in front of us — and Tony. The first thing that he said was, “Okay, who has the loudest ground hum from your guitar?” And somebody had a guitar with a single-coil pickup and Tony said, “Okay, turn the amp up to 10, and okay that’s a 60-cycle hum, and we’re going to use that as the root tone and we’re all going to tune on whole-number fraction intervals related to that.” So it was already like being in a class, or taking a workshop from Tony the second that you started playing music with him.\u003c/p>\n\u003cp>He was really one of the most Socratic and radically egalitarian people I’ve ever met, but he was just so f****** brilliant that he couldn’t help but be the teacher, or you couldn’t help but be the student. And it was always delivered with this incredible humor. Without fail, one of the consistently most hilarious people that you could ever hope to meet. You know, you’d just bust a gut laughing around him. If that’s one of his qualities as a teacher, then that’s an incredible quality to bring to that kind of pedagogical situation.\u003c/p>\n\u003cp>And also, let’s go ahead and say it, he was the most brilliant, the smartest. I have a kid in grade school and people are very concerned like, “Who’s the smartest?” As an adult, I never ever think things like, “Who’s smarter than whom?” except maybe with reference to Tony, where I’m like, obviously, he was head and shoulders so much smarter than everybody around him. But he never seemed to hold it against people. [Laughs.] Everybody was dumber than he was.\u003c/p>\n\u003chr>\n\u003ch3>C. Spencer Yeh\u003c/h3>\n\u003cp>\u003cem>The Brooklyn-based musician would cross paths Conrad while touring through Buffalo, and would release an \u003ca href=\"http://www.picadisk.com/pica013.html\" target=\"_blank\" rel=\"noopener\">excellent album\u003c/a> with him in 2010. \u003c/em>\u003c/p>\n\u003cp>I knew Tony first as a distant legend, then as an astounding presence and curious personality, and finally as a friend, a fellow artist in the present. When I say “fellow artist,” I mean less about how I perceive my work next to his, but rather as a compliment to how he was – that he didn’t go the route of hiding himself away, rarefying himself, halting his achievement and living in the past. I don’t know how else to put it other than he was always “present.” He was one of the few idols of mine that I wanted to work and hang out with, and to talk to.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jt7A5vW_LEg\u003c/p>\n\u003cp>I first got to know Tony’s work while in school in Chicago in the ’90s, both in film/video through class with my professor Tom Gunning, and in music/sound (the college radio station WNUR, being a spectator in the scene at the time through working with the record label, Skin Graft, and being around people like David Grubbs and Jim O’Rourke). From there, touring and crossing paths with Tony, getting to know him and starting to work with him (both collaboratively as well as being in performances of his works), then by moving to New York, living in the same neighborhood, checking out the same shows or art events. He’d been there all along in my own development of whatever it is I’m trying to do, and my developing relationship with Tony was an evolving life lesson on how to be an artist – how to “be” an artist, as in to “be” in the world, and whatever thing you had done doesn’t put you above (or below) others, and that you don’t have to isolate yourself from the present to be taken seriously and deeply. Learning that being an artist extends beyond the objects or sounds or light you make – that it’s how you think, how you carry yourself, how you “be” in the world.\u003c/p>\n\u003cp>There were two ways he could explain things. One was the “Tony” way, just a dazzle of theories and knowledge, provocation. Then, there was the way we are when we are all just trying to get by – warm and grounded. I thought I would be able to see Tony around NYC forever, to rely on the next time I get to see that smile and hear that chuckle, or the storm of frustrated curses when his mishmash of electronics would start feeding back.\u003c/p>\n\u003chr>\n\u003ch3>Jennifer Walshe\u003c/h3>\n\u003cp>\u003cem>The Irish vocalist, composer and improviser Jennifer Walshe met Conrad at the Electric Eclectics festival in 2008. Though she is now based in London, the two would meet weekly in each other’s New York apartments to jam on whatever instruments were available. They were set to mix their duo album in May. \u003c/em>\u003c/p>\n\u003cp>The one thing that I felt with Tony was that anything was up for grabs. You could just do whatever the hell you wanted and as long as you were focused, and as long as you were in it, that was good. He said to me, “I think you should use text. I don’t understand why there’s this disconnect.” When I say text, I mean the text is completely linked with what the voice is doing. It’s not slam poetry or something like that. It’s just weird stories or weird snippets of text. He wrote this text that about a tiny puppy s****** on the street. He was like, “This is where we should begin!” I was like, “This is insane.” But it made me push, and it made me think about why I never used text in improvisation before.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/473926469/473930952\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>When we started playing together, he was 69. I would say, “I can’t believe I’m playing with this 69-year-old guy and I feel more liberated than I do when I play with a 23-year-old noise kid.” David [Grubbs] knew him in the ’90s when he would have been in his 50s, but I only got to know Tony in his very late 60s and his 70s. What I saw was somebody who could tell me, “Here are the most important artistic moments in my life where I realized this is absolute s***. I want to develop the next 5-10 years.” He could have easily said, “I’m the drone guy,” and lived out the rest of his life. That’s somebody who’s always learning and that’s going to be with me forever.\u003c/p>\n\u003cp>He wrote me a reference and I’m now a reader (which is the U.K. equivalent of a professor) at Brunel University in London. He would give me teaching advise, which he claimed he got from an in-flight magazine. [Laughs.] He said, “What you do is you ask them a question and you pretend to write something down. And nobody will answer. And you just keep pretending that you’re writing something down until it becomes agonizing. Then one of them will eventually talk.” he said, “That’s what I read in an in-flight magazine.” [Laughs.]\u003c/p>\n\u003chr>\n\u003ch3>Chris Forsyth\u003c/h3>\n\u003cp>\u003cem>The Philadelphia-based guitarist has been releasing records with the Solar Motel Band since 2013, but around 2007, at the tail end of his time with the Brooklyn experimental rockers Peeesseye, Forsyth took a month-long workshop with Conrad who bashed the \u003ca href=\"https://en.wikipedia.org/wiki/Pythagorean_tuning\" target=\"_blank\" rel=\"noopener\">Pythagorean influence\u003c/a> on Western music and opened Forsyth’s ears and eyes.\u003c/em>\u003c/p>\n\u003cp>He held a workshop every Sunday afternoon with maybe 30 people at each one — it was mostly experimental-music and noise people. In other words, not people who were virtuosos or trained — a lot of aesthetically ambitious but technically primitive players. He was teaching music theory to them. I felt like, looking around the room, I maybe had a little bit more grounding in that stuff than others, but my grounding in it was ultra conventional — it was the stuff that Tony was taking apart. Like, [Television guitarist] Richard Lloyd held Pythagoras in very high esteem. Tony Conrad did not. It was about undermining the authority of this figure that dominated Western music theory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HveVIhfO8Rs\u003c/p>\n\u003cp>I wouldn’t want to be responsible for giving an explanation the way he broke down the flaws in Pythagorean musical theory, but he talked about it as the original sin of Western civilization. He said that when we stepped away from the natural ratios — because it was more convenient to have all the notes equally tempered — that’s when things started to really go wrong. This really appealed to me as someone who has issues with authority.\u003c/p>\n\u003cp>But he also tied it into this whole outlook on one’s place in the world and in our culture. He made it really present because it was about taking down the hierarchies exist that run our world and run our lives. He talked about music as the foundation of civilization. Because of the way that music is set up, it instills all these kinds of values, which dominate our culture today. It was empowering. It was a lens through which you could understand these complex systems both in music, which can be really arcane and mathematical, but he also put it into this real world context. He was an enthusiastic, authentic teacher — he was so invested in what we was telling everybody.\u003c/p>\n\u003chr>\n\u003ch3>Sean “Grasshopper” Mackowiak\u003c/h3>\n\u003cp>\u003cem>In autumn 1984, Mackowiak, a founding member of the band Mercury Rev, went to SUNY-Buffalo, but quickly became disillusioned with his mathematics and engineering major. Not long after he started auditing Tony Conrad’s class, he switched to media studies and spent the next four years with him.\u003c/em>\u003c/p>\n\u003cp>His brilliance and curiosity were infectious. He was a natural raconteur, telling stories, seamlessly connecting the history of classical music, avant-garde music, film, pop culture, video, performance art, cultural studies, mathematics, psychology, philosophy, alchemy, etc. in ways I had never imagined. The class was called “Electronic Image Analysis,” but we would talk about Fluxus, The Situationists, the music of Harry Partch, the films of Harry Smith, anything and everything. All very enlightening stuff! There was no Internet then, you couldn’t Google this stuff — he had it all in his head and shared it with us. He had encyclopedic knowledge of arts, culture, history, science, and alchemy from pre-Greek civilization to the present.\u003c/p>\n\u003cp>One of the first assignments he had the class do was to pick a film or piece of music that we personally strongly disliked, and write about it in a very positive way. Then the next week, we were to do the opposite, pick something we liked and totally trash it. That was an amazing exercise in opening the mind up to questioning: “What is high-brow? What is low-brow? What is good art and what is bad art?” One starts to realize that those questions are all somewhat subjective to the time and cultural circumstantial moment. The distinctions between Folk Art/Folk Music and the “Classics” were erased. Tony took Robert Creeley’s statement that “Form is never more than an extension of content” and flipped it to “Content is never more than an extension of form.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZJbqnztjkbs\u003c/p>\n\u003cp>He told me to be wary of being labeled. Be wary of being in a “movement.” He said that whenever he was labeled something — a “minimalist” or “structural filmmaker” — he usually abandoned what he was doing and wiped the slate clean.\u003c/p>\n\u003cp>I sat next to him at a lecture that \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> was giving in Buffalo at Hallwalls and he fell asleep during it. I don’t know if he was faking it or really asleep, but it was perfect! His day to day life was like a giant performance art piece.\u003c/p>\n\u003chr>\n\u003ch3>Ben Vida\u003c/h3>\n\u003cp>\u003cem>Tony Conrad and Vida’s old band Town and Country toured together in 2004. Conrad showed Vida that art transcended medium.\u003c/em>\u003c/p>\n\u003cp>My first memory has to do with going to see Tony present some of his films. This was perhaps 1997. It was at a venue in Chicago called the Lunar Cabaret. In the audience, if memory serves, was Jim O’Rourke, David Grubbs, John Corbett and only a few others. Tony presented the films almost as a performance. His presence and storytelling was as illuminating as the work itself. So much humor, intelligence and generous energy — and always mischievous. For me it was a formative moment where I started to understand the porousness between artistic processes. That, in the right hands, mediums were mutable and that performance could be a more more expansive practice.\u003c/p>\n\u003cp>When I was back in school getting my MFA, Tony came in as a guest instructor. He stirred s*** up so effortlessly and with such intelligence. He brought a point of view that was, at once, in touch with the old avant-garde but also completely present and contemporary. I remember him saying to a group of students something like, “It’s okay if I don’t like your work. I shouldn’t like it. We are from different generations.” I took this to mean that the work of a young artist today shouldn’t sit easily with an older artist — you’re supposed to be pushing beyond what has come before, and in that, there should be distortions and disconnects. It shouldn’t be easy.\u003c/p>\n\u003cp>As my own practice has continued to evolve, and I find myself oscillating between the music and art worlds, Tony’s writing and lectures and music and art continue to inform how I see and listen and think about things. I don’t think he ever stopped experimenting. And I don’t think he ever stopped pushing. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-CQBe2mNW60\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=%27You+Couldn%27t+Help+But+Be+The+Student%27%3A+Remembering+Tony+Conrad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony Conrad’s violin was a suture on the soul. Using those droning strings, he conjured bracing and beautiful hues between colors, between notes, between worlds. The experimental musician, composer and filmmaker who was a key component of the ’60s Lower Manhattan art scene — and who never really stopped innovating — died Saturday of pneumonia at the age of 76.\u003c/p>\n\u003cp>Conrad’s influence and discography goes wide. Playing alongside La Monte Young, \u003ca href=\"http://www.npr.org/artists/17090462/john-cale\" target=\"_blank\" rel=\"noopener\">John Cale\u003c/a>, Angus MacLise and Marian Zazeela in the Theatre of Eternal Music (a.k.a. The Dream Syndicate), he introduced drone music to Western audiences. In the mid-’60s, Conrad and Cale were recruited to back a short-lived band called The Primitives featuring a young \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> — Conrad left, but the remaining members would start \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>. His 1973 album \u003cem>Outside The Dream Syndicate\u003c/em>, recorded with the German band Faust, became a benchmark of minimalism, thudding with motorik rhythm and lost in Conrad’s kaleidoscopic violin. From the ’90s onward, his recorded works grew exponentially, including collaborations with the likes of Charlemagne Palestine, \u003ca href=\"http://www.npr.org/artists/121639212/jim-o-rourke\" target=\"_blank\" rel=\"noopener\">Jim O’Rourke\u003c/a>, MV Carbon, Genesis Breyer P-Orridge and David Grubbs, among others.\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/FGMnDcwoXns'\n title='//www.youtube.com/embed/FGMnDcwoXns'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over the weekend, while many praised Conrad’s musical innovation and inspiration, those who knew him intimately, spoke of his natural gift to teach. Since 1976, he had been a faculty member at SUNY-Buffalo, where he taught media studies — writer Brandon Stosuy has a \u003ca href=\"http://pitchfork.com/thepitch/1094-remembering-my-friend-tony-conrad-and-his-eternal-music/\" target=\"_blank\" rel=\"noopener\">touching essay\u003c/a> on his time as a student there that’s worth reading. But Conrad was also open beyond his academic duties, freely sharing his knowledge and wisdom. Even in the briefest of moments, Conrad could turn an offhand comment into a meditation. Before a gig at the now-shuttered Brooklyn space New York Paris London West Nile, clarinetist and composer \u003ca href=\"http://www.npr.org/artists/464329445/jeremiah-cymerman\">Jeremiah Cymerman\u003c/a> told Conrad he could barely play a note on the bass clarinet. Tony’s response was, “You only need one note, as long it’s the right note.”\u003c/p>\n\u003cp>“For somebody of his stature, he had no airs,” guitarist \u003ca href=\"http://www.npr.org/artists/341656889/chris-forsyth\" target=\"_blank\" rel=\"noopener\">Chris Forsyth\u003c/a> says of his time taking a workshop with Tony Conrad.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Forsyth is one of six musicians and composers with whom I talked about Conrad’s role as a teacher — not only a professor, but also a guide onstage and in practice rooms, often with people generations removed. “I think that he genuinely wanted to be around people who were not jaded,” says David Grubbs, “and that generally meant younger people.” Conrad built a community on which he not only imparted history and insight but that he also supported by constantly attending shows and improvising with its new breed of experimentalists. Grubbs, C. Spencer Yeh, Jennifer Walshe, Chris Forsyth, \u003ca href=\"http://www.npr.org/artists/95052631/mercury-rev\" target=\"_blank\" rel=\"noopener\">Mercury Rev\u003c/a>‘s Sean “Grasshopper” Mackowiak and Ben Vida (Bird Show, Town and Country) all share their stories, which showcase Conrad’s gently challenging methods. And in his own undefinable way, it also turns out that Tony Conrad was a helluva cut-up.\u003c/p>\n\u003chr>\n\u003ch3>David Grubbs\u003c/h3>\n\u003cp>\u003cem>Grubbs met Conrad in 1994, as a member of the band Gastr Del Sol with Jim O’Rourke, and not long after found himself in Chicago, recording \u003ca href=\"https://www.youtube.com/watch?v=virk_cjfBt8\" target=\"_blank\" rel=\"noopener\">Slapping Pythagoras\u003c/a>\u003c/em>\u003cem>. Afterwards, the two remained colleagues and friends.\u003c/em>\u003c/p>\n\u003cp>My first encounter with him was in the studio at Steve Albini’s house, there were six guitar players and it was already a little bit like a classroom situation. You know, we were all in a row with our guitars horizontally in front of us — and Tony. The first thing that he said was, “Okay, who has the loudest ground hum from your guitar?” And somebody had a guitar with a single-coil pickup and Tony said, “Okay, turn the amp up to 10, and okay that’s a 60-cycle hum, and we’re going to use that as the root tone and we’re all going to tune on whole-number fraction intervals related to that.” So it was already like being in a class, or taking a workshop from Tony the second that you started playing music with him.\u003c/p>\n\u003cp>He was really one of the most Socratic and radically egalitarian people I’ve ever met, but he was just so f****** brilliant that he couldn’t help but be the teacher, or you couldn’t help but be the student. And it was always delivered with this incredible humor. Without fail, one of the consistently most hilarious people that you could ever hope to meet. You know, you’d just bust a gut laughing around him. If that’s one of his qualities as a teacher, then that’s an incredible quality to bring to that kind of pedagogical situation.\u003c/p>\n\u003cp>And also, let’s go ahead and say it, he was the most brilliant, the smartest. I have a kid in grade school and people are very concerned like, “Who’s the smartest?” As an adult, I never ever think things like, “Who’s smarter than whom?” except maybe with reference to Tony, where I’m like, obviously, he was head and shoulders so much smarter than everybody around him. But he never seemed to hold it against people. [Laughs.] Everybody was dumber than he was.\u003c/p>\n\u003chr>\n\u003ch3>C. Spencer Yeh\u003c/h3>\n\u003cp>\u003cem>The Brooklyn-based musician would cross paths Conrad while touring through Buffalo, and would release an \u003ca href=\"http://www.picadisk.com/pica013.html\" target=\"_blank\" rel=\"noopener\">excellent album\u003c/a> with him in 2010. \u003c/em>\u003c/p>\n\u003cp>I knew Tony first as a distant legend, then as an astounding presence and curious personality, and finally as a friend, a fellow artist in the present. When I say “fellow artist,” I mean less about how I perceive my work next to his, but rather as a compliment to how he was – that he didn’t go the route of hiding himself away, rarefying himself, halting his achievement and living in the past. I don’t know how else to put it other than he was always “present.” He was one of the few idols of mine that I wanted to work and hang out with, and to talk to.\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/Jt7A5vW_LEg'\n title='//www.youtube.com/embed/Jt7A5vW_LEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I first got to know Tony’s work while in school in Chicago in the ’90s, both in film/video through class with my professor Tom Gunning, and in music/sound (the college radio station WNUR, being a spectator in the scene at the time through working with the record label, Skin Graft, and being around people like David Grubbs and Jim O’Rourke). From there, touring and crossing paths with Tony, getting to know him and starting to work with him (both collaboratively as well as being in performances of his works), then by moving to New York, living in the same neighborhood, checking out the same shows or art events. He’d been there all along in my own development of whatever it is I’m trying to do, and my developing relationship with Tony was an evolving life lesson on how to be an artist – how to “be” an artist, as in to “be” in the world, and whatever thing you had done doesn’t put you above (or below) others, and that you don’t have to isolate yourself from the present to be taken seriously and deeply. Learning that being an artist extends beyond the objects or sounds or light you make – that it’s how you think, how you carry yourself, how you “be” in the world.\u003c/p>\n\u003cp>There were two ways he could explain things. One was the “Tony” way, just a dazzle of theories and knowledge, provocation. Then, there was the way we are when we are all just trying to get by – warm and grounded. I thought I would be able to see Tony around NYC forever, to rely on the next time I get to see that smile and hear that chuckle, or the storm of frustrated curses when his mishmash of electronics would start feeding back.\u003c/p>\n\u003chr>\n\u003ch3>Jennifer Walshe\u003c/h3>\n\u003cp>\u003cem>The Irish vocalist, composer and improviser Jennifer Walshe met Conrad at the Electric Eclectics festival in 2008. Though she is now based in London, the two would meet weekly in each other’s New York apartments to jam on whatever instruments were available. They were set to mix their duo album in May. \u003c/em>\u003c/p>\n\u003cp>The one thing that I felt with Tony was that anything was up for grabs. You could just do whatever the hell you wanted and as long as you were focused, and as long as you were in it, that was good. He said to me, “I think you should use text. I don’t understand why there’s this disconnect.” When I say text, I mean the text is completely linked with what the voice is doing. It’s not slam poetry or something like that. It’s just weird stories or weird snippets of text. He wrote this text that about a tiny puppy s****** on the street. He was like, “This is where we should begin!” I was like, “This is insane.” But it made me push, and it made me think about why I never used text in improvisation before.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/473926469/473930952\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>When we started playing together, he was 69. I would say, “I can’t believe I’m playing with this 69-year-old guy and I feel more liberated than I do when I play with a 23-year-old noise kid.” David [Grubbs] knew him in the ’90s when he would have been in his 50s, but I only got to know Tony in his very late 60s and his 70s. What I saw was somebody who could tell me, “Here are the most important artistic moments in my life where I realized this is absolute s***. I want to develop the next 5-10 years.” He could have easily said, “I’m the drone guy,” and lived out the rest of his life. That’s somebody who’s always learning and that’s going to be with me forever.\u003c/p>\n\u003cp>He wrote me a reference and I’m now a reader (which is the U.K. equivalent of a professor) at Brunel University in London. He would give me teaching advise, which he claimed he got from an in-flight magazine. [Laughs.] He said, “What you do is you ask them a question and you pretend to write something down. And nobody will answer. And you just keep pretending that you’re writing something down until it becomes agonizing. Then one of them will eventually talk.” he said, “That’s what I read in an in-flight magazine.” [Laughs.]\u003c/p>\n\u003chr>\n\u003ch3>Chris Forsyth\u003c/h3>\n\u003cp>\u003cem>The Philadelphia-based guitarist has been releasing records with the Solar Motel Band since 2013, but around 2007, at the tail end of his time with the Brooklyn experimental rockers Peeesseye, Forsyth took a month-long workshop with Conrad who bashed the \u003ca href=\"https://en.wikipedia.org/wiki/Pythagorean_tuning\" target=\"_blank\" rel=\"noopener\">Pythagorean influence\u003c/a> on Western music and opened Forsyth’s ears and eyes.\u003c/em>\u003c/p>\n\u003cp>He held a workshop every Sunday afternoon with maybe 30 people at each one — it was mostly experimental-music and noise people. In other words, not people who were virtuosos or trained — a lot of aesthetically ambitious but technically primitive players. He was teaching music theory to them. I felt like, looking around the room, I maybe had a little bit more grounding in that stuff than others, but my grounding in it was ultra conventional — it was the stuff that Tony was taking apart. Like, [Television guitarist] Richard Lloyd held Pythagoras in very high esteem. Tony Conrad did not. It was about undermining the authority of this figure that dominated Western music theory.\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/HveVIhfO8Rs'\n title='//www.youtube.com/embed/HveVIhfO8Rs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I wouldn’t want to be responsible for giving an explanation the way he broke down the flaws in Pythagorean musical theory, but he talked about it as the original sin of Western civilization. He said that when we stepped away from the natural ratios — because it was more convenient to have all the notes equally tempered — that’s when things started to really go wrong. This really appealed to me as someone who has issues with authority.\u003c/p>\n\u003cp>But he also tied it into this whole outlook on one’s place in the world and in our culture. He made it really present because it was about taking down the hierarchies exist that run our world and run our lives. He talked about music as the foundation of civilization. Because of the way that music is set up, it instills all these kinds of values, which dominate our culture today. It was empowering. It was a lens through which you could understand these complex systems both in music, which can be really arcane and mathematical, but he also put it into this real world context. He was an enthusiastic, authentic teacher — he was so invested in what we was telling everybody.\u003c/p>\n\u003chr>\n\u003ch3>Sean “Grasshopper” Mackowiak\u003c/h3>\n\u003cp>\u003cem>In autumn 1984, Mackowiak, a founding member of the band Mercury Rev, went to SUNY-Buffalo, but quickly became disillusioned with his mathematics and engineering major. Not long after he started auditing Tony Conrad’s class, he switched to media studies and spent the next four years with him.\u003c/em>\u003c/p>\n\u003cp>His brilliance and curiosity were infectious. He was a natural raconteur, telling stories, seamlessly connecting the history of classical music, avant-garde music, film, pop culture, video, performance art, cultural studies, mathematics, psychology, philosophy, alchemy, etc. in ways I had never imagined. The class was called “Electronic Image Analysis,” but we would talk about Fluxus, The Situationists, the music of Harry Partch, the films of Harry Smith, anything and everything. All very enlightening stuff! There was no Internet then, you couldn’t Google this stuff — he had it all in his head and shared it with us. He had encyclopedic knowledge of arts, culture, history, science, and alchemy from pre-Greek civilization to the present.\u003c/p>\n\u003cp>One of the first assignments he had the class do was to pick a film or piece of music that we personally strongly disliked, and write about it in a very positive way. Then the next week, we were to do the opposite, pick something we liked and totally trash it. That was an amazing exercise in opening the mind up to questioning: “What is high-brow? What is low-brow? What is good art and what is bad art?” One starts to realize that those questions are all somewhat subjective to the time and cultural circumstantial moment. The distinctions between Folk Art/Folk Music and the “Classics” were erased. Tony took Robert Creeley’s statement that “Form is never more than an extension of content” and flipped it to “Content is never more than an extension of form.”\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/ZJbqnztjkbs'\n title='//www.youtube.com/embed/ZJbqnztjkbs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He told me to be wary of being labeled. Be wary of being in a “movement.” He said that whenever he was labeled something — a “minimalist” or “structural filmmaker” — he usually abandoned what he was doing and wiped the slate clean.\u003c/p>\n\u003cp>I sat next to him at a lecture that \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a> was giving in Buffalo at Hallwalls and he fell asleep during it. I don’t know if he was faking it or really asleep, but it was perfect! His day to day life was like a giant performance art piece.\u003c/p>\n\u003chr>\n\u003ch3>Ben Vida\u003c/h3>\n\u003cp>\u003cem>Tony Conrad and Vida’s old band Town and Country toured together in 2004. Conrad showed Vida that art transcended medium.\u003c/em>\u003c/p>\n\u003cp>My first memory has to do with going to see Tony present some of his films. This was perhaps 1997. It was at a venue in Chicago called the Lunar Cabaret. In the audience, if memory serves, was Jim O’Rourke, David Grubbs, John Corbett and only a few others. Tony presented the films almost as a performance. His presence and storytelling was as illuminating as the work itself. So much humor, intelligence and generous energy — and always mischievous. For me it was a formative moment where I started to understand the porousness between artistic processes. That, in the right hands, mediums were mutable and that performance could be a more more expansive practice.\u003c/p>\n\u003cp>When I was back in school getting my MFA, Tony came in as a guest instructor. He stirred s*** up so effortlessly and with such intelligence. He brought a point of view that was, at once, in touch with the old avant-garde but also completely present and contemporary. I remember him saying to a group of students something like, “It’s okay if I don’t like your work. I shouldn’t like it. We are from different generations.” I took this to mean that the work of a young artist today shouldn’t sit easily with an older artist — you’re supposed to be pushing beyond what has come before, and in that, there should be distortions and disconnects. It shouldn’t be easy.\u003c/p>\n\u003cp>As my own practice has continued to evolve, and I find myself oscillating between the music and art worlds, Tony’s writing and lectures and music and art continue to inform how I see and listen and think about things. I don’t think he ever stopped experimenting. And I don’t think he ever stopped pushing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-CQBe2mNW60'\n title='//www.youtube.com/embed/-CQBe2mNW60'\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=%27You+Couldn%27t+Help+But+Be+The+Student%27%3A+Remembering+Tony+Conrad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Buster Keaton and Samuel Beckett Walk Into a Movie Studio",
"headTitle": "Buster Keaton and Samuel Beckett Walk Into a Movie Studio | KQED",
"content": "\u003cp>In 1964, two guys walk into a movie studio. One of them was Buster Keaton, a silent film master of physical comedy, and the other was Samuel Beckett, a master of cerebral literature. They were there to make a movie together, and now a \u003cem>new\u003c/em> movie tells the story of their unlikely collaboration.\u003c/p>\n\u003cp>Beckett and Keaton’s project was called \u003cem>Film\u003c/em>, and the new account of that project — created by former UCLA archivist Ross Lipman — is called \u003ca href=\"http://filmbysamuelbeckett.com/\">Notfilm\u003c/a>. Lipman was fascinated by the Beckett-Keaton collaboration. “I love storytelling,” he says, “and I love all the historical figures involved and I love pursuing these strange little nooks and crannies of cultural history.”\u003c/p>\n\u003cp>\u003cem>Film\u003c/em> is certainly one of those crannies, but making a movie about the making of a movie posed a problem. In the beginning of \u003cem>Notfilm\u003c/em>, Lipman says, “I’ve never quite trusted films about film. Art shouldn’t be about art; it should be about life, and speak to life — or so I told myself, as if they were somehow distinguishable.”\u003c/p>\n\u003cp>As an archivist, Lipman worked on a bunch of restoration projects, from silent films to the movies of John Sayles and John Cassavetes. His research on the Beckett-Keaton project led him to the apartment of the man who funded \u003cem>Film\u003c/em>. Under the sink, Lipman found reels of outtakes and a prologue that was eventually rejected.\u003c/p>\n\u003cp>“There were lots of outtakes of the camera panning across this abandoned room — this decrepit, decaying space,” Lipman says. “And they were so evocative. … I’ve got all this wonderful material that obviously speaks to me from a historical and intellectual standpoint, but underneath it got to me at this emotional level, and that was the thing that pushed me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lipman’s film grew into a movie essay on the meaning of images — how we see ourselves on screen and how others see us. He says, “The film by Beckett is about someone who is afraid of being looked at, and Beckett uses the camera as a metaphor for that. And Keaton was one of those people who did have this aversion to the limelight. In his private life, he didn’t really like to be invaded in that way. So at a physical level, he understood this aversion to being observed that Beckett was using as the subject of his film.”\u003c/p>\n\u003cp>But Keaton wasn’t Beckett’s first choice. Actor James Karen, who appears in \u003cem>Film\u003c/em>, says, “Beckett had written it for Jack MacGowran and MacGowran couldn’t do it, so I suggested Buster.”\u003c/p>\n\u003cp>Karen has acted on Broadway, TV and film, including 1985’s \u003cem>The Return of the Living Dead\u003c/em>. He was a close friend of Keaton’s, but he says he had to convince him to do the Beckett project. Once Keaton was on set, Karen says, the seasoned silent film star didn’t think Beckett or his first-time director, acclaimed theater director Alan Schneider, knew what they were doing.\u003c/p>\n\u003cp>“They were terrific in the theater,” Karen says, “but they knew nothing about making a movie. They would ask for things which no actor could do. I remember Beckett one time said to Buster, ‘Mr. Keaton, could you hold that blink three more frames?’ Buster looked at me and said, ‘Sure!’ I just said, ‘Take my word for it, these are respectable people.’ And he said, ‘Well, I know Beckett has done a lot of work,’ he says, ‘but do people really like it?’ ”\u003c/p>\n\u003cp>According to \u003cem>Notfilm\u003c/em>, Beckett himself thought his first (and last) foray onto the big screen was a failure, but film historian Bruce Kawin says the playwright was wrong. He thinks \u003cem>Film\u003c/em> was a well done, simple story about someone who doesn’t want to be seen.\u003c/p>\n\u003cp>“You have to think about what the great, modern experiments were like, and how many of them are actually entertaining,” Kawin says. “Like, you know, \u003cem>Ulysses\u003c/em> is really great if you like it; and if you don’t, it’s just too long, about too little, you know? And Beckett is cleaner and faster and simpler. We’re talking about simplicity, genius and clarity, which is something that Beckett had and Keaton had. … Keaton’s the real thing. … Beckett’s the real thing. These are \u003cem>amazing\u003c/em> artists, just amazing artists.”\u003c/p>\n\u003cp>And Kawin can’t understand why they didn’t have a great time making a movie that he thinks is funny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think you can really mess it up by being too intellectual about it,” he says. “And that may have been Beckett’s mistake and it may have been Schneider’s mistake. They may have just not understood that they were dealing with an absolute genius — Keaton. And Keaton may not have understood how brilliant and funny Beckett was.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 KUNC-FM. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1964, two guys walk into a movie studio. One of them was Buster Keaton, a silent film master of physical comedy, and the other was Samuel Beckett, a master of cerebral literature. They were there to make a movie together, and now a \u003cem>new\u003c/em> movie tells the story of their unlikely collaboration.\u003c/p>\n\u003cp>Beckett and Keaton’s project was called \u003cem>Film\u003c/em>, and the new account of that project — created by former UCLA archivist Ross Lipman — is called \u003ca href=\"http://filmbysamuelbeckett.com/\">Notfilm\u003c/a>. Lipman was fascinated by the Beckett-Keaton collaboration. “I love storytelling,” he says, “and I love all the historical figures involved and I love pursuing these strange little nooks and crannies of cultural history.”\u003c/p>\n\u003cp>\u003cem>Film\u003c/em> is certainly one of those crannies, but making a movie about the making of a movie posed a problem. In the beginning of \u003cem>Notfilm\u003c/em>, Lipman says, “I’ve never quite trusted films about film. Art shouldn’t be about art; it should be about life, and speak to life — or so I told myself, as if they were somehow distinguishable.”\u003c/p>\n\u003cp>As an archivist, Lipman worked on a bunch of restoration projects, from silent films to the movies of John Sayles and John Cassavetes. His research on the Beckett-Keaton project led him to the apartment of the man who funded \u003cem>Film\u003c/em>. Under the sink, Lipman found reels of outtakes and a prologue that was eventually rejected.\u003c/p>\n\u003cp>“There were lots of outtakes of the camera panning across this abandoned room — this decrepit, decaying space,” Lipman says. “And they were so evocative. … I’ve got all this wonderful material that obviously speaks to me from a historical and intellectual standpoint, but underneath it got to me at this emotional level, and that was the thing that pushed me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lipman’s film grew into a movie essay on the meaning of images — how we see ourselves on screen and how others see us. He says, “The film by Beckett is about someone who is afraid of being looked at, and Beckett uses the camera as a metaphor for that. And Keaton was one of those people who did have this aversion to the limelight. In his private life, he didn’t really like to be invaded in that way. So at a physical level, he understood this aversion to being observed that Beckett was using as the subject of his film.”\u003c/p>\n\u003cp>But Keaton wasn’t Beckett’s first choice. Actor James Karen, who appears in \u003cem>Film\u003c/em>, says, “Beckett had written it for Jack MacGowran and MacGowran couldn’t do it, so I suggested Buster.”\u003c/p>\n\u003cp>Karen has acted on Broadway, TV and film, including 1985’s \u003cem>The Return of the Living Dead\u003c/em>. He was a close friend of Keaton’s, but he says he had to convince him to do the Beckett project. Once Keaton was on set, Karen says, the seasoned silent film star didn’t think Beckett or his first-time director, acclaimed theater director Alan Schneider, knew what they were doing.\u003c/p>\n\u003cp>“They were terrific in the theater,” Karen says, “but they knew nothing about making a movie. They would ask for things which no actor could do. I remember Beckett one time said to Buster, ‘Mr. Keaton, could you hold that blink three more frames?’ Buster looked at me and said, ‘Sure!’ I just said, ‘Take my word for it, these are respectable people.’ And he said, ‘Well, I know Beckett has done a lot of work,’ he says, ‘but do people really like it?’ ”\u003c/p>\n\u003cp>According to \u003cem>Notfilm\u003c/em>, Beckett himself thought his first (and last) foray onto the big screen was a failure, but film historian Bruce Kawin says the playwright was wrong. He thinks \u003cem>Film\u003c/em> was a well done, simple story about someone who doesn’t want to be seen.\u003c/p>\n\u003cp>“You have to think about what the great, modern experiments were like, and how many of them are actually entertaining,” Kawin says. “Like, you know, \u003cem>Ulysses\u003c/em> is really great if you like it; and if you don’t, it’s just too long, about too little, you know? And Beckett is cleaner and faster and simpler. We’re talking about simplicity, genius and clarity, which is something that Beckett had and Keaton had. … Keaton’s the real thing. … Beckett’s the real thing. These are \u003cem>amazing\u003c/em> artists, just amazing artists.”\u003c/p>\n\u003cp>And Kawin can’t understand why they didn’t have a great time making a movie that he thinks is funny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think you can really mess it up by being too intellectual about it,” he says. “And that may have been Beckett’s mistake and it may have been Schneider’s mistake. They may have just not understood that they were dealing with an absolute genius — Keaton. And Keaton may not have understood how brilliant and funny Beckett was.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 KUNC-FM. To see more, visit \u003ca href=\"http://kunc.org\">KUNC-FM\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Buster+Keaton+And+Samuel+Beckett+Walk+Into+A+Movie+Studio+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bruce Springsteen has canceled his show scheduled for Sunday in North Carolina as a show of “solidarity” with the people and businesses protesting the state’s recently passed HB2 law, which requires that transgender people only use bathrooms that correspond with their sex at birth.\u003c/p>\n\u003cp>“Right now, there are many groups, businesses, and individuals in North Carolina working to oppose and overcome these negative developments,” the musician said in a \u003ca href=\"http://brucespringsteen.net/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>. “Taking all of this into account, I feel that this is a time for me and the band to show solidarity for those freedom fighters.”\u003c/p>\n\u003cp>https://twitter.com/springsteen/status/718524059559010309\u003c/p>\n\u003cp>The law, passed in March in a special session by the state’s Legislature and signed by Gov. Pat McCrory, also blocks “local governments from passing anti-discrimination rules to grant protections to gay and transgender people,” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/03/24/471700323/north-carolina-passes-law-blocking-measures-to-protect-lgbt-people\" target=\"_blank\" rel=\"noopener\">as we reported\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/springsteen/status/718554551930982400\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Boss explained his reasoning in the statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“As you, my fans, know I’m scheduled to play in Greensboro, North Carolina this Sunday. As we also know, North Carolina has just passed HB2, which the media are referring to as the ‘bathroom’ law. HB2 — known officially as the Public Facilities Privacy and Security Act — dictates which bathrooms transgender people are permitted to use. Just as important, the law also attacks the rights of LGBT citizens to sue when their human rights are violated in the workplace.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Springsteen also said, “No other group of North Carolinians faces such a burden. To my mind, it’s an attempt by people who cannot stand the progress our country has made in recognizing the human rights of all of our citizens to overturn that progress.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He concluded by saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a result, and with deepest apologies to our dedicated fans in Greensboro, we have canceled our show scheduled for Sunday, April 10th. Some things are more important than a rock show and this fight against prejudice and bigotry — which is happening as I write — is one of them. It is the strongest means I have for raising my voice in opposition to those who continue to push us backwards instead of forwards.”\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=Bruce+Springsteen+Cancels+Show+in+North+Carolina+To+Protest+%27Bathroom+Bill%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Boss explained his reasoning in the statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“As you, my fans, know I’m scheduled to play in Greensboro, North Carolina this Sunday. As we also know, North Carolina has just passed HB2, which the media are referring to as the ‘bathroom’ law. HB2 — known officially as the Public Facilities Privacy and Security Act — dictates which bathrooms transgender people are permitted to use. Just as important, the law also attacks the rights of LGBT citizens to sue when their human rights are violated in the workplace.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Springsteen also said, “No other group of North Carolinians faces such a burden. To my mind, it’s an attempt by people who cannot stand the progress our country has made in recognizing the human rights of all of our citizens to overturn that progress.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He concluded by saying:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a result, and with deepest apologies to our dedicated fans in Greensboro, we have canceled our show scheduled for Sunday, April 10th. Some things are more important than a rock show and this fight against prejudice and bigotry — which is happening as I write — is one of them. It is the strongest means I have for raising my voice in opposition to those who continue to push us backwards instead of forwards.”\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=Bruce+Springsteen+Cancels+Show+in+North+Carolina+To+Protest+%27Bathroom+Bill%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Paul Dedalus can be a man of action. The middle-class protagonist of the dynamic yet ultimately melancholy \u003cem>My Golden Days\u003c/em> carries a gun into a tense negotiation with a drug dealer, and happily accepts a secret mission to carry documents and cash to Jewish refuseniks while on a high-school trip behind what was then the Iron Curtain.\u003c/p>\n\u003cp>Yet Paul — like his Irish cousin, James Joyce’s Stephen Dedalus — is more observer than doer. In fact, he’s an anthropology student who will grow up to be the central character in director Arnaud Desplechin’s 1996 film, \u003cem>My Sex Life, or … How I Got Into an Argument\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v4D7XhKZoTg\u003c/p>\n\u003cp>The older Paul is played by Desplechin regular Matthieu Amalric, who also had the role 20 years ago. He appears only in brief framing stories, set in Tajikstan and Paris. The movie belongs to Quentin Dolmaire, soulful and selfish as the teenage Paul, and Lou Roy-Lecollinet, who movingly plays Esther, the troubled girlfriend he can’t comfort, and will never forget.\u003c/p>\n\u003cp>Despite its references to ancient Greek literature, \u003cem>My Golden Days\u003c/em> doesn’t try for classical symmetry. Its French title means “three memories of my youth,” and the film does consist primarily of a trio of episodes, set in the 1970s and ’80s. But the first two are quick and open-ended, while the third is a movie in itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the elliptical first chapter, Paul protects his two younger siblings from their manic mother, and then seeks refuge with his lesbian great-aunt. He hears a story about a Stalinist execution, and attends a funeral. The circumstances won’t be explained until later.\u003c/p>\n\u003cp>The second part sends Paul and a Jewish pal to Minsk, where they meet the refuseniks. Paul makes a spontaneous gift that will inconvenience him later, and also provide a metaphor for his detachment. “I feel nothing” is Paul’s refrain, although it’s not always true.\u003c/p>\n\u003cp>Finally, Paul meets Esther, one of his younger sister’s classmates. She’s a headstrong siren who’s certain of her attractiveness, yet has doubts about her other qualities. Their relationship is roiled by infidelities on both sides, and also by distance. Paul is studying in Paris, while Esther still lives in Roubaix, Paul’s — and the director’s — Belgian-border hometown.\u003c/p>\n\u003cp>Like \u003cem>My Sex Life\u003c/em>, Desplechin’s latest effort is as much novelistic as cinematic. Indeed, it might benefit from being longer and more discursive, so as to fill in such sketchy characters as Paul’s enigmatic younger brother, and to show more of how Esther became the person she is in the earlier film.\u003c/p>\n\u003cp>The overall style is realistic, and Irina Lubtchansky’s hand-held cinematography emulates documentary. Yet the director includes such movie-buff touches as split screens (most popular in the ’70s) and iris shots (which recall silent movies). Although the performances are immediate, the goal is to evoke a sense of the past.\u003c/p>\n\u003cp>This lost age is not particularly golden. Wispy classical-style music is interrupted by the earthy rap and funk of George Clinton, Run D.M.C., and Roxanne Shante, and Paul’s historical and anthropological interest in the former Soviet Union is tempered by his experience of Communist oppression.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then this is a movie where Paul greets the demolition of the Berlin Wall with regret; he sees not freedom for millions but the end of his childhood. Years later, in a startling scene with the middle-aged Paul, a hometown rival, and the latter’s wife, Esther also becomes a symbol of private loss. It’s impossible to say how autobiographical \u003cem>My Golden Days\u003c/em> is, but there’s no question that it’s profoundly personal.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Dedalus can be a man of action. The middle-class protagonist of the dynamic yet ultimately melancholy \u003cem>My Golden Days\u003c/em> carries a gun into a tense negotiation with a drug dealer, and happily accepts a secret mission to carry documents and cash to Jewish refuseniks while on a high-school trip behind what was then the Iron Curtain.\u003c/p>\n\u003cp>Yet Paul — like his Irish cousin, James Joyce’s Stephen Dedalus — is more observer than doer. In fact, he’s an anthropology student who will grow up to be the central character in director Arnaud Desplechin’s 1996 film, \u003cem>My Sex Life, or … How I Got Into an Argument\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v4D7XhKZoTg'\n title='//www.youtube.com/embed/v4D7XhKZoTg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The older Paul is played by Desplechin regular Matthieu Amalric, who also had the role 20 years ago. He appears only in brief framing stories, set in Tajikstan and Paris. The movie belongs to Quentin Dolmaire, soulful and selfish as the teenage Paul, and Lou Roy-Lecollinet, who movingly plays Esther, the troubled girlfriend he can’t comfort, and will never forget.\u003c/p>\n\u003cp>Despite its references to ancient Greek literature, \u003cem>My Golden Days\u003c/em> doesn’t try for classical symmetry. Its French title means “three memories of my youth,” and the film does consist primarily of a trio of episodes, set in the 1970s and ’80s. But the first two are quick and open-ended, while the third is a movie in itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the elliptical first chapter, Paul protects his two younger siblings from their manic mother, and then seeks refuge with his lesbian great-aunt. He hears a story about a Stalinist execution, and attends a funeral. The circumstances won’t be explained until later.\u003c/p>\n\u003cp>The second part sends Paul and a Jewish pal to Minsk, where they meet the refuseniks. Paul makes a spontaneous gift that will inconvenience him later, and also provide a metaphor for his detachment. “I feel nothing” is Paul’s refrain, although it’s not always true.\u003c/p>\n\u003cp>Finally, Paul meets Esther, one of his younger sister’s classmates. She’s a headstrong siren who’s certain of her attractiveness, yet has doubts about her other qualities. Their relationship is roiled by infidelities on both sides, and also by distance. Paul is studying in Paris, while Esther still lives in Roubaix, Paul’s — and the director’s — Belgian-border hometown.\u003c/p>\n\u003cp>Like \u003cem>My Sex Life\u003c/em>, Desplechin’s latest effort is as much novelistic as cinematic. Indeed, it might benefit from being longer and more discursive, so as to fill in such sketchy characters as Paul’s enigmatic younger brother, and to show more of how Esther became the person she is in the earlier film.\u003c/p>\n\u003cp>The overall style is realistic, and Irina Lubtchansky’s hand-held cinematography emulates documentary. Yet the director includes such movie-buff touches as split screens (most popular in the ’70s) and iris shots (which recall silent movies). Although the performances are immediate, the goal is to evoke a sense of the past.\u003c/p>\n\u003cp>This lost age is not particularly golden. Wispy classical-style music is interrupted by the earthy rap and funk of George Clinton, Run D.M.C., and Roxanne Shante, and Paul’s historical and anthropological interest in the former Soviet Union is tempered by his experience of Communist oppression.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then this is a movie where Paul greets the demolition of the Berlin Wall with regret; he sees not freedom for millions but the end of his childhood. Years later, in a startling scene with the middle-aged Paul, a hometown rival, and the latter’s wife, Esther also becomes a symbol of private loss. It’s impossible to say how autobiographical \u003cem>My Golden Days\u003c/em> is, but there’s no question that it’s profoundly personal.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Don Cheadle has been playing Miles Davis for his entire career. To look back now on some of the actor’s most exciting performances — as flashy porn star Buck Swope in \u003cem>Boogie Nights,\u003c/em> velvet-slick con man Basher Tarr in the \u003cem>Ocean’s\u003c/em> trilogy, and rabble-rousing deejay Petey Greene in \u003cem>Talk to Me — \u003c/em>is to recognize those same larger-than-life elements from the persona of the jazz legend and Cheadle’s \u003ca href=\"http://www.npr.org/2016/03/26/471903220/what-does-genius-look-like\" target=\"_blank\" rel=\"noopener\">personal hero\u003c/a>. Maybe all that was missing was that Jheri curl and that brilliantly weaponized trumpet.\u003c/p>\n\u003cp>In his feature directorial debut, Cheadle finally lets us in on the Miles in his mind. Named after Davis’ 1957 album of the same name, but set during his six-year withdrawal from public life in the late 1970s, \u003cem>Miles Ahead \u003c/em>is from the start portraying not the trumpeter’s life story but rather his essence. Typically that’s film-speak for excusing a biopic’s inevitable factual inaccuracies. But what about when the biopic isn’t even \u003cem>trying\u003c/em> to be accurate, because its makers are motivated by something other than accuracy? In this case, it’s the idea of hanging out in Davis’ house, watching him navigate his pigsty while producing drugs and priceless memorabilia from every corner. Call it a life story, only funkified.\u003c/p>\n\u003cp>This also may be the first biopic to prominently feature a MacGuffin. The story concerns an unreleased recording of a Davis studio session that he is desperate to keep to himself, a tape that will be passed around between an unscrupulous journalist (Ewan McGregor) and an even less scrupulous manager (Michael Stuhlbarg, trying out handlebar-mustache ham). This tape rouses Davis from hermitdom and gets him out onto the street, brandishing a pistol and prompting car chases that Cheadle shoots in “NBC cop show” action pieces.\u003c/p>\n\u003cp>Cheadle’s attempt to impose this thriller element onto an already suitably strange life story is the hardest pill to swallow, as it’s not clear what new insights into Davis’ character it’s meant to bring. There are times, too, when the film is confused about the motivations of the Davis it has invented. Early in his recluse period, he calls in to a radio station during a tribute hour to request a song from his 1960 record \u003cem>Sketches of Spain,\u003c/em> but later, when he finds the same record on the shelf of a young fan/supplier, he’s annoyed: “Man, I’ve recorded, like, 15 albums since then.” Is he disappearing into his legacy willingly, or has it imprisoned him? Or is it specifically the kid’s youth and whiteness that leaves this titan feeling vulnerable? Whether it’s McGregor’s journalist asking the big questions or us, they don’t seem to get answered.\u003c/p>\n\u003cp>Nevertheless, \u003cem>Miles Ahead\u003c/em> makes for a fine complement to \u003ca href=\"http://www.npr.org/2016/03/24/471035008/born-to-be-blue-finds-truth-in-inventive-riffs\" target=\"_blank\" rel=\"noopener\">Born to be Blue\u003c/a>, the similarly experimental and, at times, similarly sloppy Chet Baker sorta-biopic released just last week. Truly, this is a golden age for jazz films. In \u003cem>Blue,\u003c/em> we watched Ethan Hawke’s Baker revitalize his career onstage at the New York club Birdland; here, in a brutal (and factual) sequence, we see club headliner Davis beaten and arrested on the sidewalk after escorting a white woman outside.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flashbacks like these, and others featuring Davis’ passionate but abusive relationship with first wife Frances Taylor (a luminous Emayatzy Corinealdi), weave into the central narrative at odd angles. And Cheadle blessedly makes no attempt to slap on any sort of thematic catch-all. A life is what it is: bright, brilliant, full of missteps and contradictions and moments of sheer transcendent glory. We can try to take that mess of humanity and squeeze it into a tailored Hollywood red-carpet dress — or we can do what the jazz greats do and invent, invent, invent, all while riffing on the stuff we know we can’t afford to lose.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Miles Ahead\u003c/em> ends with a dizzying blurring of the line between fact, fiction, past and present. In character as Davis, we see Cheadle take the stage clad in a vest he could never have worn (branded with “#SocialMusic,” his term for jazz). Then we get a good look at his new backing band: generations of jazz legends including Esperanza Spalding and still-kicking Davis compatriot Herbie Hancock, jamming on thoroughly modern melodies. Davis constantly reinvented his own style right up until his death. The fusion tunes the group plays help turn \u003cem>Miles Ahead\u003c/em> into something much weirder and freer than a biopic: a pulsating act of cinematic resurrection. The dead are not dead, not yet. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+Is+A+Biopic+Not+A+Biopic%3F+When+Don+Cheadle+Meets+Miles+Davis&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Cheadle has been playing Miles Davis for his entire career. To look back now on some of the actor’s most exciting performances — as flashy porn star Buck Swope in \u003cem>Boogie Nights,\u003c/em> velvet-slick con man Basher Tarr in the \u003cem>Ocean’s\u003c/em> trilogy, and rabble-rousing deejay Petey Greene in \u003cem>Talk to Me — \u003c/em>is to recognize those same larger-than-life elements from the persona of the jazz legend and Cheadle’s \u003ca href=\"http://www.npr.org/2016/03/26/471903220/what-does-genius-look-like\" target=\"_blank\" rel=\"noopener\">personal hero\u003c/a>. Maybe all that was missing was that Jheri curl and that brilliantly weaponized trumpet.\u003c/p>\n\u003cp>In his feature directorial debut, Cheadle finally lets us in on the Miles in his mind. Named after Davis’ 1957 album of the same name, but set during his six-year withdrawal from public life in the late 1970s, \u003cem>Miles Ahead \u003c/em>is from the start portraying not the trumpeter’s life story but rather his essence. Typically that’s film-speak for excusing a biopic’s inevitable factual inaccuracies. But what about when the biopic isn’t even \u003cem>trying\u003c/em> to be accurate, because its makers are motivated by something other than accuracy? In this case, it’s the idea of hanging out in Davis’ house, watching him navigate his pigsty while producing drugs and priceless memorabilia from every corner. Call it a life story, only funkified.\u003c/p>\n\u003cp>This also may be the first biopic to prominently feature a MacGuffin. The story concerns an unreleased recording of a Davis studio session that he is desperate to keep to himself, a tape that will be passed around between an unscrupulous journalist (Ewan McGregor) and an even less scrupulous manager (Michael Stuhlbarg, trying out handlebar-mustache ham). This tape rouses Davis from hermitdom and gets him out onto the street, brandishing a pistol and prompting car chases that Cheadle shoots in “NBC cop show” action pieces.\u003c/p>\n\u003cp>Cheadle’s attempt to impose this thriller element onto an already suitably strange life story is the hardest pill to swallow, as it’s not clear what new insights into Davis’ character it’s meant to bring. There are times, too, when the film is confused about the motivations of the Davis it has invented. Early in his recluse period, he calls in to a radio station during a tribute hour to request a song from his 1960 record \u003cem>Sketches of Spain,\u003c/em> but later, when he finds the same record on the shelf of a young fan/supplier, he’s annoyed: “Man, I’ve recorded, like, 15 albums since then.” Is he disappearing into his legacy willingly, or has it imprisoned him? Or is it specifically the kid’s youth and whiteness that leaves this titan feeling vulnerable? Whether it’s McGregor’s journalist asking the big questions or us, they don’t seem to get answered.\u003c/p>\n\u003cp>Nevertheless, \u003cem>Miles Ahead\u003c/em> makes for a fine complement to \u003ca href=\"http://www.npr.org/2016/03/24/471035008/born-to-be-blue-finds-truth-in-inventive-riffs\" target=\"_blank\" rel=\"noopener\">Born to be Blue\u003c/a>, the similarly experimental and, at times, similarly sloppy Chet Baker sorta-biopic released just last week. Truly, this is a golden age for jazz films. In \u003cem>Blue,\u003c/em> we watched Ethan Hawke’s Baker revitalize his career onstage at the New York club Birdland; here, in a brutal (and factual) sequence, we see club headliner Davis beaten and arrested on the sidewalk after escorting a white woman outside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Flashbacks like these, and others featuring Davis’ passionate but abusive relationship with first wife Frances Taylor (a luminous Emayatzy Corinealdi), weave into the central narrative at odd angles. And Cheadle blessedly makes no attempt to slap on any sort of thematic catch-all. A life is what it is: bright, brilliant, full of missteps and contradictions and moments of sheer transcendent glory. We can try to take that mess of humanity and squeeze it into a tailored Hollywood red-carpet dress — or we can do what the jazz greats do and invent, invent, invent, all while riffing on the stuff we know we can’t afford to lose.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Miles Ahead\u003c/em> ends with a dizzying blurring of the line between fact, fiction, past and present. In character as Davis, we see Cheadle take the stage clad in a vest he could never have worn (branded with “#SocialMusic,” his term for jazz). Then we get a good look at his new backing band: generations of jazz legends including Esperanza Spalding and still-kicking Davis compatriot Herbie Hancock, jamming on thoroughly modern melodies. Davis constantly reinvented his own style right up until his death. The fusion tunes the group plays help turn \u003cem>Miles Ahead\u003c/em> into something much weirder and freer than a biopic: a pulsating act of cinematic resurrection. The dead are not dead, not yet. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+Is+A+Biopic+Not+A+Biopic%3F+When+Don+Cheadle+Meets+Miles+Davis&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Imagine the worst opera singer ever. Now imagine that she’s determined to perform in public. That’s the premise of an award-winning French satire that’s based on a true story. It’s called \u003cem>Marguerite\u003c/em>, and it follows a middle-aged socialite by the same name.\u003c/p>\n\u003cp>Marguerite has very little to do. While the roaring 1920s roar elsewhere and her husband spends all his time with a mistress, Marguerite sits in her \u003cem>Downton Abbey\u003c/em>-style mansion outside Paris surrendering her soul to music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6XB3bB7ktMI\u003c/p>\n\u003cp>She adores opera, and is wealthy enough that she can sponsor musical recitals for charity with young guest singers. These are invitation-only affairs where her wealthy friends reward her charitable generosity by being charitable about the way she ends the concerts — with her own, shall we say, \u003cem>unique\u003c/em> musical stylings. Stylings with no sense of pitch, rhythm or, for that matter, talent.\u003c/p>\n\u003cp>Marguerite is surrounded by servants who applaud and friends who are polite. (Her husband usually claims car trouble kept him away.) But I hear your question: How could she not know? Wouldn’t someone tell her? Here’s how it works: After one recital, when a young singer is ushered into Marguerite’s presence to say thank you, Marguerite looks up — vulnerable and sweet — and says, “You heard me miss all my high notes.” The young performer, not wishing to hurt or be impolite, says, “No, it sounded fine.” Self-knowledge will have to wait.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There were, however, some uninvited guests. A young music critic writes in his paper that Marguerite sang as if she were trying to “exorcise an inner demon” — innocently, she takes that as praise. There’s also an anarchist poet who invites her to perform at a \u003cem>public\u003c/em> concert. Marguerite’s husband is terrified she’ll find out they’ve all been lying to her, but it’s an anarchist performance and she kind of fits right in.\u003c/p>\n\u003cp>Marguerite’s story of misplaced confidence is based loosely on that of Florence Foster Jenkins, an American laughingstock whose ghastly public renditions of some of the same music became a best-selling novelty record in the 1950s. It was called \u003cem>The Glory (????) of the Human Voice\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meryl Streep will soon play Jenkins in another movie, but it’s hard to imagine anyone improving on the mix of hilarity and heartbreak this transplanted, fictional version achieves. As director Xavier Giannoli pushes his leading lady closer and closer to public humiliation, Catherine Frot’s Marguerite becomes every bit as haunting as you expect her to be laughable, walking barefoot in the rain after an evening of opera, then squawking in rehearsals like the peacocks that wander her estate’s lawn. The more ridiculous \u003cem>Marguerite\u003c/em> becomes, the more you want to keep this misguided, innocent, music-besotted creature from being hurt.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine the worst opera singer ever. Now imagine that she’s determined to perform in public. That’s the premise of an award-winning French satire that’s based on a true story. It’s called \u003cem>Marguerite\u003c/em>, and it follows a middle-aged socialite by the same name.\u003c/p>\n\u003cp>Marguerite has very little to do. While the roaring 1920s roar elsewhere and her husband spends all his time with a mistress, Marguerite sits in her \u003cem>Downton Abbey\u003c/em>-style mansion outside Paris surrendering her soul to music.\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/6XB3bB7ktMI'\n title='//www.youtube.com/embed/6XB3bB7ktMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She adores opera, and is wealthy enough that she can sponsor musical recitals for charity with young guest singers. These are invitation-only affairs where her wealthy friends reward her charitable generosity by being charitable about the way she ends the concerts — with her own, shall we say, \u003cem>unique\u003c/em> musical stylings. Stylings with no sense of pitch, rhythm or, for that matter, talent.\u003c/p>\n\u003cp>Marguerite is surrounded by servants who applaud and friends who are polite. (Her husband usually claims car trouble kept him away.) But I hear your question: How could she not know? Wouldn’t someone tell her? Here’s how it works: After one recital, when a young singer is ushered into Marguerite’s presence to say thank you, Marguerite looks up — vulnerable and sweet — and says, “You heard me miss all my high notes.” The young performer, not wishing to hurt or be impolite, says, “No, it sounded fine.” Self-knowledge will have to wait.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When you step into the House of Eternal Return, it feels a bit like walking into your family home — and finding yourself lost in a PeeWee’s Playhouse on steroids. Or amphetamines. Or better yet, some undiscovered alien narcotic.\u003c/p>\n\u003cp>Set up in the industrial district of Santa Fe, N.M., the new permanent art exhibition is a far cry from the fine arts galleries and museums for which Santa Fe is known. Think of it instead as a kind of art amusement park, built by an arts collective called Meow Wolf and largely funded by a surprising benefactor: George R.R. Martin.\u003c/p>\n\u003cp>But before we get ahead of ourselves, let’s start with the tour: When I arrive around 10 the night before the exhibition opens, dozens of Meow Wolf’s 135 artists are scrambling to put the finishing touches on their meticulously crafted installations.\u003c/p>\n\u003cp>One of those installations, a two-story Victorian house built from scratch, marks the entrance to the exhibition. All around it are uncanny reminders of the Seligs — the fictional family ostensibly lived here. I’m told the family has curiously disappeared after a break in the space-time continuum, and like all visitors, I’m set loose by the artists to explore the interdimensional mystery.\u003c/p>\n\u003cp>“It’s not art that you stand back from and look at,” says Chadney Everett, the painter and former film prop-maker who designed the house. “It’s art that you interact with and you experience in a very visceral way.”\u003c/p>\n\u003cfigure id=\"attachment_11444590\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg\" alt='\"The Aquarium\", by Matt King — with fish sculpted by Sarah Bradle' width=\"640\" height=\"427\" class=\"size-large wp-image-11444590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“The Aquarium”, by Matt King — with fish sculpted by Sarah Bradle \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like most of the people I meet here, he’s got a cultlike dedication to Meow Wolf’s vision of immersive, interactive art — and to making it accessible to everyone. Despite suffering from a herniated disk, he’s been putting in 14 hours a day to finish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s been really hard, but it’s so worth it. We’re gonna be open in a couple days, and then I’ll rest and fix my spine,” he laughs.\u003c/p>\n\u003cp>I opt to crawl through the family fireplace into a series of prehistoric caves, with a glowing, 12-foot mastodon skeleton at their center. Sculptor Matt Crimmins turned its rib cage into a radiant makeshift marimba.\u003c/p>\n\u003cp>“We’re still trying to work out the kinks, but it’s getting there,” he says.\u003c/p>\n\u003cp>The same could be said of Meow Wolf as a whole. Founding member Vince Kadlubek explains that when the collective started eight years ago, it was just a small band of creative 20-somethings who felt out of place in Santa Fe’s high-brow art establishment.\u003c/p>\n\u003cp>“We kind of always felt like we were on the outside looking in.”\u003c/p>\n\u003cp>So, they started their own DIY venue in a defunct barbershop. As the collective grew in size and popularity, Kadlubek says, their immersive shows grew more elaborate.\u003c/p>\n\u003cp>But they still didn’t have a large space of their own.\u003c/p>\n\u003cp>“We all knew that it could work, but we just didn’t have the heavy hitter,” Kadlubek says. “We needed somebody to take a risk on us.”\u003c/p>\n\u003cp>That’s where George R.R. Martin comes in. The mastermind behind A\u003cem> Song of Ice and Fire\u003c/em> — the massively popular book series that spawned the massively popular \u003cem>Game of Thrones\u003c/em> TV series — has become something of a latter-day Medici in his adopted hometown of Santa Fe. He has already reopened an old art house movie theater and converted a vacant high school into artist studios.\u003c/p>\n\u003cp>Martin didn’t plan on buying an old bowling alley — but when Meow Wolf showed him the space and told him what they planned to do with it, he couldn’t resist.\u003c/p>\n\u003cp>“They explained this vision of a Victorian house, unmoored in time and space with a haunted forest and a magical cave system, and portals to other worlds,” Martin says. “And of course, it pushed all my buttons. I love that kind of stuff.”\u003c/p>\n\u003cp>Martin bought and leased the place to Meow Wolf for 10 years, and spent an additional $2.5 million in renovations. That was enough to help Meow Wolf raise more money from investors to build their art complex, which includes a nonprofit education center for children and a makerspace, offering artists training and access to expensive equipment.\u003c/p>\n\u003cfigure id=\"attachment_11444591\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg\" alt=\"A wood mosaic wall and door, created by Lance Ryan McGoldrick.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11444591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A wood mosaic wall and door, created by Lance Ryan McGoldrick. \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the process, Meow Wolf has gone from DIY collective to a for-profit company. Now, in addition to solving problems like how to cut a bus in half or rig animatronic eyeballs to follow passersby, Meow Wolf must focus on ticket sales, too. The group’s future depends on its ability to bring in enough new and repeat visitors to sustain and grow the business.\u003c/p>\n\u003cp>Artist Megan Ronniger says the complex brings something unique to the city’s art ecosystem.\u003c/p>\n\u003cp>“You’ve got these large institutions, museums and universities, you’ve got your commercial galleries, and then you have the experimental spaces. And they’re all hopefully informing one another,” she says.\u003c/p>\n\u003cp>With investors and city officials and one internationally famous fantasy author backing them, Meow Wolf is playing in a different league than it did in in its early days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps for that reason, when I leave the House of Eternal Return — as I’d expect of any art establishment worth its salt — I exit through the gift shop. \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=DIY+Artists+Paint+The+Town+Strange%2C+With+Some+Help+From+George+R.R.+Martin&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you step into the House of Eternal Return, it feels a bit like walking into your family home — and finding yourself lost in a PeeWee’s Playhouse on steroids. Or amphetamines. Or better yet, some undiscovered alien narcotic.\u003c/p>\n\u003cp>Set up in the industrial district of Santa Fe, N.M., the new permanent art exhibition is a far cry from the fine arts galleries and museums for which Santa Fe is known. Think of it instead as a kind of art amusement park, built by an arts collective called Meow Wolf and largely funded by a surprising benefactor: George R.R. Martin.\u003c/p>\n\u003cp>But before we get ahead of ourselves, let’s start with the tour: When I arrive around 10 the night before the exhibition opens, dozens of Meow Wolf’s 135 artists are scrambling to put the finishing touches on their meticulously crafted installations.\u003c/p>\n\u003cp>One of those installations, a two-story Victorian house built from scratch, marks the entrance to the exhibition. All around it are uncanny reminders of the Seligs — the fictional family ostensibly lived here. I’m told the family has curiously disappeared after a break in the space-time continuum, and like all visitors, I’m set loose by the artists to explore the interdimensional mystery.\u003c/p>\n\u003cp>“It’s not art that you stand back from and look at,” says Chadney Everett, the painter and former film prop-maker who designed the house. “It’s art that you interact with and you experience in a very visceral way.”\u003c/p>\n\u003cfigure id=\"attachment_11444590\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg\" alt='\"The Aquarium\", by Matt King — with fish sculpted by Sarah Bradle' width=\"640\" height=\"427\" class=\"size-large wp-image-11444590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_16532_slide-392abba3bf84b41efcea84438f22cc0bf2bffc67-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“The Aquarium”, by Matt King — with fish sculpted by Sarah Bradle \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like most of the people I meet here, he’s got a cultlike dedication to Meow Wolf’s vision of immersive, interactive art — and to making it accessible to everyone. Despite suffering from a herniated disk, he’s been putting in 14 hours a day to finish.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s been really hard, but it’s so worth it. We’re gonna be open in a couple days, and then I’ll rest and fix my spine,” he laughs.\u003c/p>\n\u003cp>I opt to crawl through the family fireplace into a series of prehistoric caves, with a glowing, 12-foot mastodon skeleton at their center. Sculptor Matt Crimmins turned its rib cage into a radiant makeshift marimba.\u003c/p>\n\u003cp>“We’re still trying to work out the kinks, but it’s getting there,” he says.\u003c/p>\n\u003cp>The same could be said of Meow Wolf as a whole. Founding member Vince Kadlubek explains that when the collective started eight years ago, it was just a small band of creative 20-somethings who felt out of place in Santa Fe’s high-brow art establishment.\u003c/p>\n\u003cp>“We kind of always felt like we were on the outside looking in.”\u003c/p>\n\u003cp>So, they started their own DIY venue in a defunct barbershop. As the collective grew in size and popularity, Kadlubek says, their immersive shows grew more elaborate.\u003c/p>\n\u003cp>But they still didn’t have a large space of their own.\u003c/p>\n\u003cp>“We all knew that it could work, but we just didn’t have the heavy hitter,” Kadlubek says. “We needed somebody to take a risk on us.”\u003c/p>\n\u003cp>That’s where George R.R. Martin comes in. The mastermind behind A\u003cem> Song of Ice and Fire\u003c/em> — the massively popular book series that spawned the massively popular \u003cem>Game of Thrones\u003c/em> TV series — has become something of a latter-day Medici in his adopted hometown of Santa Fe. He has already reopened an old art house movie theater and converted a vacant high school into artist studios.\u003c/p>\n\u003cp>Martin didn’t plan on buying an old bowling alley — but when Meow Wolf showed him the space and told him what they planned to do with it, he couldn’t resist.\u003c/p>\n\u003cp>“They explained this vision of a Victorian house, unmoored in time and space with a haunted forest and a magical cave system, and portals to other worlds,” Martin says. “And of course, it pushed all my buttons. I love that kind of stuff.”\u003c/p>\n\u003cp>Martin bought and leased the place to Meow Wolf for 10 years, and spent an additional $2.5 million in renovations. That was enough to help Meow Wolf raise more money from investors to build their art complex, which includes a nonprofit education center for children and a makerspace, offering artists training and access to expensive equipment.\u003c/p>\n\u003cfigure id=\"attachment_11444591\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg\" alt=\"A wood mosaic wall and door, created by Lance Ryan McGoldrick.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11444591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/lkimg_2766-84f7ee075450744239e379fac002735b7cf34a69-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A wood mosaic wall and door, created by Lance Ryan McGoldrick. \u003ccite>(Photo: Lindsey Kennedy/Courtesy of Meow Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the process, Meow Wolf has gone from DIY collective to a for-profit company. Now, in addition to solving problems like how to cut a bus in half or rig animatronic eyeballs to follow passersby, Meow Wolf must focus on ticket sales, too. The group’s future depends on its ability to bring in enough new and repeat visitors to sustain and grow the business.\u003c/p>\n\u003cp>Artist Megan Ronniger says the complex brings something unique to the city’s art ecosystem.\u003c/p>\n\u003cp>“You’ve got these large institutions, museums and universities, you’ve got your commercial galleries, and then you have the experimental spaces. And they’re all hopefully informing one another,” she says.\u003c/p>\n\u003cp>With investors and city officials and one internationally famous fantasy author backing them, Meow Wolf is playing in a different league than it did in in its early days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps for that reason, when I leave the House of Eternal Return — as I’d expect of any art establishment worth its salt — I exit through the gift shop. \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=DIY+Artists+Paint+The+Town+Strange%2C+With+Some+Help+From+George+R.R.+Martin&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been three years since the Superman movie \u003cem>Man of Steel\u003c/em> arrived in theaters — three years in which DC Comics has released no other superhero movies. Meanwhile, its rival, Marvel, has earned more than $9 billion from a dozen men-in-spandex films.\u003c/p>\n\u003cp>So the \u003cem>Man of Steel\u003c/em> sequel, a ponderously overlong epic called \u003cem>Batman V Superman: Dawn of Justice\u003c/em> (that solitary “V” being pretty much the only thing abbreviated about it) has some serious catching up to do.\u003c/p>\n\u003cp>https://youtu.be/NhWg7AQLI_8\u003c/p>\n\u003cp>Easier said than done, since it’s freighted not so much with entertainment value as it is with enough talk of fallen gods, absent parents and dissolute heroes to fuel a Greek tragedy. And for much of the film’s 2 1/2 hours, director Zack Snyder seems convinced that that’s what he’s making. Or, as bad guy Lex Luthor puts it, in an unedited stream-of-consciousness attempt at pizazz: “A battle to the death, black and blue, fight night, the greatest gladiator match in the history of the world, God versus man, day versus night, son of Krypton, versus Bat of Gotham.”\u003c/p>\n\u003cp>It takes a while to pit these two iconic good guys against each other, but the script gives them reasons. Straight-arrow Clark Kent goes after vigilantes both as a reporter for the \u003cem>Daily Planet\u003c/em> and as a superdude in a cape, because he feels guilty that whole blocks of Metropolis got wiped out along with the bad guys at the end of his last movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brooding bat-suited billionaire Bruce Wayne blames Superman for that collateral damage. And worries that it’s just the start. \u003c/p>\n\u003cp>“He has the power to wipe out the entire human race,” he says. “And if we believe there’s an even 1 percent chance that he’s our enemy, we have to take it as an absolute certainty.”\u003c/p>\n\u003cp>Not sure about that 1 percent/absolute certainty matchup, but hey … these guys are smart. Surely they can talk things out. Alas, Lex Luthor is the one doing the introductions.\u003c/p>\n\u003cp>Jesse Eisenberg mostly manages to make Lex Luthor an annoying villain, rather than an alarming one. But Ben Affleck’s graying Batman owns the alarm concession anyway — growling, prowling, literally branding bad guys. Henry Cavill’s Superman is comparatively subdued, floating down majestically from on high, lips curled with what looks like indigestion.\u003c/p>\n\u003cp>The half of the film not devoted to establishing why they’re fighting is devoted to making the fight seem plausibly even. Batman is, after all, a guy with gizmos … not superpowers. Everyone acts up a storm, plumbing psychological nuances that are not really what most people go to superhero epics for. But what’s a poor studio to do when Marvel has pretty much cornered the jokey, ironic detachment market?\u003c/p>\n\u003cp>Director Snyder plays to what I suppose you have to call his strengths. He lays on the moody atmospherics and Hans Zimmer’s score, while keeping the images grand enough to support the obligatory special-effects dust-up with a monster in the final reel.\u003c/p>\n\u003cp>The filmmakers save a secret weapon for that battle: Wonder Woman, who shows up more or less unannounced to toss her lasso and brandish her shield. Gal Gadot will doubtless get to do more next time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And yeah, there will be a next time, even if this time has turned out to be a lot less fun than it should be.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been three years since the Superman movie \u003cem>Man of Steel\u003c/em> arrived in theaters — three years in which DC Comics has released no other superhero movies. Meanwhile, its rival, Marvel, has earned more than $9 billion from a dozen men-in-spandex films.\u003c/p>\n\u003cp>So the \u003cem>Man of Steel\u003c/em> sequel, a ponderously overlong epic called \u003cem>Batman V Superman: Dawn of Justice\u003c/em> (that solitary “V” being pretty much the only thing abbreviated about it) has some serious catching up to do.\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/NhWg7AQLI_8'\n title='//www.youtube.com/embed/NhWg7AQLI_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Easier said than done, since it’s freighted not so much with entertainment value as it is with enough talk of fallen gods, absent parents and dissolute heroes to fuel a Greek tragedy. And for much of the film’s 2 1/2 hours, director Zack Snyder seems convinced that that’s what he’s making. Or, as bad guy Lex Luthor puts it, in an unedited stream-of-consciousness attempt at pizazz: “A battle to the death, black and blue, fight night, the greatest gladiator match in the history of the world, God versus man, day versus night, son of Krypton, versus Bat of Gotham.”\u003c/p>\n\u003cp>It takes a while to pit these two iconic good guys against each other, but the script gives them reasons. Straight-arrow Clark Kent goes after vigilantes both as a reporter for the \u003cem>Daily Planet\u003c/em> and as a superdude in a cape, because he feels guilty that whole blocks of Metropolis got wiped out along with the bad guys at the end of his last movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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