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"content": "\u003cp>Sometimes it’s better to leave more to the imagination.\u003c/p>\n\u003cp>That’s the thought I’m left with after watching all of the ads that aired in CBS’ Super Bowl broadcast Sunday night.\u003c/p>\n\u003cp>It may be an accepted truism that the commercials are often more exciting than the game. But this year, viewers watching for the ads sat through an uneven collection of spots — of which many of the best moments had already been revealed days earlier.\u003c/p>\n\u003cp>In years past, commercials like the Snickers spot inserting Willem Dafoe into Marilyn Monroe’s wardrobe malfunction in the \u003cem>Seven Year Itch\u003c/em> or the ad with Jeff Goldblum serenading George Washington and Lil’ Wayne for Apartments.com would have been standouts.\u003c/p>\n\u003cp>But these spots had already been featured in televised roundups and online platforms like YouTube days before the game. The media coverage may have spread word about the spots, but they also robbed viewers of the thrill that comes from being surprised by an inventive ad in the moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s my list of the best and worst commercial moments from the big game:\u003c/p>\n\u003cp>\u003cstrong>Best use of animals in a Super Bowl ad: Heinz “Weiner Stampede” and Honda “A New Truck to Love”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aNN9nL2vppM\u003c/p>\n\u003cp>My two favorite ads of the evening both featured animals in cool ways. Heinz had dogs dressed like hot dogs romping through a field to lick the faces of people dressed like a “family” of condiment bottles (kudos to whoever came up with using the soft rock hit \u003cem>Without You\u003c/em> to ramp up the sentiment). Honda also hit the cute animal chord with a spot featuring sheep singing Queen’s hit \u003cem>Somebody to Love\u003c/em>; they learned it courtesy of the farmer’s Ridgeline truck, which has a sound system in the rear bed blasting the song. Ample proof that ’70s rock paired with cute animals equals Super Bowl advertising gold.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kTaCT8ZmdJA\u003c/p>\n\u003cp>\u003cstrong>Best ad to turn a massive mistake into promotional success: T-Mobile “Drop the Balls”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eI8YZdejPKg\u003c/p>\n\u003cp>When Steve Harvey announced the wrong winner in the Miss Universe contest, he was lampooned so mercilessly it looked like a serious setback. But he’s rebounded with a Super Bowl commercial that features him “admitting” a different mistake: alleging Verizon used old data to misrepresent T-Mobile. It was the best lemons-to-lemonade transition since, well, Harvey made fun of himself by wishing fans on Instagram a Merry Easter … on Christmas Day.\u003c/p>\n\u003cp>\u003cstrong>Best use of former cast members of \u003cem>The Wire\u003c/em>: Toyota Prius “The Longest Chase” and “Hunters”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hRIRvluRYFM\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BGNahDImVhs\u003c/p>\n\u003cp>Toyota already had a winning concept when it aired two Super Bowl ads Sunday showing bank robbers successfully eluding police in a speeding Prius, until the cops gave up and turned a Prius of their own into a patrol car (take that, everyone who thinks hybrid cars are slow and can’t manage sharp turns). But eagle-eyed, pop culture-savvy fans could recognize three of the actors playing bank robbers — Chris Bauer, Pablo Schreiber and James Ransone — as the guys who played members of the dock-working Sobotka family in the second season of HBO’s classic crime drama \u003cem>The Wire\u003c/em>. Which adds an extra dose of TV cool to an already fun commercial.\u003c/p>\n\u003cp>\u003cstrong>Best way to introduce a bunch of new car features: Hyundai\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-R_483zeVF8\u003c/p>\n\u003cp>The carmaker used different ads strung throughout the Super Bowl to promote different features. For its Genesis sedan, an ad with comic Kevin Hart following his daughter on a date highlighted the “car finder” tracking feature; the Elantra’s remote start was featured in a spot with campers chased by bears. Another ad promoting the Elantra’s emergency braking system featured women driving through a neighborhood where everyone looked like film hunk Ryan Reynolds. It was an impressive stretch of spots, given that many advertisers couldn’t make even one Super Bowl commercial work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LT6n1HcJOio\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ih4VYnbm6Sw\u003c/p>\n\u003cp>\u003cstrong>Worst use of an earworm: Mountain Dew “Puppymonkeybaby.”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ql7uY36-LwA\u003c/p>\n\u003cp>It was a bizarre, unfunny and nonsensical ad promoting a drink that combines Mountain Dew, fruit juice and caffeine called Kickstart. But the worst thing about this ad is the horrific character that stars in the spot; an odd-looking creature that has a dog’s face, monkey’s tail and baby feet. It leads the guys in the commercial in a conga line set to a bouncing beat while it says the phrase “puppy monkey baby” over and over. Frankly, it’s the kind of nightmare you might expect to have after one too many cans of Mountain Dew Kickstart.\u003c/p>\n\u003cp>\u003cstrong>Worst reference to bodily functions: Xifaxan, OICisDifferent.com, Jublia\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3Hnldf3z4bY\u003c/p>\n\u003cp>The Super Bowl is known for inspiring lots of eating and lavish spreads of food. So why would advertisers pay millions to air ads focusing on constipation, irritable bowel syndrome and toe fungus? OICisDifferent.com had a commercial on opioid-induced constipation, while the diarrhea relief medication Xifaxan created a spot with a pink intestine made of clay cheering in a stadium. And the toe fungus medication Jublia somehow convinced former NFL greats Howie Long, Deion Sanders and Phil Simms to appear in its ad. There may never be a great time to air ads like this, but to broadcast such spots in an event where viewers are eating stuff like guacamole dip and pizza surely is the worst.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yr78_7Kip3Q\u003c/p>\n\u003cp>\u003cstrong>Worst unintentional reference to the housing bubble and Great Recession: Quicken Loans\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QlRm6Y5iVfw\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a commercial that makes a powerful point, touting Quicken Loans Rocket Mortgage app as a way to make getting a home mortgage less intimidating and easier. But since the financial meltdown of the late 2000s involved the collapse of a housing market filled with too many questionable mortgages, the spot also has an uncomfortable resonance. And the commercial’s vision of a world made better through a rush of consumerism sparked by widespread homebuying was also a little off-putting. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Best+And+The+Worst+Of+Super+Bowl+Ads&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes it’s better to leave more to the imagination.\u003c/p>\n\u003cp>That’s the thought I’m left with after watching all of the ads that aired in CBS’ Super Bowl broadcast Sunday night.\u003c/p>\n\u003cp>It may be an accepted truism that the commercials are often more exciting than the game. But this year, viewers watching for the ads sat through an uneven collection of spots — of which many of the best moments had already been revealed days earlier.\u003c/p>\n\u003cp>In years past, commercials like the Snickers spot inserting Willem Dafoe into Marilyn Monroe’s wardrobe malfunction in the \u003cem>Seven Year Itch\u003c/em> or the ad with Jeff Goldblum serenading George Washington and Lil’ Wayne for Apartments.com would have been standouts.\u003c/p>\n\u003cp>But these spots had already been featured in televised roundups and online platforms like YouTube days before the game. The media coverage may have spread word about the spots, but they also robbed viewers of the thrill that comes from being surprised by an inventive ad in the moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s my list of the best and worst commercial moments from the big game:\u003c/p>\n\u003cp>\u003cstrong>Best use of animals in a Super Bowl ad: Heinz “Weiner Stampede” and Honda “A New Truck to Love”\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aNN9nL2vppM'\n title='//www.youtube.com/embed/aNN9nL2vppM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>My two favorite ads of the evening both featured animals in cool ways. Heinz had dogs dressed like hot dogs romping through a field to lick the faces of people dressed like a “family” of condiment bottles (kudos to whoever came up with using the soft rock hit \u003cem>Without You\u003c/em> to ramp up the sentiment). Honda also hit the cute animal chord with a spot featuring sheep singing Queen’s hit \u003cem>Somebody to Love\u003c/em>; they learned it courtesy of the farmer’s Ridgeline truck, which has a sound system in the rear bed blasting the song. Ample proof that ’70s rock paired with cute animals equals Super Bowl advertising gold.\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/kTaCT8ZmdJA'\n title='//www.youtube.com/embed/kTaCT8ZmdJA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best ad to turn a massive mistake into promotional success: T-Mobile “Drop the Balls”\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eI8YZdejPKg'\n title='//www.youtube.com/embed/eI8YZdejPKg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Steve Harvey announced the wrong winner in the Miss Universe contest, he was lampooned so mercilessly it looked like a serious setback. But he’s rebounded with a Super Bowl commercial that features him “admitting” a different mistake: alleging Verizon used old data to misrepresent T-Mobile. It was the best lemons-to-lemonade transition since, well, Harvey made fun of himself by wishing fans on Instagram a Merry Easter … on Christmas Day.\u003c/p>\n\u003cp>\u003cstrong>Best use of former cast members of \u003cem>The Wire\u003c/em>: Toyota Prius “The Longest Chase” and “Hunters”\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hRIRvluRYFM'\n title='//www.youtube.com/embed/hRIRvluRYFM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=BGNahDImVhs\u003c/p>\n\u003cp>Toyota already had a winning concept when it aired two Super Bowl ads Sunday showing bank robbers successfully eluding police in a speeding Prius, until the cops gave up and turned a Prius of their own into a patrol car (take that, everyone who thinks hybrid cars are slow and can’t manage sharp turns). But eagle-eyed, pop culture-savvy fans could recognize three of the actors playing bank robbers — Chris Bauer, Pablo Schreiber and James Ransone — as the guys who played members of the dock-working Sobotka family in the second season of HBO’s classic crime drama \u003cem>The Wire\u003c/em>. Which adds an extra dose of TV cool to an already fun commercial.\u003c/p>\n\u003cp>\u003cstrong>Best way to introduce a bunch of new car features: Hyundai\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-R_483zeVF8'\n title='//www.youtube.com/embed/-R_483zeVF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The carmaker used different ads strung throughout the Super Bowl to promote different features. For its Genesis sedan, an ad with comic Kevin Hart following his daughter on a date highlighted the “car finder” tracking feature; the Elantra’s remote start was featured in a spot with campers chased by bears. Another ad promoting the Elantra’s emergency braking system featured women driving through a neighborhood where everyone looked like film hunk Ryan Reynolds. It was an impressive stretch of spots, given that many advertisers couldn’t make even one Super Bowl commercial work.\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/LT6n1HcJOio'\n title='//www.youtube.com/embed/LT6n1HcJOio'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=Ih4VYnbm6Sw\u003c/p>\n\u003cp>\u003cstrong>Worst use of an earworm: Mountain Dew “Puppymonkeybaby.”\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ql7uY36-LwA'\n title='//www.youtube.com/embed/ql7uY36-LwA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was a bizarre, unfunny and nonsensical ad promoting a drink that combines Mountain Dew, fruit juice and caffeine called Kickstart. But the worst thing about this ad is the horrific character that stars in the spot; an odd-looking creature that has a dog’s face, monkey’s tail and baby feet. It leads the guys in the commercial in a conga line set to a bouncing beat while it says the phrase “puppy monkey baby” over and over. Frankly, it’s the kind of nightmare you might expect to have after one too many cans of Mountain Dew Kickstart.\u003c/p>\n\u003cp>\u003cstrong>Worst reference to bodily functions: Xifaxan, OICisDifferent.com, Jublia\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3Hnldf3z4bY'\n title='//www.youtube.com/embed/3Hnldf3z4bY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Super Bowl is known for inspiring lots of eating and lavish spreads of food. So why would advertisers pay millions to air ads focusing on constipation, irritable bowel syndrome and toe fungus? OICisDifferent.com had a commercial on opioid-induced constipation, while the diarrhea relief medication Xifaxan created a spot with a pink intestine made of clay cheering in a stadium. And the toe fungus medication Jublia somehow convinced former NFL greats Howie Long, Deion Sanders and Phil Simms to appear in its ad. There may never be a great time to air ads like this, but to broadcast such spots in an event where viewers are eating stuff like guacamole dip and pizza surely is the worst.\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/yr78_7Kip3Q'\n title='//www.youtube.com/embed/yr78_7Kip3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Worst unintentional reference to the housing bubble and Great Recession: Quicken Loans\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QlRm6Y5iVfw'\n title='//www.youtube.com/embed/QlRm6Y5iVfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a commercial that makes a powerful point, touting Quicken Loans Rocket Mortgage app as a way to make getting a home mortgage less intimidating and easier. But since the financial meltdown of the late 2000s involved the collapse of a housing market filled with too many questionable mortgages, the spot also has an uncomfortable resonance. And the commercial’s vision of a world made better through a rush of consumerism sparked by widespread homebuying was also a little off-putting. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Best+And+The+Worst+Of+Super+Bowl+Ads&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://abdulnassergharem.com/\" target=\"_blank\" rel=\"noopener\">Abdulnasser Gharem\u003c/a> doesn’t have the background you might expect for a successful artist – let alone one famous for edgy work from Saudi Arabia. He was once a lieutenant colonel in the Saudi army. He went to high school with two of the 9/11 hijackers.\u003c/p>\n\u003cp>But his first major art work sold for a whopping $842,500 at a Christie’s auction in Dubai. It’s\u003ca href=\"http://www.christies.com/lotfinder/installations-video-art/abdulnasser-gharem-messagemessenger-5422852-details.aspx\" target=\"_blank\" rel=\"noopener\"> a glittering dome\u003c/a> symbolizing the Dome of the Rock, set on its edge, capturing a dove.\u003c/p>\n\u003cp>In Saudi Arabia, a new generation of artists is pushing boundaries amid a growing art scene. Art galleries and daring visual artists, all unheard of just a few years ago, are thriving. Contemporary artists like Gharem have become a critical voice in the conservative kingdom, where open calls for reform are a criminal offense.\u003c/p>\n\u003cp>Gharem says he doesn’t care about fame. “I must focus on my own mission,” he says with an exasperated laugh at the suggestion that he is the highest selling artist in the region. “I want to play my own role in the society, which will make me happy, and I can see the result.”\u003c/p>\n\u003cp>In his busy Riyadh workshop, musicians play traditional music in the kitchen; a photographer is arranging images on a white wall in the next room. Here, Gharem, 41, gives young artists the help and guidance he never got.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I was struggling as a kid, I want[ed] to see the museum, I want to see the real paintings, I want to talk to the artists, how they are thinking,” he says.\u003c/p>\n\u003cp>The Internet opened him to the larger art world as a young artist. He started an art foundation in 2013 with the money he earned from his first sale. Gharem took more than a dozen \u003ca href=\"http://www.npr.org/sections/parallels/2016/02/04/465574953/asiahouse.org/events/gharem-studio-presents-ricochet\" target=\"_blank\" rel=\"noopener\">young artists to London last year\u003c/a> to display their work, and this year, he and a group of young Saudi artists will launch an art tour across the U.S.\u003c/p>\n\u003cp>There is plenty of talent in Saudi Arabia, he says. “But the problem is they don’t know how to deal with it. They don’t have a strategy, they don’t have even the guidance, what to do? So, that’s my mission, you know.”\u003c/p>\n\u003cp>He aims to show Saudis how to see and how to think critically. He knows the dangers of extremism firsthand because of his high school classmates turned terrorists. He insists art is an answer, a way to pose sensitive questions about ideology and religion.\u003c/p>\n\u003cfigure id=\"attachment_11310420\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/img_2698edit_custom-4950da3518d0fa25d2efe72e6780b2f4589e01cd.jpg\" alt=\"The work of Saudi artist Njoud Alanbari focuses on issues surrounding female education.\" width=\"200\" height=\"189\" class=\"size-full wp-image-11310420\">\u003cfigcaption class=\"wp-caption-text\">The work of Saudi artist Njoud Alanbari focuses on issues surrounding female education. \u003ccite>(Photo: Deborah Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you’ll give them a space where at least they can speak freely — that’s the beginning, and I think that’s what’s missing in this country,” he says. “If you go to school, you cannot say what you want. If you go to mosque, you cannot say what you want [because of] family pressure, society pressure.”\u003c/p>\n\u003cp>In a free space, an artistic space, he says, “You will see how they became different.”\u003c/p>\n\u003cp>The art produced here is different. It’s a daring visual critique of Saudi culture.\u003c/p>\n\u003cp>Performance videos play on a TV at the workshop. One is a satire of Saudi Arabia’s ultra-religious culture, in which sketching human figures is forbidden: A group of solemn Saudi men sketch a plastic mannequin, a nude female. This act is so taboo in Saudi Arabia that the mannequin had to be shipped from Dubai and cut up into numbered pieces to get past Saudi customs officials.\u003c/p>\n\u003cp>The one woman at the workshop is Njoud Alanbari. Her art focuses on problems in female education. The government-approved posters found in public schools, which are mostly in pink, inspire her work. But the messages are harsh. “The colors are so twisted,” she says. The posters list “proper” behavior and include a long list of no’s.\u003c/p>\n\u003cp>“No music, no pornography, don’t travel,” Alanbari says, and raises an eyebrow. “Actually, as a kid, I didn’t know what pornography is.” The posters are in every public school. “It’s so intense,” she says. “It’s everywhere.”\u003c/p>\n\u003cp>A drawing of a sword underlines every “no.” Alanbari plays with these official images — in one instance, replacing a female silhouette with a monkey’s head, forcing a viewer to take a fresh look.\u003c/p>\n\u003cp>“You need someone to come and tell you, ‘Look at this,'” she says. “Because people are so used to it, it’s now common.”\u003c/p>\n\u003cp>Another performance video called “Traditional Pain Treatment” shows a fellow artist with a map of the Middle East inked across his back enduring traditional bloodletting via \u003ca href=\"http://www.bbc.com/news/health-32653971\">cupping\u003c/a>, with glass cups that are heated and placed on his skin. “So we said, we need to take the bad blood from all the countries – the bad ideology, the bad politics, the bad economics. Everywhere.”\u003c/p>\n\u003cp>Conceptual art is new in Saudi Arabia — a visual language that is easily understood by a young generation steeped in Internet culture, but flies just as easily past Saudi censors. Gharem and his band of young artists push the boundaries of critical speech now, not with words but with images.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Visually, you can say it, because no one can accuse you with an image,” says Gharem. “But if you are going to write or text or say something, it’s easy to accuse you.” With a picture, he says, “If you don’t like it, you can put it down.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+New+Generation+Of+Saudi+Artists+Pushes+The+Boundaries&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://abdulnassergharem.com/\" target=\"_blank\" rel=\"noopener\">Abdulnasser Gharem\u003c/a> doesn’t have the background you might expect for a successful artist – let alone one famous for edgy work from Saudi Arabia. He was once a lieutenant colonel in the Saudi army. He went to high school with two of the 9/11 hijackers.\u003c/p>\n\u003cp>But his first major art work sold for a whopping $842,500 at a Christie’s auction in Dubai. It’s\u003ca href=\"http://www.christies.com/lotfinder/installations-video-art/abdulnasser-gharem-messagemessenger-5422852-details.aspx\" target=\"_blank\" rel=\"noopener\"> a glittering dome\u003c/a> symbolizing the Dome of the Rock, set on its edge, capturing a dove.\u003c/p>\n\u003cp>In Saudi Arabia, a new generation of artists is pushing boundaries amid a growing art scene. Art galleries and daring visual artists, all unheard of just a few years ago, are thriving. Contemporary artists like Gharem have become a critical voice in the conservative kingdom, where open calls for reform are a criminal offense.\u003c/p>\n\u003cp>Gharem says he doesn’t care about fame. “I must focus on my own mission,” he says with an exasperated laugh at the suggestion that he is the highest selling artist in the region. “I want to play my own role in the society, which will make me happy, and I can see the result.”\u003c/p>\n\u003cp>In his busy Riyadh workshop, musicians play traditional music in the kitchen; a photographer is arranging images on a white wall in the next room. Here, Gharem, 41, gives young artists the help and guidance he never got.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I was struggling as a kid, I want[ed] to see the museum, I want to see the real paintings, I want to talk to the artists, how they are thinking,” he says.\u003c/p>\n\u003cp>The Internet opened him to the larger art world as a young artist. He started an art foundation in 2013 with the money he earned from his first sale. Gharem took more than a dozen \u003ca href=\"http://www.npr.org/sections/parallels/2016/02/04/465574953/asiahouse.org/events/gharem-studio-presents-ricochet\" target=\"_blank\" rel=\"noopener\">young artists to London last year\u003c/a> to display their work, and this year, he and a group of young Saudi artists will launch an art tour across the U.S.\u003c/p>\n\u003cp>There is plenty of talent in Saudi Arabia, he says. “But the problem is they don’t know how to deal with it. They don’t have a strategy, they don’t have even the guidance, what to do? So, that’s my mission, you know.”\u003c/p>\n\u003cp>He aims to show Saudis how to see and how to think critically. He knows the dangers of extremism firsthand because of his high school classmates turned terrorists. He insists art is an answer, a way to pose sensitive questions about ideology and religion.\u003c/p>\n\u003cfigure id=\"attachment_11310420\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/img_2698edit_custom-4950da3518d0fa25d2efe72e6780b2f4589e01cd.jpg\" alt=\"The work of Saudi artist Njoud Alanbari focuses on issues surrounding female education.\" width=\"200\" height=\"189\" class=\"size-full wp-image-11310420\">\u003cfigcaption class=\"wp-caption-text\">The work of Saudi artist Njoud Alanbari focuses on issues surrounding female education. \u003ccite>(Photo: Deborah Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you’ll give them a space where at least they can speak freely — that’s the beginning, and I think that’s what’s missing in this country,” he says. “If you go to school, you cannot say what you want. If you go to mosque, you cannot say what you want [because of] family pressure, society pressure.”\u003c/p>\n\u003cp>In a free space, an artistic space, he says, “You will see how they became different.”\u003c/p>\n\u003cp>The art produced here is different. It’s a daring visual critique of Saudi culture.\u003c/p>\n\u003cp>Performance videos play on a TV at the workshop. One is a satire of Saudi Arabia’s ultra-religious culture, in which sketching human figures is forbidden: A group of solemn Saudi men sketch a plastic mannequin, a nude female. This act is so taboo in Saudi Arabia that the mannequin had to be shipped from Dubai and cut up into numbered pieces to get past Saudi customs officials.\u003c/p>\n\u003cp>The one woman at the workshop is Njoud Alanbari. Her art focuses on problems in female education. The government-approved posters found in public schools, which are mostly in pink, inspire her work. But the messages are harsh. “The colors are so twisted,” she says. The posters list “proper” behavior and include a long list of no’s.\u003c/p>\n\u003cp>“No music, no pornography, don’t travel,” Alanbari says, and raises an eyebrow. “Actually, as a kid, I didn’t know what pornography is.” The posters are in every public school. “It’s so intense,” she says. “It’s everywhere.”\u003c/p>\n\u003cp>A drawing of a sword underlines every “no.” Alanbari plays with these official images — in one instance, replacing a female silhouette with a monkey’s head, forcing a viewer to take a fresh look.\u003c/p>\n\u003cp>“You need someone to come and tell you, ‘Look at this,'” she says. “Because people are so used to it, it’s now common.”\u003c/p>\n\u003cp>Another performance video called “Traditional Pain Treatment” shows a fellow artist with a map of the Middle East inked across his back enduring traditional bloodletting via \u003ca href=\"http://www.bbc.com/news/health-32653971\">cupping\u003c/a>, with glass cups that are heated and placed on his skin. “So we said, we need to take the bad blood from all the countries – the bad ideology, the bad politics, the bad economics. Everywhere.”\u003c/p>\n\u003cp>Conceptual art is new in Saudi Arabia — a visual language that is easily understood by a young generation steeped in Internet culture, but flies just as easily past Saudi censors. Gharem and his band of young artists push the boundaries of critical speech now, not with words but with images.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Visually, you can say it, because no one can accuse you with an image,” says Gharem. “But if you are going to write or text or say something, it’s easy to accuse you.” With a picture, he says, “If you don’t like it, you can put it down.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+New+Generation+Of+Saudi+Artists+Pushes+The+Boundaries&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The opening vignette of \u003cem>In the Shadow of Women\u003c/em> shows a man in front of a wall, slightly off-center in the widescreen frame. Pierre (Stanislas Merhar) does little more than chew on a bite of sandwich for about a minute, an opening that suggests this will be one of those French films that takes its time in pondering the ordinariness of daily life.\u003c/p>\n\u003cp>It isn’t. Director Phillipe Garrel, who’s been making movies since the late 1960s, still favors the low-budget spontaneity of the early French New Wave. But he has a carefully constructed script this time, one that disassembles a marriage in about 70 minutes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OiOnxv30iHk\u003c/p>\n\u003cp>Pierre is a documentary filmmaker who works with his wife, Manon (Clotilde Courau). Their apartment in north-central Paris is shabby, but beyond their means. The landlord arrives in the movie’s second scene, demanding back rent from Manon.\u003c/p>\n\u003cp>Yet Manon is happy to be working with Pierre, at the moment on a movie about a hero of the French Resistance, Henri (Jean Pommier). A couple that spends most of its waking hours in an editing room needn’t worry about a swanky place to dwell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The relationship is explained in terse, occasional voiceover by actor Louis Garrel, the director’s son. Also offering commentary is Manon’s mother (Antoinette Moya), who says she likes Pierre, but might like him better if he got a real job. Her questions give Manon a believable context in which to detail what’s so great about her filmmaker husband.\u003c/p>\n\u003cp>For Pierre — like Garrel, who shot \u003cem>Women\u003c/em> in black-and-white 35mm — film means celluloid. It’s at a picturesque archive, where movie cans are stored like bottles of fine wine, that the documentarian meets Elisabeth (Lena Paugam), a pretty but hardly glamorous grad student. They begin an affair.\u003c/p>\n\u003cp>Pierre demonstrates his form of gallantry by immediately telling Elisabeth that he’s married. But he doesn’t reveal anything to Manon. He’s shocked when she, intuiting the changed situation, takes a lover of her own. Interestingly, Pierre gets the news of Manon’s infidelity from Elisabeth. The wayward husband probably imagines that his relationship with Elisabeth, which consists of little more than sex, is simple. But jealousy is complicated.\u003c/p>\n\u003cp>This concise tale was scripted by the director and three others, including Jean-Claude Carriere, whose signature is on many literary international productions (including \u003cem>The Tin Drum\u003c/em> and \u003cem>The Unbearable Lightness of Being\u003c/em>) that are far better known than any of Garrel’s efforts. While the screenplay is solid, parts of its story are underdeveloped. Notably, the writers don’t make much of an intriguing parallel between Pierre and Henri. Acknowledging the two men’s similar characters could have rendered the movie both more playful and more profound.\u003c/p>\n\u003cp>What distinguishes \u003cem>In the Shadow of Women\u003c/em> are its naturalistic performances — especially Courau’s — and its elegantly composed shots and offhand rhythm. The narrative cadence is accented by infrequent use of Jean-Louis Aubert’s modern chamber-music score.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film also has a strong sense of place, in part because it shows so little sense of its era. Viewers may be surprised when Elisabeth pulls out a mobile phone, the first concrete detail to place the action in contemporary times. The movie is on set on streets that may not be mean, but are certainly ungentrified. Their existence is proof that, as a cinematic location that evokes bohemian urbanity, Paris will always have us.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The opening vignette of \u003cem>In the Shadow of Women\u003c/em> shows a man in front of a wall, slightly off-center in the widescreen frame. Pierre (Stanislas Merhar) does little more than chew on a bite of sandwich for about a minute, an opening that suggests this will be one of those French films that takes its time in pondering the ordinariness of daily life.\u003c/p>\n\u003cp>It isn’t. Director Phillipe Garrel, who’s been making movies since the late 1960s, still favors the low-budget spontaneity of the early French New Wave. But he has a carefully constructed script this time, one that disassembles a marriage in about 70 minutes.\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/OiOnxv30iHk'\n title='//www.youtube.com/embed/OiOnxv30iHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Pierre is a documentary filmmaker who works with his wife, Manon (Clotilde Courau). Their apartment in north-central Paris is shabby, but beyond their means. The landlord arrives in the movie’s second scene, demanding back rent from Manon.\u003c/p>\n\u003cp>Yet Manon is happy to be working with Pierre, at the moment on a movie about a hero of the French Resistance, Henri (Jean Pommier). A couple that spends most of its waking hours in an editing room needn’t worry about a swanky place to dwell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The relationship is explained in terse, occasional voiceover by actor Louis Garrel, the director’s son. Also offering commentary is Manon’s mother (Antoinette Moya), who says she likes Pierre, but might like him better if he got a real job. Her questions give Manon a believable context in which to detail what’s so great about her filmmaker husband.\u003c/p>\n\u003cp>For Pierre — like Garrel, who shot \u003cem>Women\u003c/em> in black-and-white 35mm — film means celluloid. It’s at a picturesque archive, where movie cans are stored like bottles of fine wine, that the documentarian meets Elisabeth (Lena Paugam), a pretty but hardly glamorous grad student. They begin an affair.\u003c/p>\n\u003cp>Pierre demonstrates his form of gallantry by immediately telling Elisabeth that he’s married. But he doesn’t reveal anything to Manon. He’s shocked when she, intuiting the changed situation, takes a lover of her own. Interestingly, Pierre gets the news of Manon’s infidelity from Elisabeth. The wayward husband probably imagines that his relationship with Elisabeth, which consists of little more than sex, is simple. But jealousy is complicated.\u003c/p>\n\u003cp>This concise tale was scripted by the director and three others, including Jean-Claude Carriere, whose signature is on many literary international productions (including \u003cem>The Tin Drum\u003c/em> and \u003cem>The Unbearable Lightness of Being\u003c/em>) that are far better known than any of Garrel’s efforts. While the screenplay is solid, parts of its story are underdeveloped. Notably, the writers don’t make much of an intriguing parallel between Pierre and Henri. Acknowledging the two men’s similar characters could have rendered the movie both more playful and more profound.\u003c/p>\n\u003cp>What distinguishes \u003cem>In the Shadow of Women\u003c/em> are its naturalistic performances — especially Courau’s — and its elegantly composed shots and offhand rhythm. The narrative cadence is accented by infrequent use of Jean-Louis Aubert’s modern chamber-music score.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film also has a strong sense of place, in part because it shows so little sense of its era. Viewers may be surprised when Elisabeth pulls out a mobile phone, the first concrete detail to place the action in contemporary times. The movie is on set on streets that may not be mean, but are certainly ungentrified. Their existence is proof that, as a cinematic location that evokes bohemian urbanity, Paris will always have us.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“What the hell did I do? Killed them all, of course.”\u003c/p>\n\u003cp>These words, muttered by New York real estate heir and suspected serial killer Robert Durst in the finale of HBO’s documentary series \u003cem>The Jinx\u003c/em>, sent chills down the spines of viewers and put Durst back in the spotlight.\u003c/p>\n\u003cp>Now Durst, 72, could spend the next seven years in prison — but not for murder. He pleaded guilty to a weapons charge Wednesday in New Orleans and accepted a sentence of seven years and one month in prison. Durst is expected to go on trial on murder charges this summer in California.\u003c/p>\n\u003cp>Durst, whose life was the subject of the HBO series, pleaded guilty \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/03/15/393168862/robert-durst-subject-of-hbos-the-jinx-arrested-in-new-orleans\">nearly a year after he was arrested\u003c/a> in New Orleans for illegally carrying a .38-caliber revolver. U.S. District Judge Kurt Engelhardt said he would provisionally accept the plea and, The Associated Press reports, “make a final decision after he receives a pre-sentencing report expected in two weeks.” The maximum penalty Durst could face is 10 years in prison and a $250,000 fine.\u003c/p>\n\u003cp>As NPR has reported, Durst has waived extradition to Los Angeles to stand trial for the 2000 murder of his friend Susan Berman. Durst is suspected of killing her because he feared Berman could connect him to the disappearance of his first wife in 1982.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Durst’s longtime lawyer — who successfully defended Durst in 2003 after his client admitted killing and dismembering a neighbor in self-defense — says the California case will be challenging.\u003c/p>\n\u003cp>“I’ve had a lot of hard cases. I enjoy hard cases. But, yes, this one is tough,” \u003ca href=\"http://www.npr.org/2016/02/03/465321348/robert-dursts-attorney-heirs-latest-legal-troubles-are-tough\">attorney Dick DeGuerin said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jinx\u003c/em> brought renewed scrutiny to the deaths in which Durst was implicated. But \u003ca href=\"http://www.nytimes.com/2015/03/16/nyregion/robert-durst-subject-of-hbo-documentary-on-unsolved-killings-is-arrested.html?_r=0\">The New York Times reports\u003c/a> that more than two years have passed between when the filmmakers interviewed Durst and when they realized Durst’s private muttering was caught on tape, and that it’s unclear whether it will be admissible in court. \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=Robert+Durst+Pleads+Guilty+To+Gun+Charge%2C+Accepts+7-Year+Sentence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Morris Robinson has the kind of bass voice that reverberates so strongly, you feel it in your concert seat. Listening to it, you assume he’s been singing all of his life. And he has — but not opera.\u003c/p>\n\u003cp>Robinson grew up in Atlanta, the son of a Baptist minister and a mother who spent a lot of time making sure her children played musical instruments and did well in school. His earliest memory of singing was being “in the kiddie choir,” standing on a chair in church and singing the hymn “Can’t Nobody Do Me Like Jesus.” He got a lot of applause. “Then I realized I wanted to play the drums, which is a lot more exciting than singing. So I ended up being the church drummer.”\u003c/p>\n\u003cp>For a long time as a youth, Morris Robinson says, “singing was just something to do. Nobody thought of it as a viable profession.”\u003c/p>\n\u003cp>\u003cstrong>Aiming For One Goal …\u003c/strong>\u003c/p>\n\u003cp>What he really wanted to do was play football. And he did, but soon he grew too big to play in his division in the youth leagues, so reluctantly, he turned to music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He sang in the Atlanta Boys’ Choir and in the chorus at his performing arts high school, where he also played football.\u003c/p>\n\u003cp>“When you’re a big black guy down south in Georgia,” he grins, “you play ball. It’s like a rite of passage.”\u003c/p>\n\u003cp>Chorus was fun, but football was \u003cem>cool\u003c/em>. And cool counts a lot in high school.\u003c/p>\n\u003cp>His prowess on the field got him to the Citadel, the military college in Charleston, S.C., where he played ball and soloed in the schools’ venerated Christmas concert with an “O Holy Night” people still remember. An offensive lineman, Robinson was voted All-American three times — but it wasn’t enough to get him a much hoped-for spot with the NFL.\u003c/p>\n\u003cp>He was, ironically, too small. “At 6 feet 2 1/2 inches, 290 pounds, I’d be blocking someone 6 feet 6 inches, 300 pounds,” he says. “Would somebody pay me millions of dollars to protect their quarterback? Probably not.”\u003c/p>\n\u003cp>\u003cstrong>… Working On Another \u003c/strong>\u003c/p>\n\u003cp>After graduation, he got a job in corporate sales and moved around the country as he got better offers and promotions. Along the way, he married Denise Wright, an attractive flight attendant he met en route to a sales conference. Their son Miles is 10 years old. Sometimes Robinson sang for his former teammates when they got married. He missed music and began to wonder if he might be able to do something more than weddings.\u003c/p>\n\u003cp>While working in Boston, he applied to Boston University’s Opera Institute and was accepted with a full scholarship and stipend. It was a chance to become an opera professional, but that meant giving up a lucrative job: “company car, expense account, office at home, 401(k) — quit.”\u003c/p>\n\u003cp>Denise encouraged him. They both saw it as an investment in Robinson’s career. He promised to give it his all for two years to try to make it work. “If it doesn’t,” he promised, “I’ll go back to work.”\u003c/p>\n\u003cp>He didn’t have to. Robinson was cast regularly from the start. His first role was with the Boston Lyric Opera as the king in \u003cem>Aida\u003c/em>. One role led to another, work was steady — so steady, “I had to cut back on my part-time work at Best Buy to put some change in my pocket, I was singing so much.”\u003c/p>\n\u003cp>At the same time, he was learning a lot: “So much is coming at me: languages, style, stage combat, stage position, vocal production. … It was like drinking out of a fire hydrant!” But the doggedness and discipline he’d learned on the football field stood Robinson in good stead.\u003c/p>\n\u003cp>He’s sung with opera companies from St. Louis to Sydney, from Atlanta to Aix-en-Provence. In 2013, he starred as Joe in the Houston Grand Opera’s production of \u003cem>Show Boat\u003c/em>; his “Ol’ Man River” brought down the house.\u003c/p>\n\u003cp>\u003cstrong>‘It Is Changing’ — Somewhat\u003c/strong>\u003c/p>\n\u003cp>As an African-American opera singer, Robinson is still something of a rarity, but less rare than he once was. Racial barriers are not as high as they were when Marian Anderson and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1148999\" target=\"_blank\" rel=\"noopener\">William Warfield\u003c/a> sang onstage.\u003c/p>\n\u003cp>“I will say it is changing,” he says carefully. “Exposure has reached out and brought in more African-American singers represented on stage, in concert halls and opera houses.” But change is relative. “There are still very few of us,” he admits. And diversifying opera’s audience is still challenging.\u003c/p>\n\u003cp>Robinson says he’s lucky: He’s sung most of the roles he’s wanted in many of the places he’s wanted to sing them. But over the years, he has steadfastly refused to consider one role: the title role of Porgy in \u003cem>Porgy and Bess\u003c/em>.\u003c/p>\n\u003cp>Robinson thought he knew what people were thinking when they asked: “I’m a big, black opera singer; I should be singing \u003cem>Porgy and Bess.\u003c/em>” And he was having none of it: “I didn’t want to be typecast that early in my career.”\u003c/p>\n\u003cp>Now, firmly established after 17 years of singing mostly Italian and German works, Robinson is ready. This fall, he’ll be singing Porgy at Milan’s iconic opera house, La Scala.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And seats will rumble. \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=From+Football+To+Opera%3A+Singer+Morris+Robinson+Takes+Center+Stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Morris Robinson has the kind of bass voice that reverberates so strongly, you feel it in your concert seat. Listening to it, you assume he’s been singing all of his life. And he has — but not opera.\u003c/p>\n\u003cp>Robinson grew up in Atlanta, the son of a Baptist minister and a mother who spent a lot of time making sure her children played musical instruments and did well in school. His earliest memory of singing was being “in the kiddie choir,” standing on a chair in church and singing the hymn “Can’t Nobody Do Me Like Jesus.” He got a lot of applause. “Then I realized I wanted to play the drums, which is a lot more exciting than singing. So I ended up being the church drummer.”\u003c/p>\n\u003cp>For a long time as a youth, Morris Robinson says, “singing was just something to do. Nobody thought of it as a viable profession.”\u003c/p>\n\u003cp>\u003cstrong>Aiming For One Goal …\u003c/strong>\u003c/p>\n\u003cp>What he really wanted to do was play football. And he did, but soon he grew too big to play in his division in the youth leagues, so reluctantly, he turned to music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He sang in the Atlanta Boys’ Choir and in the chorus at his performing arts high school, where he also played football.\u003c/p>\n\u003cp>“When you’re a big black guy down south in Georgia,” he grins, “you play ball. It’s like a rite of passage.”\u003c/p>\n\u003cp>Chorus was fun, but football was \u003cem>cool\u003c/em>. And cool counts a lot in high school.\u003c/p>\n\u003cp>His prowess on the field got him to the Citadel, the military college in Charleston, S.C., where he played ball and soloed in the schools’ venerated Christmas concert with an “O Holy Night” people still remember. An offensive lineman, Robinson was voted All-American three times — but it wasn’t enough to get him a much hoped-for spot with the NFL.\u003c/p>\n\u003cp>He was, ironically, too small. “At 6 feet 2 1/2 inches, 290 pounds, I’d be blocking someone 6 feet 6 inches, 300 pounds,” he says. “Would somebody pay me millions of dollars to protect their quarterback? Probably not.”\u003c/p>\n\u003cp>\u003cstrong>… Working On Another \u003c/strong>\u003c/p>\n\u003cp>After graduation, he got a job in corporate sales and moved around the country as he got better offers and promotions. Along the way, he married Denise Wright, an attractive flight attendant he met en route to a sales conference. Their son Miles is 10 years old. Sometimes Robinson sang for his former teammates when they got married. He missed music and began to wonder if he might be able to do something more than weddings.\u003c/p>\n\u003cp>While working in Boston, he applied to Boston University’s Opera Institute and was accepted with a full scholarship and stipend. It was a chance to become an opera professional, but that meant giving up a lucrative job: “company car, expense account, office at home, 401(k) — quit.”\u003c/p>\n\u003cp>Denise encouraged him. They both saw it as an investment in Robinson’s career. He promised to give it his all for two years to try to make it work. “If it doesn’t,” he promised, “I’ll go back to work.”\u003c/p>\n\u003cp>He didn’t have to. Robinson was cast regularly from the start. His first role was with the Boston Lyric Opera as the king in \u003cem>Aida\u003c/em>. One role led to another, work was steady — so steady, “I had to cut back on my part-time work at Best Buy to put some change in my pocket, I was singing so much.”\u003c/p>\n\u003cp>At the same time, he was learning a lot: “So much is coming at me: languages, style, stage combat, stage position, vocal production. … It was like drinking out of a fire hydrant!” But the doggedness and discipline he’d learned on the football field stood Robinson in good stead.\u003c/p>\n\u003cp>He’s sung with opera companies from St. Louis to Sydney, from Atlanta to Aix-en-Provence. In 2013, he starred as Joe in the Houston Grand Opera’s production of \u003cem>Show Boat\u003c/em>; his “Ol’ Man River” brought down the house.\u003c/p>\n\u003cp>\u003cstrong>‘It Is Changing’ — Somewhat\u003c/strong>\u003c/p>\n\u003cp>As an African-American opera singer, Robinson is still something of a rarity, but less rare than he once was. Racial barriers are not as high as they were when Marian Anderson and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1148999\" target=\"_blank\" rel=\"noopener\">William Warfield\u003c/a> sang onstage.\u003c/p>\n\u003cp>“I will say it is changing,” he says carefully. “Exposure has reached out and brought in more African-American singers represented on stage, in concert halls and opera houses.” But change is relative. “There are still very few of us,” he admits. And diversifying opera’s audience is still challenging.\u003c/p>\n\u003cp>Robinson says he’s lucky: He’s sung most of the roles he’s wanted in many of the places he’s wanted to sing them. But over the years, he has steadfastly refused to consider one role: the title role of Porgy in \u003cem>Porgy and Bess\u003c/em>.\u003c/p>\n\u003cp>Robinson thought he knew what people were thinking when they asked: “I’m a big, black opera singer; I should be singing \u003cem>Porgy and Bess.\u003c/em>” And he was having none of it: “I didn’t want to be typecast that early in my career.”\u003c/p>\n\u003cp>Now, firmly established after 17 years of singing mostly Italian and German works, Robinson is ready. This fall, he’ll be singing Porgy at Milan’s iconic opera house, La Scala.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And seats will rumble. \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=From+Football+To+Opera%3A+Singer+Morris+Robinson+Takes+Center+Stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Once upon a time, an artist actually had to \u003cem>sell\u003c/em> albums to earn gold or platinum awards from the Recording Industry Association of America (RIAA). But today, the RIAA \u003ca href=\"http://www.riaa.com/riaa-debuts-album-award-streams/\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> that they’re catching up with how fans actually listen to music: On-demand streaming, either on video or audio platforms, counts toward that status.\u003c/p>\n\u003cp>In order to get to that reckoning, the RIAA has created a new formula: 1,500 streams is now the official equivalent of ten single track sales or one album sale. (Gold status is awarded after the equivalent of 500,000 sales; platinum, on 1,000,000 sales.) Theoretically, if an artist’s single were streamed 1.5 billion times on YouTube, the whole album could be certified platinum.\u003c/p>\n\u003cp>Seventeen albums have immediately benefited from these new benchmarks, including \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a>’s \u003cem>To Pimp A Butterfly\u003c/em>, which is now platinum, and \u003ca href=\"http://www.npr.org/artists/164187667/alt-j\" target=\"_blank\" rel=\"noopener\">Alt-J\u003c/a>’s \u003cem>An Awesome Wave\u003c/em>, which earned a gold award.\u003c/p>\n\u003cp>But perhaps the most immediately buzzed-about award has gone to \u003ca href=\"http://www.npr.org/tags/125943991/rihanna/archive\" target=\"_blank\" rel=\"noopener\">Rihanna\u003c/a>’s new album \u003cem>Anti\u003c/em>, which \u003ca href=\"https://twitter.com/RIAA/status/693117513434021888\" target=\"_blank\" rel=\"noopener\">went platinum\u003c/a> on Friday, less than two days after it first leaked and then was officially released only on Tidal, the streaming platform co-owned by Rihanna.\u003c/p>\n\u003cp>It didn’t hit the mark solely because of streams, though. A Tidal representative told \u003cem>Spin\u003c/em> magazine that \u003cem>Anti\u003c/em> was downloaded more than 1.4 million times in its \u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/?utm_source=spintwitter&utm_medium=social&utm_campaign=spintwitter\" target=\"_blank\" rel=\"noopener\">first 15 hours\u003c/a> of availability. A “limited” number of those downloads of the album were given away for free to fans through a \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2016/01/anti-capitalism/435411/\" target=\"_blank\" rel=\"noopener\">promotional arrangement\u003c/a> with Samsung. The \u003cem>New York Post\u003c/em> reported last October that the Barbados-born singer signed a deal for \u003ca href=\"http://nypost.com/2015/10/29/rihanna-inks-25m-sponsorship-deal-with-samsung/\" target=\"_blank\" rel=\"noopener\">$25 million\u003c/a> with the South Korean electronics megaplayer to sponsor both the \u003cem>Anti \u003c/em>album and tour.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>However, the ratings company Nielsen Music and \u003cem>Billboard \u003c/em>are not counting those promotional downloads of \u003cem>Anti\u003c/em> in their own, separate chart calculations, as they explained in a statement they provided to \u003cem>\u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a>\u003c/em>. \u003cem>Billboard\u003c/em> says they will only count the “400k+” paid downloads via Tidal — meaning that perhaps up to a million copies of \u003cem>Anti\u003c/em> were downloaded via that free promotion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ways in which the RIAA has historically tallied its numbers, however, have not always been strictly sales-based; the group previously counted units shipped to retailers, but \u003ca href=\"http://articles.latimes.com/1995-01-15/entertainment/ca-20083_1_lion-king\" target=\"_blank\" rel=\"noopener\">not necessarily sold\u003c/a>, within their calculations. This differs from how Nielsen determines their numbers, which used to be based entirely on sales but now combines sales of physical product with downloads and on-demand streams. \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=Forget+Selling+Albums+%E2%80%94+Artists+Can+Now+Go+Platinum+Via+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once upon a time, an artist actually had to \u003cem>sell\u003c/em> albums to earn gold or platinum awards from the Recording Industry Association of America (RIAA). But today, the RIAA \u003ca href=\"http://www.riaa.com/riaa-debuts-album-award-streams/\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> that they’re catching up with how fans actually listen to music: On-demand streaming, either on video or audio platforms, counts toward that status.\u003c/p>\n\u003cp>In order to get to that reckoning, the RIAA has created a new formula: 1,500 streams is now the official equivalent of ten single track sales or one album sale. (Gold status is awarded after the equivalent of 500,000 sales; platinum, on 1,000,000 sales.) Theoretically, if an artist’s single were streamed 1.5 billion times on YouTube, the whole album could be certified platinum.\u003c/p>\n\u003cp>Seventeen albums have immediately benefited from these new benchmarks, including \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a>’s \u003cem>To Pimp A Butterfly\u003c/em>, which is now platinum, and \u003ca href=\"http://www.npr.org/artists/164187667/alt-j\" target=\"_blank\" rel=\"noopener\">Alt-J\u003c/a>’s \u003cem>An Awesome Wave\u003c/em>, which earned a gold award.\u003c/p>\n\u003cp>But perhaps the most immediately buzzed-about award has gone to \u003ca href=\"http://www.npr.org/tags/125943991/rihanna/archive\" target=\"_blank\" rel=\"noopener\">Rihanna\u003c/a>’s new album \u003cem>Anti\u003c/em>, which \u003ca href=\"https://twitter.com/RIAA/status/693117513434021888\" target=\"_blank\" rel=\"noopener\">went platinum\u003c/a> on Friday, less than two days after it first leaked and then was officially released only on Tidal, the streaming platform co-owned by Rihanna.\u003c/p>\n\u003cp>It didn’t hit the mark solely because of streams, though. A Tidal representative told \u003cem>Spin\u003c/em> magazine that \u003cem>Anti\u003c/em> was downloaded more than 1.4 million times in its \u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/?utm_source=spintwitter&utm_medium=social&utm_campaign=spintwitter\" target=\"_blank\" rel=\"noopener\">first 15 hours\u003c/a> of availability. A “limited” number of those downloads of the album were given away for free to fans through a \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2016/01/anti-capitalism/435411/\" target=\"_blank\" rel=\"noopener\">promotional arrangement\u003c/a> with Samsung. The \u003cem>New York Post\u003c/em> reported last October that the Barbados-born singer signed a deal for \u003ca href=\"http://nypost.com/2015/10/29/rihanna-inks-25m-sponsorship-deal-with-samsung/\" target=\"_blank\" rel=\"noopener\">$25 million\u003c/a> with the South Korean electronics megaplayer to sponsor both the \u003cem>Anti \u003c/em>album and tour.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>However, the ratings company Nielsen Music and \u003cem>Billboard \u003c/em>are not counting those promotional downloads of \u003cem>Anti\u003c/em> in their own, separate chart calculations, as they explained in a statement they provided to \u003cem>\u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a>\u003c/em>. \u003cem>Billboard\u003c/em> says they will only count the “400k+” paid downloads via Tidal — meaning that perhaps up to a million copies of \u003cem>Anti\u003c/em> were downloaded via that free promotion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ways in which the RIAA has historically tallied its numbers, however, have not always been strictly sales-based; the group previously counted units shipped to retailers, but \u003ca href=\"http://articles.latimes.com/1995-01-15/entertainment/ca-20083_1_lion-king\" target=\"_blank\" rel=\"noopener\">not necessarily sold\u003c/a>, within their calculations. This differs from how Nielsen determines their numbers, which used to be based entirely on sales but now combines sales of physical product with downloads and on-demand streams. \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=Forget+Selling+Albums+%E2%80%94+Artists+Can+Now+Go+Platinum+Via+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the winter of 1987, music producer \u003ca href=\"http://www.toddrlockwood.com/\" target=\"_blank\" rel=\"noopener\">Todd Lockwood\u003c/a> was on the lookout for a hot new project to grow his label. Lockwood owned the White Crow recording studio in Burlington, Vt. — and he didn’t have to look far to find his bold idea.\u003c/p>\n\u003cp>That idea? Get Bernie Sanders — then the longtime mayor of Burlington — into the studio to record a few of his favorite songs.\u003c/p>\n\u003cp>“We had this intriguing mayor, a guy who was absolutely on a mission with everything he did,” Lockwood recalls. “He was charismatic and had a powerful public image. But people didn’t really know that much about what his personal life was like. So I thought, well, here’s an opportunity to see the man behind the curtain.”\u003c/p>\n\u003cp>The result ultimately became \u003ca href=\"https://jamesnapoli.atavist.com/we-shall-overcome\" target=\"_blank\" rel=\"noopener\">We Shall Overcome\u003c/a>, the Bernie Sanders folk album.\u003c/p>\n\u003cp>But it all started with a letter to the mayor, and a meeting face to face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The very first thing he said when I sat down in his office was, ‘I have to admit to you, right up front, that this appeals to my ego’ — and we both laughed,” Lockwood says. “I mean, that was a pretty honest thing to say, under the circumstances.”\u003c/p>\n\u003cp>Once Sanders was on board, the next step was to figure out what this thing would sound like. Just a few years before that, \u003ca href=\"http://www.npr.org/artists/16782748/michael-jackson\" target=\"_blank\" rel=\"noopener\">Michael Jackson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Ritchie\u003c/a> had brought together a vast cast of musicians for \u003cem>We Are the World\u003c/em>. The album’s only single, under the same title, had recently gone multiplatinum.\u003c/p>\n\u003cp>That album made for easy inspiration for Lockwood — with one big exception.\u003c/p>\n\u003cfigure id=\"attachment_11289609\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg\" alt=\"Bernie Sanders' monologue script for the 1987 album, 'We Shall Overcome.'\" width=\"640\" height=\"853\" class=\"size-large wp-image-11289609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bernie Sanders’ monologue script for the 1987 album, ‘We Shall Overcome.’ \u003ccite>(Courtesy: Todd Lockwood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where Michael had a roomful of superstars, we were going to have a roomful of Vermonters,” Lockwood says.\u003c/p>\n\u003cp>He enlisted 30 singers and musicians to help flesh out Sanders’ handpicked list. But when he finally got Sanders behind the microphone, Lockwood noticed he had a problem.\u003c/p>\n\u003cp>“I realized pretty early on that Bernie is not a singer. That became pretty apparent right off the bat,” he says. “You know, there are certain tricks you can do to correct people’s pitch being off and stuff, but I was going, ‘This is not really the road we want to go down.’ ”\u003c/p>\n\u003cp>So, they decided to take a different tack: a “talking-blues approach,” which Lockwood says suited Sanders better.\u003c/p>\n\u003cp>Sanders himself, however, isn’t so sure.\u003c/p>\n\u003cp>“If people are thinking of voting for me for my musical capabilities — not the right reason,” Sanders told NBC’s Lester Holt earlier this week. “I have other attributes. Carrying a tune is not one of them.”\u003c/p>\n\u003cp>Lockwood is more optimistic about the presidential candidate’s music career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is someone who absolutely believes, with all of his heart, in what he’s saying,” he says. “I fully expect that if he becomes president, we will see a gold or platinum record hanging on the wall.” \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=Behind+The+Music%3A+Bernie+Sanders&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the winter of 1987, music producer \u003ca href=\"http://www.toddrlockwood.com/\" target=\"_blank\" rel=\"noopener\">Todd Lockwood\u003c/a> was on the lookout for a hot new project to grow his label. Lockwood owned the White Crow recording studio in Burlington, Vt. — and he didn’t have to look far to find his bold idea.\u003c/p>\n\u003cp>That idea? Get Bernie Sanders — then the longtime mayor of Burlington — into the studio to record a few of his favorite songs.\u003c/p>\n\u003cp>“We had this intriguing mayor, a guy who was absolutely on a mission with everything he did,” Lockwood recalls. “He was charismatic and had a powerful public image. But people didn’t really know that much about what his personal life was like. So I thought, well, here’s an opportunity to see the man behind the curtain.”\u003c/p>\n\u003cp>The result ultimately became \u003ca href=\"https://jamesnapoli.atavist.com/we-shall-overcome\" target=\"_blank\" rel=\"noopener\">We Shall Overcome\u003c/a>, the Bernie Sanders folk album.\u003c/p>\n\u003cp>But it all started with a letter to the mayor, and a meeting face to face.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The very first thing he said when I sat down in his office was, ‘I have to admit to you, right up front, that this appeals to my ego’ — and we both laughed,” Lockwood says. “I mean, that was a pretty honest thing to say, under the circumstances.”\u003c/p>\n\u003cp>Once Sanders was on board, the next step was to figure out what this thing would sound like. Just a few years before that, \u003ca href=\"http://www.npr.org/artists/16782748/michael-jackson\" target=\"_blank\" rel=\"noopener\">Michael Jackson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Ritchie\u003c/a> had brought together a vast cast of musicians for \u003cem>We Are the World\u003c/em>. The album’s only single, under the same title, had recently gone multiplatinum.\u003c/p>\n\u003cp>That album made for easy inspiration for Lockwood — with one big exception.\u003c/p>\n\u003cfigure id=\"attachment_11289609\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg\" alt=\"Bernie Sanders' monologue script for the 1987 album, 'We Shall Overcome.'\" width=\"640\" height=\"853\" class=\"size-large wp-image-11289609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bernie Sanders’ monologue script for the 1987 album, ‘We Shall Overcome.’ \u003ccite>(Courtesy: Todd Lockwood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where Michael had a roomful of superstars, we were going to have a roomful of Vermonters,” Lockwood says.\u003c/p>\n\u003cp>He enlisted 30 singers and musicians to help flesh out Sanders’ handpicked list. But when he finally got Sanders behind the microphone, Lockwood noticed he had a problem.\u003c/p>\n\u003cp>“I realized pretty early on that Bernie is not a singer. That became pretty apparent right off the bat,” he says. “You know, there are certain tricks you can do to correct people’s pitch being off and stuff, but I was going, ‘This is not really the road we want to go down.’ ”\u003c/p>\n\u003cp>So, they decided to take a different tack: a “talking-blues approach,” which Lockwood says suited Sanders better.\u003c/p>\n\u003cp>Sanders himself, however, isn’t so sure.\u003c/p>\n\u003cp>“If people are thinking of voting for me for my musical capabilities — not the right reason,” Sanders told NBC’s Lester Holt earlier this week. “I have other attributes. Carrying a tune is not one of them.”\u003c/p>\n\u003cp>Lockwood is more optimistic about the presidential candidate’s music career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is someone who absolutely believes, with all of his heart, in what he’s saying,” he says. “I fully expect that if he becomes president, we will see a gold or platinum record hanging on the wall.” \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=Behind+The+Music%3A+Bernie+Sanders&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The New York art world was shocked when the city’s oldest gallery abruptly closed its doors more than four years ago. A few days later, news broke that Knoedler & Company was accused of selling paintings it now admits were forgeries for millions of dollars each. The gallery and its former president face several lawsuits by angry collectors and the first trial began this week.\u003c/p>\n\u003cp>The forgeries at the center of the scandal look like masterpieces by Jackson Pollock, Willem de Kooning and other prominent abstract expressionists. They were good enough to fool experts, and even Ann Freedman, then-president of Knoedler & Company, says she was duped.\u003c/p>\n\u003cp>Her lawyer, Luke Nikas, says, “Ann Freedman believed in these paintings. She showed them to the whole art world. She showed them to experts. And she has piles and piles of letters from all of these experts informing her that the works are real.”\u003c/p>\n\u003cp>Nikas says Freedman even bought some of the paintings for her own personal collection. But the plaintiffs in this case and other pending lawsuits say Freedman overlooked glaring problems with the paintings’ backstories. The art dealer who sold the paintings to the gallery, a woman named Glafira Rosales, pleaded guilty to fraud and money laundering charges in 2013. According to Freedman, Rosales told an elaborate story involving a European collector (known only as “Mr. X”) who bought the paintings with cash in the 1950s, when he was having an affair with an assistant at two top New York galleries.\u003c/p>\n\u003cp>“It’s quite a tale, and people bought it,” says Amy Adler, who teaches art law at New York University. “I suppose the temptation would be there — not just for buyers, but, yes, even for sellers — to think they’d happened upon these magnificent, undisclosed masterpieces.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the end, Rosales admitted to selling Knoedler 40 counterfeit paintings over more than a decade. The plaintiffs argue that Freedman knew — or at least should have known — that something was amiss. It’s hardly the first time an art dealer has been accused of deliberately looking the other way.\u003c/p>\n\u003cp>Ken Perenyi is a professional art forger who wrote about his career in the book \u003ca href=\"http://www.npr.org/books/titles/159367710/caveat-emptor-the-secret-life-of-an-american-art-forger\" target=\"_blank\" rel=\"noopener\">Caveat Emptor\u003c/a>. “From over 30 years’ experience with art dealers,” he says, “I would say there most certainly are individuals out there in the trade that will turn a blind eye.”\u003c/p>\n\u003cfigure id=\"attachment_11289598\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1180x664.jpg\" alt=\"The Knoedler & Company art gallery, shown here in 2010, had been in business since before the Civil War. The gallery permanently closed its doors in 2011.\" width=\"640\" height=\"360\" class=\"size-large wp-image-11289598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Knoedler & Company art gallery, shown here in 2010, had been in business since before the Civil War. The gallery permanently closed its doors in 2011. \u003ccite>(Photo: Paul Goguen/Bloomberg via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perenyi faked thousands of 18th- and 19th- century paintings, and sold them to auction houses and art dealers. He says, “I’ve seen paintings of mine turn up in dealers’ catalogues that they had to know about it and they chose to buy it and sell it anyway.”\u003c/p>\n\u003cp>Still, everyone was surprised when a blue chip gallery like Knoedler & Company got caught peddling fakes. The gallery had been in business since before the Civil War, and even other art dealers relied on its good name. Richard Feigen is a prominent dealer on the Upper East Side. He helped broker a sale involving one of the Knoedler forgeries, but gave his commission back when the work turned out to be fake. Feigen says it’s a reminder to art dealers not to cut corners. “I think it will cause people to be much more careful, because even a name as old as Knoedler is no guarantee, obviously, that you can be sure of.”\u003c/p>\n\u003cp>The Knoedler affair should also be a wake-up call to buyers, says NYU’s Amy Adler. “A lot of these people were very sophisticated business people … but they bought art based on sort of magical, romantic stories. It’s the kind of transaction they never would have engaged in had it been a regular business deal. I don’t think that’s going to happen so much going forward. I think people have seen that you need to kick the tires.”\u003c/p>\n\u003cp>But according to Adler, kicking the tires is harder than it used to be. Copies of paintings are getting better. And as the price of art has climbed, fewer experts are willing to make public judgments about a work’s authenticity. They’re afraid of getting sued if they’re wrong, and that can be very expensive. Just ask Ann Freedman’s lawyer, Luke Nikas.\u003c/p>\n\u003cp>“The bigger the dollar amount, the bigger the mistake in the end if you get it wrong,” he says. “If this had been a painting that was purchased for $5,000, we wouldn’t be here. … This would be over.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But it was purchased for more than $8 million by a collector who \u003cem>thought\u003c/em> it was painted by Mark Rothko. The trial is expected to last several more weeks. Freedman’s lawyer says she will take the stand in her own defense. \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=Art+Forgery+Trial+Asks%3A+Were+Dealers+Duped%2C+Or+Did+They+Turn+A+Blind+Eye%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The New York art world was shocked when the city’s oldest gallery abruptly closed its doors more than four years ago. A few days later, news broke that Knoedler & Company was accused of selling paintings it now admits were forgeries for millions of dollars each. The gallery and its former president face several lawsuits by angry collectors and the first trial began this week.\u003c/p>\n\u003cp>The forgeries at the center of the scandal look like masterpieces by Jackson Pollock, Willem de Kooning and other prominent abstract expressionists. They were good enough to fool experts, and even Ann Freedman, then-president of Knoedler & Company, says she was duped.\u003c/p>\n\u003cp>Her lawyer, Luke Nikas, says, “Ann Freedman believed in these paintings. She showed them to the whole art world. She showed them to experts. And she has piles and piles of letters from all of these experts informing her that the works are real.”\u003c/p>\n\u003cp>Nikas says Freedman even bought some of the paintings for her own personal collection. But the plaintiffs in this case and other pending lawsuits say Freedman overlooked glaring problems with the paintings’ backstories. The art dealer who sold the paintings to the gallery, a woman named Glafira Rosales, pleaded guilty to fraud and money laundering charges in 2013. According to Freedman, Rosales told an elaborate story involving a European collector (known only as “Mr. X”) who bought the paintings with cash in the 1950s, when he was having an affair with an assistant at two top New York galleries.\u003c/p>\n\u003cp>“It’s quite a tale, and people bought it,” says Amy Adler, who teaches art law at New York University. “I suppose the temptation would be there — not just for buyers, but, yes, even for sellers — to think they’d happened upon these magnificent, undisclosed masterpieces.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, Rosales admitted to selling Knoedler 40 counterfeit paintings over more than a decade. The plaintiffs argue that Freedman knew — or at least should have known — that something was amiss. It’s hardly the first time an art dealer has been accused of deliberately looking the other way.\u003c/p>\n\u003cp>Ken Perenyi is a professional art forger who wrote about his career in the book \u003ca href=\"http://www.npr.org/books/titles/159367710/caveat-emptor-the-secret-life-of-an-american-art-forger\" target=\"_blank\" rel=\"noopener\">Caveat Emptor\u003c/a>. “From over 30 years’ experience with art dealers,” he says, “I would say there most certainly are individuals out there in the trade that will turn a blind eye.”\u003c/p>\n\u003cfigure id=\"attachment_11289598\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1180x664.jpg\" alt=\"The Knoedler & Company art gallery, shown here in 2010, had been in business since before the Civil War. The gallery permanently closed its doors in 2011.\" width=\"640\" height=\"360\" class=\"size-large wp-image-11289598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Knoedler & Company art gallery, shown here in 2010, had been in business since before the Civil War. The gallery permanently closed its doors in 2011. \u003ccite>(Photo: Paul Goguen/Bloomberg via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perenyi faked thousands of 18th- and 19th- century paintings, and sold them to auction houses and art dealers. He says, “I’ve seen paintings of mine turn up in dealers’ catalogues that they had to know about it and they chose to buy it and sell it anyway.”\u003c/p>\n\u003cp>Still, everyone was surprised when a blue chip gallery like Knoedler & Company got caught peddling fakes. The gallery had been in business since before the Civil War, and even other art dealers relied on its good name. Richard Feigen is a prominent dealer on the Upper East Side. He helped broker a sale involving one of the Knoedler forgeries, but gave his commission back when the work turned out to be fake. Feigen says it’s a reminder to art dealers not to cut corners. “I think it will cause people to be much more careful, because even a name as old as Knoedler is no guarantee, obviously, that you can be sure of.”\u003c/p>\n\u003cp>The Knoedler affair should also be a wake-up call to buyers, says NYU’s Amy Adler. “A lot of these people were very sophisticated business people … but they bought art based on sort of magical, romantic stories. It’s the kind of transaction they never would have engaged in had it been a regular business deal. I don’t think that’s going to happen so much going forward. I think people have seen that you need to kick the tires.”\u003c/p>\n\u003cp>But according to Adler, kicking the tires is harder than it used to be. Copies of paintings are getting better. And as the price of art has climbed, fewer experts are willing to make public judgments about a work’s authenticity. They’re afraid of getting sued if they’re wrong, and that can be very expensive. Just ask Ann Freedman’s lawyer, Luke Nikas.\u003c/p>\n\u003cp>“The bigger the dollar amount, the bigger the mistake in the end if you get it wrong,” he says. “If this had been a painting that was purchased for $5,000, we wouldn’t be here. … This would be over.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But it was purchased for more than $8 million by a collector who \u003cem>thought\u003c/em> it was painted by Mark Rothko. The trial is expected to last several more weeks. Freedman’s lawyer says she will take the stand in her own defense. \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=Art+Forgery+Trial+Asks%3A+Were+Dealers+Duped%2C+Or+Did+They+Turn+A+Blind+Eye%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Marriage Upended In '45 Years'",
"headTitle": "A Marriage Upended In ’45 Years’ | KQED",
"content": "\u003cp>In 2011, the British director Andrew Haigh made \u003cem>Weekend\u003c/em>, an achingly wistful chamber piece about a lifetime of unfulfilled longing poured into a brief encounter between two very different gay men. \u003cem>Weekend\u003c/em> comes highly recommended, as does Haigh’s new film, \u003cem>45 Years\u003c/em>, which also spans a few days, here slogged through by an aging couple forced by startling news to reassess their long marriage. Neither film has a plot in the received sense, nor does either lead us to a foregone conclusion. Both take sympathetic but precise measure of seismic changes in emotional temperature. Both are for people who love to watch the momentous percolate within the mundane.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tg5cpiX18TA\u003c/p>\n\u003cp>In the run-up to a party to celebrate the 45th anniversary of Geoff and Kate (Tom Courtenay and Charlotte Rampling), a letter arrives bearing news that the body of Geoff’s former lover, Katya, who fell down a rock fissure during a hike in the Swiss Alps more than a half-century earlier, has been found preserved in ice. Kate has always known of Katya, but she’s about to learn a lot more than might be good for her or Geoff, who is visibly shaken. Katya remains as she was on the day of her death, and in less sensitive hands that fact, along with the fissure and the ice, might be worked to death as metaphors for the abyss that opens up in a union that has chugged along comfortably for most of its life. Instead, Haigh trickles the symbolism insidiously into our consciousness and Kate’s, along with the flat, winterized Norfolk landscape that frames their quietly intense struggle to recover equilibrium.\u003c/p>\n\u003cp>Life continues to flow along. Kate makes tea; walks the dog; lunches with a friend; oversees party arrangements. Geoff maintains an ongoing struggle with a broken toilet; cracks open Kierkegaard (again, his wife feels moved to point out); blows hard against this racist or that sellout in their circle. But a switch has been thrown. Is it salutary or the kiss of death? There’s more sex and more calling up the past than either Kate or Geoff has done in a while. It’s harder for them than most: these resolutely anti-bourgeois children of the ’60s are retired from jobs that don’t seem to have been central to the identity of either, and they have no photos of children or grandchildren to give shape and meaning to their lives. Each begins to conduct covert operations that threaten the status quo and exacerbate a mounting agitation in volatile Geoff, a gathering unease in his more contained wife.\u003c/p>\n\u003cp>Well, of course she’s contained. She’s Charlotte Rampling, ever gracious and composed but also slightly imperious, slightly impatient — and very, very, spare with the growing confusion of a woman reeling from news that throws a harsh new light on her hitherto unexamined life. Pairing Rampling with Courtenay was an ingenious move, and not only because the two perform a beautifully calibrated \u003cem>pas de deux\u003c/em>. As actors they belong to roughly the same generation, but their early careers span a profound change in the British cultural weather. For moviegoers their age, Courtenay still comes inextricably identified with the working-class-conscious \u003cem>The Loneliness of the Long Distance Runner\u003c/em> and other Angry Young Men films of late 1950s; Rampling remains (via \u003cem>Georgy Girl\u003c/em> and others) a potent, if patrician, symbol of the Swinging Sixties. Haigh slyly alludes to this. “You were a knockout!” Geoff recalls of his first sighting of Kate. That she was, but the nuanced, assessing intelligence that has earned Rampling a thriving international career well into her sixties is fully in charge here in Kate’s gradual awareness that a possibly fatal wedge has been driven into her marriage, and that “communication,” ubiquitously vaunted as the key to conjugal happiness, may be a double-edged sword.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As to whether this will turn out to be a lasting union or a fatally compromised marriage of convenience, Haigh won’t tip his hand exactly, and you can make what you like of the long, steady shot of wind rustling through dead leaves that haven’t yet left a tree. Or of the couple’s choice of an old Platters cover of \u003cem>Smoke Gets in Your Eyes\u003c/em> to accompany their first dance at a party that gives every appearance of becoming a roaring success.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>45 Years\u003c/em> is Kate’s film, and at the party, this enigmatic woman seems to have opted for pragmatism, or maybe it’s forbearance. But as the camera comes to rest on that lovely face, you may see a look so lost and stricken, it will rip the heart right out of your chest.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2011, the British director Andrew Haigh made \u003cem>Weekend\u003c/em>, an achingly wistful chamber piece about a lifetime of unfulfilled longing poured into a brief encounter between two very different gay men. \u003cem>Weekend\u003c/em> comes highly recommended, as does Haigh’s new film, \u003cem>45 Years\u003c/em>, which also spans a few days, here slogged through by an aging couple forced by startling news to reassess their long marriage. Neither film has a plot in the received sense, nor does either lead us to a foregone conclusion. Both take sympathetic but precise measure of seismic changes in emotional temperature. Both are for people who love to watch the momentous percolate within the mundane.\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/Tg5cpiX18TA'\n title='//www.youtube.com/embed/Tg5cpiX18TA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the run-up to a party to celebrate the 45th anniversary of Geoff and Kate (Tom Courtenay and Charlotte Rampling), a letter arrives bearing news that the body of Geoff’s former lover, Katya, who fell down a rock fissure during a hike in the Swiss Alps more than a half-century earlier, has been found preserved in ice. Kate has always known of Katya, but she’s about to learn a lot more than might be good for her or Geoff, who is visibly shaken. Katya remains as she was on the day of her death, and in less sensitive hands that fact, along with the fissure and the ice, might be worked to death as metaphors for the abyss that opens up in a union that has chugged along comfortably for most of its life. Instead, Haigh trickles the symbolism insidiously into our consciousness and Kate’s, along with the flat, winterized Norfolk landscape that frames their quietly intense struggle to recover equilibrium.\u003c/p>\n\u003cp>Life continues to flow along. Kate makes tea; walks the dog; lunches with a friend; oversees party arrangements. Geoff maintains an ongoing struggle with a broken toilet; cracks open Kierkegaard (again, his wife feels moved to point out); blows hard against this racist or that sellout in their circle. But a switch has been thrown. Is it salutary or the kiss of death? There’s more sex and more calling up the past than either Kate or Geoff has done in a while. It’s harder for them than most: these resolutely anti-bourgeois children of the ’60s are retired from jobs that don’t seem to have been central to the identity of either, and they have no photos of children or grandchildren to give shape and meaning to their lives. Each begins to conduct covert operations that threaten the status quo and exacerbate a mounting agitation in volatile Geoff, a gathering unease in his more contained wife.\u003c/p>\n\u003cp>Well, of course she’s contained. She’s Charlotte Rampling, ever gracious and composed but also slightly imperious, slightly impatient — and very, very, spare with the growing confusion of a woman reeling from news that throws a harsh new light on her hitherto unexamined life. Pairing Rampling with Courtenay was an ingenious move, and not only because the two perform a beautifully calibrated \u003cem>pas de deux\u003c/em>. As actors they belong to roughly the same generation, but their early careers span a profound change in the British cultural weather. For moviegoers their age, Courtenay still comes inextricably identified with the working-class-conscious \u003cem>The Loneliness of the Long Distance Runner\u003c/em> and other Angry Young Men films of late 1950s; Rampling remains (via \u003cem>Georgy Girl\u003c/em> and others) a potent, if patrician, symbol of the Swinging Sixties. Haigh slyly alludes to this. “You were a knockout!” Geoff recalls of his first sighting of Kate. That she was, but the nuanced, assessing intelligence that has earned Rampling a thriving international career well into her sixties is fully in charge here in Kate’s gradual awareness that a possibly fatal wedge has been driven into her marriage, and that “communication,” ubiquitously vaunted as the key to conjugal happiness, may be a double-edged sword.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As to whether this will turn out to be a lasting union or a fatally compromised marriage of convenience, Haigh won’t tip his hand exactly, and you can make what you like of the long, steady shot of wind rustling through dead leaves that haven’t yet left a tree. Or of the couple’s choice of an old Platters cover of \u003cem>Smoke Gets in Your Eyes\u003c/em> to accompany their first dance at a party that gives every appearance of becoming a roaring success.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>45 Years\u003c/em> is Kate’s film, and at the party, this enigmatic woman seems to have opted for pragmatism, or maybe it’s forbearance. But as the camera comes to rest on that lovely face, you may see a look so lost and stricken, it will rip the heart right out of your chest.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Where a mainstream fashion magazine might do a special “black issue,” like \u003ca href=\"http://jezebel.com/5031485/the-all-black-issue-of-italian-vogue-both-a-success-and-a-failure\" target=\"_blank\" rel=\"noopener\">Italian Vogue back in 2008\u003c/a>, or a black lifestyle magazine might \u003ca href=\"http://www.ebony.com/news-views/too-black-for-tv-gay-media-game-changers-find-a-home-on-the-internet-405#axzz3vdpaJFqH\" target=\"_blank\" rel=\"noopener\">run a queer feature\u003c/a>, the perspective of queer black folks tends to occupy occasional outskirts in fashion and lifestyle glossies, never the mainstay.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thetenthzine.com/\" target=\"_blank\" rel=\"noopener\">The Tenth\u003c/a>, a new print magazine by and for queer black men, now on its third issue, wants to help change that, at least from the POV of its founders. Its name is inspired by two sources: W.E.B. DuBois’ early 20th-century concept of the \u003ca href=\"http://teachingamericanhistory.org/library/document/the-talented-tenth/\" target=\"_blank\" rel=\"noopener\">Talented Tenth\u003c/a>, a vanguard group of exceptionally gifted black people who would elevate the community as a whole, and the voguing practice of “getting your tens” — earning a perfect score from the judges at a ballroom competition.\u003c/p>\n\u003cp>Like its inspirations, \u003cem>The Tenth\u003c/em> shows off queer black greatness across a wide variety of fields, ranging from interviews with new literary lions like \u003ca href=\"http://theferocity.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Saeed Jones\u003c/a> and \u003ca href=\"http://www.lambdaliterary.org/features/10/11/brontez-purnell/\" target=\"_blank\" rel=\"noopener\">Brontez Purnell\u003c/a> to under-recognized but influential historical figures like photographer \u003ca href=\"http://www.anothermag.com/art-photography/3370/under-the-piers-alvin-baltrops-gay-new-york\" target=\"_blank\" rel=\"noopener\">Alvin Baltrop\u003c/a> and musician Robert Brewster.\u003c/p>\n\u003cfigure id=\"attachment_11280801\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-1180x885.jpg\" alt=\"Finding spaces to shoot is often challenging for 'The Tenth' in ways that it isn't for more mainstream publication\" width=\"640\" height=\"480\" class=\"size-large wp-image-11280801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3.jpg 1840w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Finding spaces to shoot is often challenging for ‘The Tenth’ in ways that it isn’t for more mainstream publication \u003ccite>(Photo: Rakeem Cunningham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The magazine began as a personal project between Khary Septh and Kyle Banks, who are boyfriends in real life. They wanted to create a photographic collage of a group of their queer black friends, all creative professionals working in various industries around New York City whose aesthetic influence, \u003cem>The Tenth\u003c/em>‘s founders say, can be found everywhere from Beyonce’s looks to FK Twig’s moves. Septh and Banks wanted their collage to spotlight individuals whose influence is almost always behind the scenes, but they never thought it would go beyond the walls of their Brooklyn loft.\u003c/p>\n\u003cp>“But people were like, ‘We’ve never experienced anything like this before,’ so we were hoodwinked into starting [the magazine] from there,” Banks recalled. It wasn’t just about recognizing the individual work the people they photographed had done. It was about connecting them into a community. Soon, Septh and Banks asked Andre Verdun Jones, a longtime friend of Septh’s, to join them. All three had years of working as cultural creators under their belts: Banks as a stage actor (\u003ca href=\"http://www.broadwayworld.com/people/Kyle-R.-Banks/\">most recently in The Lion King\u003c/a>, both touring and on Broadway), Septh as a fashion designer and commercial art director, and Jones as a \u003ca href=\"http://sundance.festivalgenius.com/2010/films/mrokra_sundance2010\" target=\"_blank\" rel=\"noopener\">producer and filmmaker\u003c/a>. But they wanted to do something that would put their talents to use in service of their community and their ideals.\u003c/p>\n\u003cfigure id=\"attachment_11280803\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-1180x885.jpg\" alt=\"Khary Septh, Andre Jones, and Kyle Banks decided to tell a black queer version of Romeo and Juliet, set in South Central L.A.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11280803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80.jpg 1840w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Khary Septh, Andre Jones, and Kyle Banks decided to tell a black queer version of Romeo and Juliet, set in South Central L.A. \u003ccite>(Photo: Rakeem Cunningham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The world of the magazine is not limited to queer black men. Septh says they want it to reflect “the multiplicity of our identities, the layers of our lives.” You’ll find stories and images of straight people, white people, trans people, and queer black women in its pages, like a feature called “Detroit Is the New Black” that anchors the \u003ca href=\"http://www.thetenthzine.com/volume3\" target=\"_blank\" rel=\"noopener\">current issue\u003c/a>, which explores Detroit through the eyes of four young queer black women who are giving “Rock City” a renaissance made in their own image.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It might seem surprising that such an endeavor would begin in print, and indeed, \u003ca href=\"http://www.musedmagonline.com/\" target=\"_blank\" rel=\"noopener\">Mused Magazine\u003c/a>, another newer publication aimed at black gay men, is online-only. But a few other high-production, high-concept queer men’s print magazines have debuted in the last few years, like \u003ca href=\"http://gayletter.com/\" target=\"_blank\" rel=\"noopener\">Gayletter\u003c/a> and \u003ca href=\"http://cakeboymag.com/\" target=\"_blank\" rel=\"noopener\">Cakeboy\u003c/a>. Although all three take a more intersectional approach than most old-guard gay men’s mags, \u003cem>The Tenth\u003c/em> is the only one explicitly by and for people of color.\u003c/p>\n\u003cp>Yet despite the similarity of their projects, \u003cem>The Tenth\u003c/em> has been unable to match its peers in one crucial aspect: Advertising dollars. “As soon as we knock on the door, no one’s home,” said Jones, recalling fruitless attempts to convince fashion and lifestyle brands to invest in \u003cem>The Tenth\u003c/em>. The magazine is produced largely as a labor of love, with a shoe-string budget raised from small events and the print-on-demand sales of their first two issues, which are $40 each.\u003c/p>\n\u003cfigure id=\"attachment_11280804\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-1180x885.jpg\" alt=\"The third issue of 'The Tenth' was shot using cars at a cookout as the backdrop\" width=\"640\" height=\"480\" class=\"size-large wp-image-11280804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c.jpg 1840w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The third issue of ‘The Tenth’ was shot using cars at a cookout as the backdrop \u003ccite>(Photo: Rakeem Cunningham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were speaking with this hedge fund investor who just adores \u003cem>The Tenth\u003c/em>, and he didn’t understand why it was so hard to raise money for a print run,” Banks said with a rueful laugh. “Twenty minutes into the conversation, I asked about being connected to some of his investors and his response was, ‘Oh, they wouldn’t get you.'”\u003c/p>\n\u003cp>\u003cem>Gayletter\u003c/em>‘s Abiezer Benitez recalled similar experiences when he worked as art director at \u003ca href=\"http://uptownmagazine.com\" target=\"_blank\" rel=\"noopener\">Uptown\u003c/a>, a black women’s magazine. “Every single woman was wearing designers every single day. A Vuitton bag and a Vuitton heel,” Benitez said. Yet in his experience, the idea of getting those kinds of high-end advertisers in the magazine was a non-starter. “They think it’s a ‘misrepresentation’ of their brands,” Benitez said.\u003c/p>\n\u003cp>So far, for \u003cem>The Tenth\u003c/em>, the one exception has been the gay-friendly hospitality brand \u003ca href=\"http://www.acehotel.com/\">Ace Hotel\u003c/a>, whose Los Angeles venue hosted the January launch event for the new issue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Those guys have really shown up for us,” Septh said. But even if it means funding their project solely from single-issue sales, he added, “We’re never going to change our conversation, we’re never going to humble ourselves, and we’re never going to misrepresent our radical subversive philosophy.” \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=Meet+%27The+Tenth%2C%27+A+Slick+New+Magazine+For+Queer+Black+Men&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Where a mainstream fashion magazine might do a special “black issue,” like \u003ca href=\"http://jezebel.com/5031485/the-all-black-issue-of-italian-vogue-both-a-success-and-a-failure\" target=\"_blank\" rel=\"noopener\">Italian Vogue back in 2008\u003c/a>, or a black lifestyle magazine might \u003ca href=\"http://www.ebony.com/news-views/too-black-for-tv-gay-media-game-changers-find-a-home-on-the-internet-405#axzz3vdpaJFqH\" target=\"_blank\" rel=\"noopener\">run a queer feature\u003c/a>, the perspective of queer black folks tends to occupy occasional outskirts in fashion and lifestyle glossies, never the mainstay.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thetenthzine.com/\" target=\"_blank\" rel=\"noopener\">The Tenth\u003c/a>, a new print magazine by and for queer black men, now on its third issue, wants to help change that, at least from the POV of its founders. Its name is inspired by two sources: W.E.B. DuBois’ early 20th-century concept of the \u003ca href=\"http://teachingamericanhistory.org/library/document/the-talented-tenth/\" target=\"_blank\" rel=\"noopener\">Talented Tenth\u003c/a>, a vanguard group of exceptionally gifted black people who would elevate the community as a whole, and the voguing practice of “getting your tens” — earning a perfect score from the judges at a ballroom competition.\u003c/p>\n\u003cp>Like its inspirations, \u003cem>The Tenth\u003c/em> shows off queer black greatness across a wide variety of fields, ranging from interviews with new literary lions like \u003ca href=\"http://theferocity.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Saeed Jones\u003c/a> and \u003ca href=\"http://www.lambdaliterary.org/features/10/11/brontez-purnell/\" target=\"_blank\" rel=\"noopener\">Brontez Purnell\u003c/a> to under-recognized but influential historical figures like photographer \u003ca href=\"http://www.anothermag.com/art-photography/3370/under-the-piers-alvin-baltrops-gay-new-york\" target=\"_blank\" rel=\"noopener\">Alvin Baltrop\u003c/a> and musician Robert Brewster.\u003c/p>\n\u003cfigure id=\"attachment_11280801\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-1180x885.jpg\" alt=\"Finding spaces to shoot is often challenging for 'The Tenth' in ways that it isn't for more mainstream publication\" width=\"640\" height=\"480\" class=\"size-large wp-image-11280801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3.jpg 1840w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Finding spaces to shoot is often challenging for ‘The Tenth’ in ways that it isn’t for more mainstream publication \u003ccite>(Photo: Rakeem Cunningham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The magazine began as a personal project between Khary Septh and Kyle Banks, who are boyfriends in real life. They wanted to create a photographic collage of a group of their queer black friends, all creative professionals working in various industries around New York City whose aesthetic influence, \u003cem>The Tenth\u003c/em>‘s founders say, can be found everywhere from Beyonce’s looks to FK Twig’s moves. Septh and Banks wanted their collage to spotlight individuals whose influence is almost always behind the scenes, but they never thought it would go beyond the walls of their Brooklyn loft.\u003c/p>\n\u003cp>“But people were like, ‘We’ve never experienced anything like this before,’ so we were hoodwinked into starting [the magazine] from there,” Banks recalled. It wasn’t just about recognizing the individual work the people they photographed had done. It was about connecting them into a community. Soon, Septh and Banks asked Andre Verdun Jones, a longtime friend of Septh’s, to join them. All three had years of working as cultural creators under their belts: Banks as a stage actor (\u003ca href=\"http://www.broadwayworld.com/people/Kyle-R.-Banks/\">most recently in The Lion King\u003c/a>, both touring and on Broadway), Septh as a fashion designer and commercial art director, and Jones as a \u003ca href=\"http://sundance.festivalgenius.com/2010/films/mrokra_sundance2010\" target=\"_blank\" rel=\"noopener\">producer and filmmaker\u003c/a>. But they wanted to do something that would put their talents to use in service of their community and their ideals.\u003c/p>\n\u003cfigure id=\"attachment_11280803\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-1180x885.jpg\" alt=\"Khary Septh, Andre Jones, and Kyle Banks decided to tell a black queer version of Romeo and Juliet, set in South Central L.A.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11280803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80.jpg 1840w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Khary Septh, Andre Jones, and Kyle Banks decided to tell a black queer version of Romeo and Juliet, set in South Central L.A. \u003ccite>(Photo: Rakeem Cunningham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The world of the magazine is not limited to queer black men. Septh says they want it to reflect “the multiplicity of our identities, the layers of our lives.” You’ll find stories and images of straight people, white people, trans people, and queer black women in its pages, like a feature called “Detroit Is the New Black” that anchors the \u003ca href=\"http://www.thetenthzine.com/volume3\" target=\"_blank\" rel=\"noopener\">current issue\u003c/a>, which explores Detroit through the eyes of four young queer black women who are giving “Rock City” a renaissance made in their own image.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It might seem surprising that such an endeavor would begin in print, and indeed, \u003ca href=\"http://www.musedmagonline.com/\" target=\"_blank\" rel=\"noopener\">Mused Magazine\u003c/a>, another newer publication aimed at black gay men, is online-only. But a few other high-production, high-concept queer men’s print magazines have debuted in the last few years, like \u003ca href=\"http://gayletter.com/\" target=\"_blank\" rel=\"noopener\">Gayletter\u003c/a> and \u003ca href=\"http://cakeboymag.com/\" target=\"_blank\" rel=\"noopener\">Cakeboy\u003c/a>. Although all three take a more intersectional approach than most old-guard gay men’s mags, \u003cem>The Tenth\u003c/em> is the only one explicitly by and for people of color.\u003c/p>\n\u003cp>Yet despite the similarity of their projects, \u003cem>The Tenth\u003c/em> has been unable to match its peers in one crucial aspect: Advertising dollars. “As soon as we knock on the door, no one’s home,” said Jones, recalling fruitless attempts to convince fashion and lifestyle brands to invest in \u003cem>The Tenth\u003c/em>. The magazine is produced largely as a labor of love, with a shoe-string budget raised from small events and the print-on-demand sales of their first two issues, which are $40 each.\u003c/p>\n\u003cfigure id=\"attachment_11280804\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-1180x885.jpg\" alt=\"The third issue of 'The Tenth' was shot using cars at a cookout as the backdrop\" width=\"640\" height=\"480\" class=\"size-large wp-image-11280804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c.jpg 1840w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The third issue of ‘The Tenth’ was shot using cars at a cookout as the backdrop \u003ccite>(Photo: Rakeem Cunningham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were speaking with this hedge fund investor who just adores \u003cem>The Tenth\u003c/em>, and he didn’t understand why it was so hard to raise money for a print run,” Banks said with a rueful laugh. “Twenty minutes into the conversation, I asked about being connected to some of his investors and his response was, ‘Oh, they wouldn’t get you.'”\u003c/p>\n\u003cp>\u003cem>Gayletter\u003c/em>‘s Abiezer Benitez recalled similar experiences when he worked as art director at \u003ca href=\"http://uptownmagazine.com\" target=\"_blank\" rel=\"noopener\">Uptown\u003c/a>, a black women’s magazine. “Every single woman was wearing designers every single day. A Vuitton bag and a Vuitton heel,” Benitez said. Yet in his experience, the idea of getting those kinds of high-end advertisers in the magazine was a non-starter. “They think it’s a ‘misrepresentation’ of their brands,” Benitez said.\u003c/p>\n\u003cp>So far, for \u003cem>The Tenth\u003c/em>, the one exception has been the gay-friendly hospitality brand \u003ca href=\"http://www.acehotel.com/\">Ace Hotel\u003c/a>, whose Los Angeles venue hosted the January launch event for the new issue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Those guys have really shown up for us,” Septh said. But even if it means funding their project solely from single-issue sales, he added, “We’re never going to change our conversation, we’re never going to humble ourselves, and we’re never going to misrepresent our radical subversive philosophy.” \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=Meet+%27The+Tenth%2C%27+A+Slick+New+Magazine+For+Queer+Black+Men&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "PEN American Center Awards Free-Speech Prize to J.K. Rowling",
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"content": "\u003cp>The free-speech organization PEN American Center says it is giving its 2016 PEN/Allen award to author J.K. Rowling. The prize honors “a critically acclaimed author whose work embodies its mission to oppose repression in any form and to champion the best of humanity.”\u003c/p>\n\u003cp>In particular, the award recognizes Rowling’s two charitable foundations — \u003ca href=\"https://www.volanttrust.com/\" target=\"_blank\" rel=\"noopener\">Volant\u003c/a>, which works to alleviate poverty and social deprivation, especially among women and children, and \u003ca href=\"http://wearelumos.org/about\" target=\"_blank\" rel=\"noopener\">Lumos\u003c/a>, which helps institutionalized children return to family life.\u003c/p>\n\u003cp>Rowling is a frequent target of censorship. In 2006, the American Library Association named her \u003ca href=\"http://www.ala.org/news/news/pressreleases2006/september2006/harrypottermostchallenge\" target=\"_blank\" rel=\"noopener\">the most challenged author of the 21st century\u003c/a>.\u003c/p>\n\u003cp>“I’m deeply honored to receive this award and humbled that my work has been recognized as having moral value by an organization I so admire,” Rowling \u003ca href=\"http://bigstory.ap.org/article/232fc18709de421d828631bef39b19bd/jk-rowling-receive-pen-award-literary-service\" target=\"_blank\" rel=\"noopener\">told The Associated Press.\u003c/a>\u003c/p>\n\u003cp>“Through her writing, Rowling engenders imagination, empathy, humor, and a love of reading, along the way revealing moral choices that help us better understand ourselves,” PEN American President Andrew Solomon said in a statement. “Through their experiences with Rowling both on and off the page, countless children have learned not only the power of speaking their own minds, but the critical importance of hearing others.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Past winners include Salman Rushdie, Toni Morrison and Margaret Atwood. PEN is also honoring Hachette Book Group CEO \u003ca href=\"http://www.npr.org/2013/02/05/171164095/why-traditional-publishing-is-really-in-a-golden-age\" target=\"_blank\" rel=\"noopener\">Michael Pietsch\u003c/a>. Pietsch joined with several other publishers last year in \u003ca href=\"http://worldvoices.pen.org/blog/publishers%E2%80%99-pledge-chinese-censorship-translated-works\" target=\"_blank\" rel=\"noopener\">an informal pledge to combat censorship of translated books in China\u003c/a>. Hachette also published the \u003ca href=\"http://www.npr.org/2016/01/02/461754069/charlie-hebdo-the-licensed-anarchist-clowns-of-french-society\" target=\"_blank\" rel=\"noopener\">posthumous manifesto\u003c/a> \u003cem>Open Letter: On Blasphemy, Islamophobia, and the True Enemies of Free Expression\u003c/em> by \u003cem>Charlie Hebdo\u003c/em> editor Stephane Charbonnier, who died in the terrorist attack on the French satirical magazine last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both prizes will be handed out at PEN’s annual literary gala in May. Last year, \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/04/27/402541818/6-novelists-withdraw-from-event-honoring-charlie-hebdo-for-free-speech\" target=\"_blank\" rel=\"noopener\">six authors withdrew\u003c/a> from the gala and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/27/402541818/6-novelists-withdraw-from-event-honoring-charlie-hebdo-for-free-speech\" target=\"_blank\" rel=\"noopener\">more than 150 signed an open letter\u003c/a> of protest after PEN gave \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award. \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=PEN+American+Center+Awards+Free-Speech+Prize+To+J.K.+Rowling+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The free-speech organization PEN American Center says it is giving its 2016 PEN/Allen award to author J.K. Rowling. The prize honors “a critically acclaimed author whose work embodies its mission to oppose repression in any form and to champion the best of humanity.”\u003c/p>\n\u003cp>In particular, the award recognizes Rowling’s two charitable foundations — \u003ca href=\"https://www.volanttrust.com/\" target=\"_blank\" rel=\"noopener\">Volant\u003c/a>, which works to alleviate poverty and social deprivation, especially among women and children, and \u003ca href=\"http://wearelumos.org/about\" target=\"_blank\" rel=\"noopener\">Lumos\u003c/a>, which helps institutionalized children return to family life.\u003c/p>\n\u003cp>Rowling is a frequent target of censorship. In 2006, the American Library Association named her \u003ca href=\"http://www.ala.org/news/news/pressreleases2006/september2006/harrypottermostchallenge\" target=\"_blank\" rel=\"noopener\">the most challenged author of the 21st century\u003c/a>.\u003c/p>\n\u003cp>“I’m deeply honored to receive this award and humbled that my work has been recognized as having moral value by an organization I so admire,” Rowling \u003ca href=\"http://bigstory.ap.org/article/232fc18709de421d828631bef39b19bd/jk-rowling-receive-pen-award-literary-service\" target=\"_blank\" rel=\"noopener\">told The Associated Press.\u003c/a>\u003c/p>\n\u003cp>“Through her writing, Rowling engenders imagination, empathy, humor, and a love of reading, along the way revealing moral choices that help us better understand ourselves,” PEN American President Andrew Solomon said in a statement. “Through their experiences with Rowling both on and off the page, countless children have learned not only the power of speaking their own minds, but the critical importance of hearing others.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Past winners include Salman Rushdie, Toni Morrison and Margaret Atwood. PEN is also honoring Hachette Book Group CEO \u003ca href=\"http://www.npr.org/2013/02/05/171164095/why-traditional-publishing-is-really-in-a-golden-age\" target=\"_blank\" rel=\"noopener\">Michael Pietsch\u003c/a>. Pietsch joined with several other publishers last year in \u003ca href=\"http://worldvoices.pen.org/blog/publishers%E2%80%99-pledge-chinese-censorship-translated-works\" target=\"_blank\" rel=\"noopener\">an informal pledge to combat censorship of translated books in China\u003c/a>. Hachette also published the \u003ca href=\"http://www.npr.org/2016/01/02/461754069/charlie-hebdo-the-licensed-anarchist-clowns-of-french-society\" target=\"_blank\" rel=\"noopener\">posthumous manifesto\u003c/a> \u003cem>Open Letter: On Blasphemy, Islamophobia, and the True Enemies of Free Expression\u003c/em> by \u003cem>Charlie Hebdo\u003c/em> editor Stephane Charbonnier, who died in the terrorist attack on the French satirical magazine last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both prizes will be handed out at PEN’s annual literary gala in May. Last year, \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/04/27/402541818/6-novelists-withdraw-from-event-honoring-charlie-hebdo-for-free-speech\" target=\"_blank\" rel=\"noopener\">six authors withdrew\u003c/a> from the gala and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/27/402541818/6-novelists-withdraw-from-event-honoring-charlie-hebdo-for-free-speech\" target=\"_blank\" rel=\"noopener\">more than 150 signed an open letter\u003c/a> of protest after PEN gave \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award. \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=PEN+American+Center+Awards+Free-Speech+Prize+To+J.K.+Rowling+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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