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"content": "\u003cp>Care to break the hearts of Game of Thrones fans everywhere? It might just take seven words:\u003c/p>\n\u003cp>“THE WINDS OF WINTER is not finished.”\u003c/p>\n\u003cp>So wrote George R.R. Martin in a \u003ca href=\"http://grrm.livejournal.com/465247.html\">lengthy blog post\u003c/a> published in the wee hours Saturday. The author had hoped to publish the sixth installment of his massively popular fantasy book series, \u003cem>A Song of Ice and Fire\u003c/em>, early in 2016 — which meant finishing and submitting the manuscript to his publishers before the end of 2015.\u003c/p>\n\u003cp>But Martin says those hopes have been dashed.\u003c/p>\n\u003cp>“You’re disappointed, and you’re not alone. My editors and publishers are disappointed, HBO is disappointed, my agents and foreign publishers and translators are disappointed,” Martin writes, “but no one could possibly be more disappointed than me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He notes that this was not the first deadline he has passed — Halloween holds that honor — but the New Year’s deadline may be the most consequential. Meeting it would have ensured that the manuscript cleared the necessary hurdles in time to be published before the end of March, he says — in other words, before the sixth season of \u003cem>Game of Thrones\u003c/em>, the HBO television show based on the books, is set to air in April.\u003c/p>\n\u003cp>“That almost certainly means that no, THE WINDS OF WINTER will not be published before the sixth season of GAME OF THRONES premieres in April,” he writes.\u003c/p>\n\u003cp>The question necessarily follows: Will the show get ahead of the notoriously twist-laden novels?\u003c/p>\n\u003caside class=\"pullquote alignright\">\nThe deadlines just stress me out.\u003cbr>\n\u003ccite>George R. R, Martin\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>“Maybe. Yes and no,” Martin writes. “For years my readers have been ahead of the viewers. This year, for some things, the reverse will be true.”\u003c/p>\n\u003cp>Ambiguities aside, Martin pledged to keep writing, to finish the book only when he feels it’s ready and to dispense with all the deadlines.\u003c/p>\n\u003cp>“When delivery will be, I can’t say. I’m not going to set another deadline for myself to trip over,” he writes. “The deadlines just stress me out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That is one sentiment this journalist, at least, can certainly sympathize with. \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=George+R.R.+Martin+Admits+%27Winter%27+Isn%27t+Coming+%E2%80%94+At+Least%2C+Not+For+A+While&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Natalie Cole, the Grammy award-winning singer and daughter of legendary crooner Nat King Cole, has died. She was 65.\u003c/p>\n\u003cp>According to a statement from her family, Cole passed away last night at a Los Angeles Hospital due to complications from ongoing medical issues, \u003ca href=\"http://bigstory.ap.org/article/6a4c103be2a74a2587334ec6eff65c13/natalie-cole-grammy-winning-singer-has-died\">The Associated Press reported\u003c/a>.\u003c/p>\n\u003cp>Cole’s longtime collaborator Tony Bennett confirmed the news to NPR Weekend Edition Saturday host Scott Simon after speaking with Cole’s family:\u003c/p>\n\u003cblockquote>\n\u003cp>”I am deeply saddened to hear of the passing of Natalie Cole as I have cherished the long friendship I had with her, her father Nat and the family over the years. Natalie was an exceptional jazz singer and it was an honor to have recorded and performed with her on several occasions. She was a lovely and generous person who will be greatly missed.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Cole recorded her first album in 1975 and quickly found success. That album included one of her biggest hits, “This Will Be,” which earned her her first Grammy award.\u003c/p>\n\u003cp>Cole struggled with substance abuse and a series of health problems, but re-emerged to deliver the 1991 album \u003cem>Unforgettable … with Love.\u003c/em> The hit song “Unforgettable” blended together recordings of her father and her own tracks, making it sound like the two were singing a duet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a 2013 \u003ca href=\"http://www.npr.org/2013/06/22/193947379/natalie-cole-takes-her-own-turn-en-espa-ol\">interview with Scott Simon\u003c/a> on \u003cem>Weekend Edition,\u003c/em> she spoke about the experience of starting out in the music industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“When I first started to sing, the last thing I wanted to do was sing my dad’s music. … It took 15 years into my career before I felt comfortable and confident enough to even attempt it, singing my father’s music.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>You can listen to the rest of that interview here, where she discusses releasing an album in Spanish. \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=Singer+Natalie+Cole+Dead+At+65&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Natalie Cole, the Grammy award-winning singer and daughter of legendary crooner Nat King Cole, has died. She was 65.\u003c/p>\n\u003cp>According to a statement from her family, Cole passed away last night at a Los Angeles Hospital due to complications from ongoing medical issues, \u003ca href=\"http://bigstory.ap.org/article/6a4c103be2a74a2587334ec6eff65c13/natalie-cole-grammy-winning-singer-has-died\">The Associated Press reported\u003c/a>.\u003c/p>\n\u003cp>Cole’s longtime collaborator Tony Bennett confirmed the news to NPR Weekend Edition Saturday host Scott Simon after speaking with Cole’s family:\u003c/p>\n\u003cblockquote>\n\u003cp>”I am deeply saddened to hear of the passing of Natalie Cole as I have cherished the long friendship I had with her, her father Nat and the family over the years. Natalie was an exceptional jazz singer and it was an honor to have recorded and performed with her on several occasions. She was a lovely and generous person who will be greatly missed.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Cole recorded her first album in 1975 and quickly found success. That album included one of her biggest hits, “This Will Be,” which earned her her first Grammy award.\u003c/p>\n\u003cp>Cole struggled with substance abuse and a series of health problems, but re-emerged to deliver the 1991 album \u003cem>Unforgettable … with Love.\u003c/em> The hit song “Unforgettable” blended together recordings of her father and her own tracks, making it sound like the two were singing a duet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>They chat, they joke, they drive a classic 1963 Corvette. When President Obama appears on Jerry Seinfeld’s online show \u003cem>Comedians in Cars Getting Coffee\u003c/em>, their conversation topics range from nothing to the sanity of world leaders and the merits of profanity.\u003c/p>\n\u003cp>Much of the talk also centers on what it’s like for a guy to live in the Oval Office, the White House and a position of extreme power. A recurring theme: how a regular person adjusts to both the privilege and the stress that come with the presidency.\u003c/p>\n\u003cp>“Bad stuff, or stupid stuff, is happening constantly, right?” Obama says. “Every day. So you have to be able to just make fun of a lot of that, like: ‘That was even dumber and more annoying than usual.’ That’s when cursing is really useful.”\u003c/p>\n\u003cp>The show streams on Crackle; you can also \u003ca href=\"http://comediansincarsgettingcoffee.com/president-barack-obama-just-tell-him-you-re-the-president\" target=\"_blank\" rel=\"noopener\">watch the episode here\u003c/a>. (Crackle has disabled the embed option on this video.)\u003c/p>\n\u003cp>Some highlight questions:\u003c/p>\n\u003cul>\n\u003cli>“You ever go on eBay?”\u003c/li>\n\u003cli>“What sport is politics? Is it chess? Is it liar’s poker?”\u003c/li>\n\u003cli>“Have you ever touched a thermostat in here?”\u003c/li>\n\u003c/ul>\n\u003cp>And some of Obama’s answers:\u003c/p>\n\u003cul>\n\u003cli>“It’s not cool, generally, wandering around in my underwear.”\u003c/li>\n\u003cli>“They don’t put out suits. I have a closet like normal people do.”\u003c/li>\n\u003cli>“I do really well with the 0-8 demographic. They love me,” Obama says, crediting his ears — and the fact that small children like to say “Barackobama.” He adds, “It’s like a Nickelodeon thing.”\u003c/li>\n\u003c/ul>\n\u003cp>When Seinfeld asks Obama, “How many world leaders do you think are just completely out of their mind?” the president answers, “A pretty sizable percent.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pair were never allowed to leave the White House complex, although Obama did take a turn driving the Stingray — which bore a bumper sticker reading, “My other car is a 5 ton bulletproof limousine.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As he did when he appeared on Zach Galifianakis’ show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/03/11/288995340/obama-goes-between-the-ferns-to-talk-with-zach-galifianakis\" target=\"_blank\" rel=\"noopener\">Between Two Ferns\u003c/a> last year, Obama briefly broke off from the comedy bits to tout the merits of his health care plan — prompting Seinfeld to turn away from his coffee and urge his viewers, “It’s a great thing. Please try Obamacare today.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Seinfeld+And+Obama%2C+Driving+A+Stingray+And+Getting+Coffee&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They chat, they joke, they drive a classic 1963 Corvette. When President Obama appears on Jerry Seinfeld’s online show \u003cem>Comedians in Cars Getting Coffee\u003c/em>, their conversation topics range from nothing to the sanity of world leaders and the merits of profanity.\u003c/p>\n\u003cp>Much of the talk also centers on what it’s like for a guy to live in the Oval Office, the White House and a position of extreme power. A recurring theme: how a regular person adjusts to both the privilege and the stress that come with the presidency.\u003c/p>\n\u003cp>“Bad stuff, or stupid stuff, is happening constantly, right?” Obama says. “Every day. So you have to be able to just make fun of a lot of that, like: ‘That was even dumber and more annoying than usual.’ That’s when cursing is really useful.”\u003c/p>\n\u003cp>The show streams on Crackle; you can also \u003ca href=\"http://comediansincarsgettingcoffee.com/president-barack-obama-just-tell-him-you-re-the-president\" target=\"_blank\" rel=\"noopener\">watch the episode here\u003c/a>. (Crackle has disabled the embed option on this video.)\u003c/p>\n\u003cp>Some highlight questions:\u003c/p>\n\u003cul>\n\u003cli>“You ever go on eBay?”\u003c/li>\n\u003cli>“What sport is politics? Is it chess? Is it liar’s poker?”\u003c/li>\n\u003cli>“Have you ever touched a thermostat in here?”\u003c/li>\n\u003c/ul>\n\u003cp>And some of Obama’s answers:\u003c/p>\n\u003cul>\n\u003cli>“It’s not cool, generally, wandering around in my underwear.”\u003c/li>\n\u003cli>“They don’t put out suits. I have a closet like normal people do.”\u003c/li>\n\u003cli>“I do really well with the 0-8 demographic. They love me,” Obama says, crediting his ears — and the fact that small children like to say “Barackobama.” He adds, “It’s like a Nickelodeon thing.”\u003c/li>\n\u003c/ul>\n\u003cp>When Seinfeld asks Obama, “How many world leaders do you think are just completely out of their mind?” the president answers, “A pretty sizable percent.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pair were never allowed to leave the White House complex, although Obama did take a turn driving the Stingray — which bore a bumper sticker reading, “My other car is a 5 ton bulletproof limousine.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As he did when he appeared on Zach Galifianakis’ show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/03/11/288995340/obama-goes-between-the-ferns-to-talk-with-zach-galifianakis\" target=\"_blank\" rel=\"noopener\">Between Two Ferns\u003c/a> last year, Obama briefly broke off from the comedy bits to tout the merits of his health care plan — prompting Seinfeld to turn away from his coffee and urge his viewers, “It’s a great thing. Please try Obamacare today.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Seinfeld+And+Obama%2C+Driving+A+Stingray+And+Getting+Coffee&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Seeing Double: Bob Mondello Picks 2015's Best Movies, 2 at a Time",
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"content": "\u003cp>I’m not sure why this happened, but as I assembled this year’s best-of list, I kept seeing matched sets: Two terrific desert movies, two swoon-inducing romances, two single-minded crusades by men who think they’re already dead, and even a pair of riveting mortgage crisis flicks (and what are the chances of that?). The doubleness is a good organizing principle, since my 10-best list nearly always turns into a 20-best — so here goes:\u003c/p>\n\u003cp>\u003cstrong>Two Desert Films: ‘\u003ca href=\"http://www.npr.org/2015/05/15/407071550/mad-max-reboot-is-a-gorgeous-scrap-metal-demolition-derby\" target=\"_blank\" rel=\"noopener\">Mad Max: Fury Road\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/10/01/444735099/ridley-scott-finds-an-optimistic-space-in-the-martian\" target=\"_blank\" rel=\"noopener\">The Martian\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/madmax-martians-800x307.jpg\" alt=\"(Left) Nicholas Hoult, Courtney Eaton, Riley Keough and Charlize Theron in 'Mad Max: Fury Road.' (Right) Matt Damon in 'The Martian.'\" width=\"800\" height=\"307\" class=\"size-medium wp-image-11206825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians-400x154.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians-768x295.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Nicholas Hoult, Courtney Eaton, Riley Keough and Charlize Theron in ‘Mad Max: Fury Road.’ (Right) Matt Damon in ‘The Martian.’ \u003ccite>(Left: Jasin Boland/Warner Bros. Right: Aidan Monaghan/20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mad Max: Fury Road\u003c/em> is a gorgeous, scrap-metal demolition derby — a popcorn picture with a surprising feminist twist: Tom Hardy’s Max is more or less a sidekick to Charlize Theron’s Furiosa.\u003c/p>\n\u003cp>Ridley Scott, meanwhile, makes conquering a desert on another planet downright cerebral. \u003cem>The Martian\u003c/em> is about an astronaut accidentally left for dead by a crew that won’t be able to get back to Mars for four years.\u003c/p>\n\u003cp>\u003cstrong>Two Beautifully Realized Love Stories: ‘\u003ca href=\"http://www.npr.org/2015/11/19/456507326/women-in-love-in-the-ravishing-carol\" target=\"_blank\" rel=\"noopener\">Carol\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/30/460946174/anomalisa-is-a-charlie-kaufman-movie-featuring-puppets-yes-its-weird?utm_medium=RSS&utm_campaign=moviereviews\" target=\"_blank\" rel=\"noopener\">Anomalisa\u003c/a>‘\u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Anomalisa\u003c/em> is about a motivational speaker who is convinced that everyone is the same, until he meets Lisa, who’s an anomaly. This extraordinary film is the latest weirdness from Charlie Kaufman, who gave us \u003cem>Eternal Sunshine of the Spotless Mind\u003c/em>. This time, his leads are puppets — figures in miniature with emotions writ grand.\u003c/p>\n\u003cp>\u003cem>Carol\u003c/em> is another love story uncommonly told. Director Todd Haynes has adapted a Patricia Highsmith novel about a love that dared not speak its name in the 1950s — a love between two women. Lush and sumptuous, \u003cem>Carol\u003c/em> is forever having its camera peer at these women through glass, mirrors and windshields, reflecting the way ’50s society \u003cem>saw\u003c/em> homosexuals while keeping them at a slight remove.\u003c/p>\n\u003cp>\u003cstrong>Two Cinematic Head Trips: ‘\u003ca href=\"http://www.npr.org/2015/06/18/414701069/from-the-inside-out-a-lively-look-inside-a-young-mind\" target=\"_blank\" rel=\"noopener\">Inside Out\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/23/460813004/an-icy-chill-from-the-past-threatens-a-steady-flame-in-45-years\" target=\"_blank\" rel=\"noopener\">45 Years\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/insideout-45years-800x266.jpg\" alt=\"(Left) Amy Poehler as Joy in 'Inside Out.' (Right) Charlotte Rampling in '45 Years.'\" width=\"800\" height=\"266\" class=\"size-medium wp-image-11206827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years-400x133.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years-768x255.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Amy Poehler as Joy in ‘Inside Out.’ (Right) Charlotte Rampling in ’45 Years.’ \u003ccite>(Left: Pixar/Disney. Right: Courtesy of Agatha A. Nitecka/IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pixar’s \u003cem>Inside Out\u003c/em> takes audiences literally inside the head of an 11-year-old girl by giving personalities to her emotions. And while \u003cem>Inside Out\u003c/em> expresses everything its heroine is thinking, the tragedy \u003cem>45 Years\u003c/em> gives us Charlotte Rampling as a wife who keeps her feelings bottled up. So much so, that when a revelation shakes her marriage, the film could almost be called “outside in.”\u003c/p>\n\u003cp>\u003cstrong>Two Brutal Historical Epics: ‘\u003ca href=\"http://www.npr.org/2015/12/18/460285985/shallow-focus-creates-depth-of-feeling-in-son-of-saul\" target=\"_blank\" rel=\"noopener\">Son Of Saul\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/25/460946566/revenant-reveals-a-breathtaking-punishing-saga-of-survival-and-revenge\" target=\"_blank\" rel=\"noopener\">The Revenant\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>Both of these films feature men who risk everything because they figure they’re already dead: \u003cem>Son of Saul\u003c/em>‘s Saul because he’s in Auschwitz, and \u003cem>The Revenant\u003c/em>‘s 1820s fur trapper because he was left for dead by a man who also killed his son. Both of these films left me wrung-out.\u003c/p>\n\u003cp>\u003cstrong>Two Mortgage Crisis Films: ‘\u003ca href=\"http://www.npr.org/2015/09/25/443423954/99-homes-a-morality-play-built-on-foreclosures-and-evictions\" target=\"_blank\" rel=\"noopener\">99 Homes\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/10/459119984/the-guys-who-put-monster-bets-on-bad-outcomes-in-the-big-short\" target=\"_blank\" rel=\"noopener\">The Big Short\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>Both of these films left me angry. I’d suggest you watch \u003cem>99 Homes\u003c/em> first. It’ll have you seething about predatory real estate brokers. Then, once you’ve become acquainted with the ordinary folks who were the housing bubble’s big losers, check out the guys who saw the crash coming and figured out how to profit from it in \u003cem>The Big Short.\u003c/em> It plays like a comic heist flick, but this heist had real-world consequences.\u003c/p>\n\u003cp>\u003cstrong>Two Eye-Openers From The Muslim World: ‘\u003ca href=\"http://www.npr.org/2015/01/29/381876506/timbuktu-stories-from-a-city-held-then-freed\" target=\"_blank\" rel=\"noopener\">Timbuktu\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/10/02/445048946/riding-rings-around-irans-censors-in-jafar-panahis-taxi\" target=\"_blank\" rel=\"noopener\">Taxi\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-800x258.jpg\" alt=\"(Left) Mehdi A.G. Mohamed and Layla Walet Mohamed in 'Timbuktu.' (Right) Director Jafar Panahi in 'Taxi'\" width=\"800\" height=\"258\" class=\"size-medium wp-image-11206823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-400x129.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-768x248.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Mehdi A.G. Mohamed and Layla Walet Mohamed in ‘Timbuktu.’ (Right) Director Jafar Panahi in ‘Taxi’ \u003ccite>( Left: Cohen Media Group. Right: Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Timbuktu\u003c/em> chronicles the confusion in Mali when jihadists issue conflicting edicts about worship and culture. They ban music, for instance, which leads to this line in the subtitles: “They are singing in praise of God and the prophet. Should I arrest them?”\u003c/p>\n\u003cp>The Iranian film \u003cem>Taxi\u003c/em> finds gentle comedy in a different set of contradictions: Internationally celebrated director Jafar Panahi is banned by his government from operating a camera, writing a script or directing a film. So what does he do? He drives a taxi with a camera on its dashboard, and lets Tehran’s dramas come to him. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Two Films That Exalt Journalists: ‘\u003ca href=\"http://www.npr.org/2015/11/06/454988021/all-star-spotlight-cast-creates-a-riveting-movie-about-investigative-journalism\" target=\"_blank\" rel=\"noopener\">Spotlight\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/03/27/395800345/photography-misery-and-beauty-in-the-salt-of-the-earth\" target=\"_blank\" rel=\"noopener\">The Salt Of The Earth\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Spotlight\u003c/em> is a sharply made newspaper procedural about a Pulitzer Prize-winning \u003cem>Boston Globe\u003c/em> investigation that documented not just sexual abuse by priests, but a cover-up by the Catholic Church.\u003c/p>\n\u003cp>The documentary \u003cem>The Salt of the Earth\u003c/em> also turns a spotlight on horrors — this one through the exquisite black-and-white images created by photojournalist Sebastiao Salgado. Salgado makes the world face up to landscapes of famine, drought and war by finding humanity in scenes of despair.\u003c/p>\n\u003cp>\u003cstrong>Two Feminine Perspectives On Sex And Maturity: ‘\u003ca href=\"http://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\" target=\"_blank\" rel=\"noopener\">Diary Of A Teenage Girl\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/sections/monkeysee/2015/07/17/423828933/i-really-like-you-amy-schumer-makes-a-fine-trainwreck\" target=\"_blank\" rel=\"noopener\">Trainwreck\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-800x285.jpg\" alt=\"(Left) Bel Powley in 'The Diary of a Teenage Girl.' (Right) Amy Schumer and Bill Hader in 'Trainwreck.'\" width=\"800\" height=\"285\" class=\"size-medium wp-image-11206824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-400x143.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-768x274.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Bel Powley in ‘The Diary of a Teenage Girl.’ (Right) Amy Schumer and Bill Hader in ‘Trainwreck.’ \u003ccite>(Left: Sony Pictures. Right: Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women have been having an extraordinary year in front of the camera, so it’s fitting that in two of the year’s best films they also excelled \u003cem>behind\u003c/em> the camera. Both Phoebe Gloeckner, who penned the autobiographical graphic novel on which \u003cem>The Diary of a Teenage Girl\u003c/em> is based, and director Marielle Heller contributed to giving that film a distinctly feminine teen outlook. And Amy Schumer’s script for her riotous comedy, \u003cem>Trainwreck,\u003c/em> about a woman who realizes she’s been undervaluing both her feelings and herself, gave her hilarious performance authority as well as laughs.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And now that I’m tallying, let me mention some remarkable films that stood alone: \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a>, a brash story about trans prostitutes shot on iPhone 5s; \u003ca href=\"http://www.npr.org/2015/06/17/414674331/the-tribe-says-a-lot-about-violence-sex-and-love-without-a-single-word\" target=\"_blank\" rel=\"noopener\">The Tribe\u003c/a>, a wordless portrait of deaf juvenile delinquents; \u003ca href=\"http://www.npr.org/2015/12/16/460000968/star-wars-the-force-of-nostalgia-is-strong-with-this-one\" target=\"_blank\" rel=\"noopener\">Star Wars: The Force Awakens\u003c/a>, a little indie flick you might have heard of; and \u003ca href=\"http://www.npr.org/2015/06/04/411309872/a-simplified-brian-wilson-in-love-and-mercy\" target=\"_blank\" rel=\"noopener\">Love and Mercy\u003c/a>, the story of Beach Boy Brian Wilson, who struggled mightily with mental illness and played extravagantly with sound. I think about sound all day in my job, and \u003cem>Love and Mercy\u003c/em> made me reconsider everything I thought I knew. Not bad for the 20th film in a year full of good vibrations. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Seeing+Double%3A+Bob+Mondello+Picks+2015%27s+Best+Movies%2C+2+At+A+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m not sure why this happened, but as I assembled this year’s best-of list, I kept seeing matched sets: Two terrific desert movies, two swoon-inducing romances, two single-minded crusades by men who think they’re already dead, and even a pair of riveting mortgage crisis flicks (and what are the chances of that?). The doubleness is a good organizing principle, since my 10-best list nearly always turns into a 20-best — so here goes:\u003c/p>\n\u003cp>\u003cstrong>Two Desert Films: ‘\u003ca href=\"http://www.npr.org/2015/05/15/407071550/mad-max-reboot-is-a-gorgeous-scrap-metal-demolition-derby\" target=\"_blank\" rel=\"noopener\">Mad Max: Fury Road\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/10/01/444735099/ridley-scott-finds-an-optimistic-space-in-the-martian\" target=\"_blank\" rel=\"noopener\">The Martian\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/madmax-martians-800x307.jpg\" alt=\"(Left) Nicholas Hoult, Courtney Eaton, Riley Keough and Charlize Theron in 'Mad Max: Fury Road.' (Right) Matt Damon in 'The Martian.'\" width=\"800\" height=\"307\" class=\"size-medium wp-image-11206825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians-400x154.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/madmax-martians-768x295.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Nicholas Hoult, Courtney Eaton, Riley Keough and Charlize Theron in ‘Mad Max: Fury Road.’ (Right) Matt Damon in ‘The Martian.’ \u003ccite>(Left: Jasin Boland/Warner Bros. Right: Aidan Monaghan/20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mad Max: Fury Road\u003c/em> is a gorgeous, scrap-metal demolition derby — a popcorn picture with a surprising feminist twist: Tom Hardy’s Max is more or less a sidekick to Charlize Theron’s Furiosa.\u003c/p>\n\u003cp>Ridley Scott, meanwhile, makes conquering a desert on another planet downright cerebral. \u003cem>The Martian\u003c/em> is about an astronaut accidentally left for dead by a crew that won’t be able to get back to Mars for four years.\u003c/p>\n\u003cp>\u003cstrong>Two Beautifully Realized Love Stories: ‘\u003ca href=\"http://www.npr.org/2015/11/19/456507326/women-in-love-in-the-ravishing-carol\" target=\"_blank\" rel=\"noopener\">Carol\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/30/460946174/anomalisa-is-a-charlie-kaufman-movie-featuring-puppets-yes-its-weird?utm_medium=RSS&utm_campaign=moviereviews\" target=\"_blank\" rel=\"noopener\">Anomalisa\u003c/a>‘\u003c/strong>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Anomalisa\u003c/em> is about a motivational speaker who is convinced that everyone is the same, until he meets Lisa, who’s an anomaly. This extraordinary film is the latest weirdness from Charlie Kaufman, who gave us \u003cem>Eternal Sunshine of the Spotless Mind\u003c/em>. This time, his leads are puppets — figures in miniature with emotions writ grand.\u003c/p>\n\u003cp>\u003cem>Carol\u003c/em> is another love story uncommonly told. Director Todd Haynes has adapted a Patricia Highsmith novel about a love that dared not speak its name in the 1950s — a love between two women. Lush and sumptuous, \u003cem>Carol\u003c/em> is forever having its camera peer at these women through glass, mirrors and windshields, reflecting the way ’50s society \u003cem>saw\u003c/em> homosexuals while keeping them at a slight remove.\u003c/p>\n\u003cp>\u003cstrong>Two Cinematic Head Trips: ‘\u003ca href=\"http://www.npr.org/2015/06/18/414701069/from-the-inside-out-a-lively-look-inside-a-young-mind\" target=\"_blank\" rel=\"noopener\">Inside Out\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/23/460813004/an-icy-chill-from-the-past-threatens-a-steady-flame-in-45-years\" target=\"_blank\" rel=\"noopener\">45 Years\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/insideout-45years-800x266.jpg\" alt=\"(Left) Amy Poehler as Joy in 'Inside Out.' (Right) Charlotte Rampling in '45 Years.'\" width=\"800\" height=\"266\" class=\"size-medium wp-image-11206827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years-400x133.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/insideout-45years-768x255.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Amy Poehler as Joy in ‘Inside Out.’ (Right) Charlotte Rampling in ’45 Years.’ \u003ccite>(Left: Pixar/Disney. Right: Courtesy of Agatha A. Nitecka/IFC Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pixar’s \u003cem>Inside Out\u003c/em> takes audiences literally inside the head of an 11-year-old girl by giving personalities to her emotions. And while \u003cem>Inside Out\u003c/em> expresses everything its heroine is thinking, the tragedy \u003cem>45 Years\u003c/em> gives us Charlotte Rampling as a wife who keeps her feelings bottled up. So much so, that when a revelation shakes her marriage, the film could almost be called “outside in.”\u003c/p>\n\u003cp>\u003cstrong>Two Brutal Historical Epics: ‘\u003ca href=\"http://www.npr.org/2015/12/18/460285985/shallow-focus-creates-depth-of-feeling-in-son-of-saul\" target=\"_blank\" rel=\"noopener\">Son Of Saul\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/25/460946566/revenant-reveals-a-breathtaking-punishing-saga-of-survival-and-revenge\" target=\"_blank\" rel=\"noopener\">The Revenant\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>Both of these films feature men who risk everything because they figure they’re already dead: \u003cem>Son of Saul\u003c/em>‘s Saul because he’s in Auschwitz, and \u003cem>The Revenant\u003c/em>‘s 1820s fur trapper because he was left for dead by a man who also killed his son. Both of these films left me wrung-out.\u003c/p>\n\u003cp>\u003cstrong>Two Mortgage Crisis Films: ‘\u003ca href=\"http://www.npr.org/2015/09/25/443423954/99-homes-a-morality-play-built-on-foreclosures-and-evictions\" target=\"_blank\" rel=\"noopener\">99 Homes\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/12/10/459119984/the-guys-who-put-monster-bets-on-bad-outcomes-in-the-big-short\" target=\"_blank\" rel=\"noopener\">The Big Short\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>Both of these films left me angry. I’d suggest you watch \u003cem>99 Homes\u003c/em> first. It’ll have you seething about predatory real estate brokers. Then, once you’ve become acquainted with the ordinary folks who were the housing bubble’s big losers, check out the guys who saw the crash coming and figured out how to profit from it in \u003cem>The Big Short.\u003c/em> It plays like a comic heist flick, but this heist had real-world consequences.\u003c/p>\n\u003cp>\u003cstrong>Two Eye-Openers From The Muslim World: ‘\u003ca href=\"http://www.npr.org/2015/01/29/381876506/timbuktu-stories-from-a-city-held-then-freed\" target=\"_blank\" rel=\"noopener\">Timbuktu\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/10/02/445048946/riding-rings-around-irans-censors-in-jafar-panahis-taxi\" target=\"_blank\" rel=\"noopener\">Taxi\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-800x258.jpg\" alt=\"(Left) Mehdi A.G. Mohamed and Layla Walet Mohamed in 'Timbuktu.' (Right) Director Jafar Panahi in 'Taxi'\" width=\"800\" height=\"258\" class=\"size-medium wp-image-11206823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-400x129.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/timbuktu-taxi-768x248.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Mehdi A.G. Mohamed and Layla Walet Mohamed in ‘Timbuktu.’ (Right) Director Jafar Panahi in ‘Taxi’ \u003ccite>( Left: Cohen Media Group. Right: Kino Lorber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Timbuktu\u003c/em> chronicles the confusion in Mali when jihadists issue conflicting edicts about worship and culture. They ban music, for instance, which leads to this line in the subtitles: “They are singing in praise of God and the prophet. Should I arrest them?”\u003c/p>\n\u003cp>The Iranian film \u003cem>Taxi\u003c/em> finds gentle comedy in a different set of contradictions: Internationally celebrated director Jafar Panahi is banned by his government from operating a camera, writing a script or directing a film. So what does he do? He drives a taxi with a camera on its dashboard, and lets Tehran’s dramas come to him. \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Two Films That Exalt Journalists: ‘\u003ca href=\"http://www.npr.org/2015/11/06/454988021/all-star-spotlight-cast-creates-a-riveting-movie-about-investigative-journalism\" target=\"_blank\" rel=\"noopener\">Spotlight\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/2015/03/27/395800345/photography-misery-and-beauty-in-the-salt-of-the-earth\" target=\"_blank\" rel=\"noopener\">The Salt Of The Earth\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Spotlight\u003c/em> is a sharply made newspaper procedural about a Pulitzer Prize-winning \u003cem>Boston Globe\u003c/em> investigation that documented not just sexual abuse by priests, but a cover-up by the Catholic Church.\u003c/p>\n\u003cp>The documentary \u003cem>The Salt of the Earth\u003c/em> also turns a spotlight on horrors — this one through the exquisite black-and-white images created by photojournalist Sebastiao Salgado. Salgado makes the world face up to landscapes of famine, drought and war by finding humanity in scenes of despair.\u003c/p>\n\u003cp>\u003cstrong>Two Feminine Perspectives On Sex And Maturity: ‘\u003ca href=\"http://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\" target=\"_blank\" rel=\"noopener\">Diary Of A Teenage Girl\u003c/a>‘ And ‘\u003ca href=\"http://www.npr.org/sections/monkeysee/2015/07/17/423828933/i-really-like-you-amy-schumer-makes-a-fine-trainwreck\" target=\"_blank\" rel=\"noopener\">Trainwreck\u003c/a>‘\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11206824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-800x285.jpg\" alt=\"(Left) Bel Powley in 'The Diary of a Teenage Girl.' (Right) Amy Schumer and Bill Hader in 'Trainwreck.'\" width=\"800\" height=\"285\" class=\"size-medium wp-image-11206824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-400x143.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/teengirl-trainwreck-768x274.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left) Bel Powley in ‘The Diary of a Teenage Girl.’ (Right) Amy Schumer and Bill Hader in ‘Trainwreck.’ \u003ccite>(Left: Sony Pictures. Right: Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Women have been having an extraordinary year in front of the camera, so it’s fitting that in two of the year’s best films they also excelled \u003cem>behind\u003c/em> the camera. Both Phoebe Gloeckner, who penned the autobiographical graphic novel on which \u003cem>The Diary of a Teenage Girl\u003c/em> is based, and director Marielle Heller contributed to giving that film a distinctly feminine teen outlook. And Amy Schumer’s script for her riotous comedy, \u003cem>Trainwreck,\u003c/em> about a woman who realizes she’s been undervaluing both her feelings and herself, gave her hilarious performance authority as well as laughs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And now that I’m tallying, let me mention some remarkable films that stood alone: \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a>, a brash story about trans prostitutes shot on iPhone 5s; \u003ca href=\"http://www.npr.org/2015/06/17/414674331/the-tribe-says-a-lot-about-violence-sex-and-love-without-a-single-word\" target=\"_blank\" rel=\"noopener\">The Tribe\u003c/a>, a wordless portrait of deaf juvenile delinquents; \u003ca href=\"http://www.npr.org/2015/12/16/460000968/star-wars-the-force-of-nostalgia-is-strong-with-this-one\" target=\"_blank\" rel=\"noopener\">Star Wars: The Force Awakens\u003c/a>, a little indie flick you might have heard of; and \u003ca href=\"http://www.npr.org/2015/06/04/411309872/a-simplified-brian-wilson-in-love-and-mercy\" target=\"_blank\" rel=\"noopener\">Love and Mercy\u003c/a>, the story of Beach Boy Brian Wilson, who struggled mightily with mental illness and played extravagantly with sound. I think about sound all day in my job, and \u003cem>Love and Mercy\u003c/em> made me reconsider everything I thought I knew. Not bad for the 20th film in a year full of good vibrations. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Seeing+Double%3A+Bob+Mondello+Picks+2015%27s+Best+Movies%2C+2+At+A+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Narrowly beating a statute of limitations deadline to file charges, prosecutors in Pennsylvania announced a felony sexual assault charge against comedian Bill Cosby on Wednesday. A former Temple University employee says Cosby drugged and assaulted her in January of 2004.\u003c/p>\n\u003cp>Montgomery County, Pa., prosecutors have charged Cosby with aggravated indecent assault, a first-degree felony.\u003c/p>\n\u003cp>“These charges stem from a sexual assault,” according to prosecutor Kevin Steele, who said the assault occurred at Cosby’s house in Cheltenham, a Montgomery County township that’s just outside Philadelphia.\u003c/p>\n\u003cp>Steele said Cosby is expected to appear in court to be arraigned Wednesday afternoon; he also urged any other victims to contact his office.\u003c/p>\n\u003cp>Over the past year, Cosby has been accused of sexually abusing dozens of women. Cosby has denied those charges, and earlier this month, he filed lawsuits \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/14/459750910/bill-cosby-sues-women-who-accused-him-of-sexual-misconduct\" target=\"_blank\" rel=\"noopener\">against seven of his accusers\u003c/a>, saying they had made up the claims to extract money from him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When NPR’s Scott Simon \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\" target=\"_blank\" rel=\"noopener\">asked Cosby about the allegations\u003c/a> against him during a November 2014 interview, the comedian refused to respond, shaking his head in silence.\u003c/p>\n\u003cp>Pennsylvania has a 12-year statute of limitations on felony sex crimes, meaning prosecutors had until January to bring charges against Cosby, 78.\u003c/p>\n\u003cp>\u003ca href=\"http://www.legis.state.pa.us/cfdocs/legis/LI/consCheck.cfm?txtType=HTM&ttl=18&div=0&chpt=31\" target=\"_blank\" rel=\"noopener\">Under state law\u003c/a>, aggravated indecent assault has a range of definitions, from having sexual contact with a person without their consent to doing so after an attacker has “substantially impaired the complainant’s power to appraise or control his or her conduct by administering or employing, without the knowledge of the complainant, drugs, intoxicants or other means for the purpose of preventing resistance.”\u003c/p>\n\u003cp>After the Temple employee, Andrea Constand, accused Cosby of sexually assaulting her in 2004, a Montgomery County prosecutor decided in 2005 that charges weren’t warranted in the case. But that prosecutor lost his re-election bid last month to Steele, who made pursuing charges against Cosby an issue in his campaign.\u003c/p>\n\u003cp>On Wednesday, Steele outlined a timeline of events in 2004, saying Cosby established a friendship with the victim and then made sexual advances that were rejected. After that, Cosby urged her to take pills and drink wine, Steele said.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.documentcloud.org/documents/2661361-Criminal-Complaint-William-Cosby.html\" target=\"_blank\" rel=\"noopener\">the criminal complaint filed Wednesday\u003c/a>, Constand “considered Cosby, thirty-seven years her senior, to be a mentor, and described instances in which he invited her to his home for dinner, invited her to restaurants, invited her to events, introduced her to people, and provided her with guidance and career advice.”\u003c/p>\n\u003cp>The 2005 investigation into Cosby led to a deposition in which \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">Cosby admitted that he\u003c/a> had, as the Two-Way reported, “obtained the sedative Quaalude with the intent of giving the drug to women with whom he wanted to have sex, and he acknowledged giving it to at least one woman.”\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" align=\"left\" style=\"padding-left:100px\">\u003c/div>\n\u003cp>That testimony became public this past summer, prompting new calls for charges against Cosby. Announcing the charges Wednesday, Steele said the decision was made after “new information” came to light in July.\u003c/p>\n\u003cp>Cosby gave his deposition in the course of a civil trial, before he and Constand reached a settlement over her lawsuit against him.\u003c/p>\n\u003cp>As part of their deal, the two sides signed a confidentiality agreement — but the records were unsealed at the request of the Associated Press, in part because the judge in the case said he regarded Cosby as something of a public servant who can be expected to forfeit some privacy protections, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/07/420830305/the-cosby-revelation-how-a-decade-old-deposition-came-to-light\" target=\"_blank\" rel=\"noopener\">as Eyder reported for the Two-Way\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’ll note that while NPR \u003ca href=\"http://ethics.npr.org/category/i-respect/#423\" target=\"_blank\" rel=\"noopener\">doesn’t usually identify\u003c/a> people who say they’re the victims of sexual assault, we’ve done so in this case, because Constand has taken a public stand on the case. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Bill+Cosby+Is+Charged+With+Felony+Sex+Crime+Over+2004+Case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Narrowly beating a statute of limitations deadline to file charges, prosecutors in Pennsylvania announced a felony sexual assault charge against comedian Bill Cosby on Wednesday. A former Temple University employee says Cosby drugged and assaulted her in January of 2004.\u003c/p>\n\u003cp>Montgomery County, Pa., prosecutors have charged Cosby with aggravated indecent assault, a first-degree felony.\u003c/p>\n\u003cp>“These charges stem from a sexual assault,” according to prosecutor Kevin Steele, who said the assault occurred at Cosby’s house in Cheltenham, a Montgomery County township that’s just outside Philadelphia.\u003c/p>\n\u003cp>Steele said Cosby is expected to appear in court to be arraigned Wednesday afternoon; he also urged any other victims to contact his office.\u003c/p>\n\u003cp>Over the past year, Cosby has been accused of sexually abusing dozens of women. Cosby has denied those charges, and earlier this month, he filed lawsuits \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/14/459750910/bill-cosby-sues-women-who-accused-him-of-sexual-misconduct\" target=\"_blank\" rel=\"noopener\">against seven of his accusers\u003c/a>, saying they had made up the claims to extract money from him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When NPR’s Scott Simon \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\" target=\"_blank\" rel=\"noopener\">asked Cosby about the allegations\u003c/a> against him during a November 2014 interview, the comedian refused to respond, shaking his head in silence.\u003c/p>\n\u003cp>Pennsylvania has a 12-year statute of limitations on felony sex crimes, meaning prosecutors had until January to bring charges against Cosby, 78.\u003c/p>\n\u003cp>\u003ca href=\"http://www.legis.state.pa.us/cfdocs/legis/LI/consCheck.cfm?txtType=HTM&ttl=18&div=0&chpt=31\" target=\"_blank\" rel=\"noopener\">Under state law\u003c/a>, aggravated indecent assault has a range of definitions, from having sexual contact with a person without their consent to doing so after an attacker has “substantially impaired the complainant’s power to appraise or control his or her conduct by administering or employing, without the knowledge of the complainant, drugs, intoxicants or other means for the purpose of preventing resistance.”\u003c/p>\n\u003cp>After the Temple employee, Andrea Constand, accused Cosby of sexually assaulting her in 2004, a Montgomery County prosecutor decided in 2005 that charges weren’t warranted in the case. But that prosecutor lost his re-election bid last month to Steele, who made pursuing charges against Cosby an issue in his campaign.\u003c/p>\n\u003cp>On Wednesday, Steele outlined a timeline of events in 2004, saying Cosby established a friendship with the victim and then made sexual advances that were rejected. After that, Cosby urged her to take pills and drink wine, Steele said.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.documentcloud.org/documents/2661361-Criminal-Complaint-William-Cosby.html\" target=\"_blank\" rel=\"noopener\">the criminal complaint filed Wednesday\u003c/a>, Constand “considered Cosby, thirty-seven years her senior, to be a mentor, and described instances in which he invited her to his home for dinner, invited her to restaurants, invited her to events, introduced her to people, and provided her with guidance and career advice.”\u003c/p>\n\u003cp>The 2005 investigation into Cosby led to a deposition in which \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">Cosby admitted that he\u003c/a> had, as the Two-Way reported, “obtained the sedative Quaalude with the intent of giving the drug to women with whom he wanted to have sex, and he acknowledged giving it to at least one woman.”\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" align=\"left\" style=\"padding-left:100px\">\u003c/div>\n\u003cp>That testimony became public this past summer, prompting new calls for charges against Cosby. Announcing the charges Wednesday, Steele said the decision was made after “new information” came to light in July.\u003c/p>\n\u003cp>Cosby gave his deposition in the course of a civil trial, before he and Constand reached a settlement over her lawsuit against him.\u003c/p>\n\u003cp>As part of their deal, the two sides signed a confidentiality agreement — but the records were unsealed at the request of the Associated Press, in part because the judge in the case said he regarded Cosby as something of a public servant who can be expected to forfeit some privacy protections, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/07/420830305/the-cosby-revelation-how-a-decade-old-deposition-came-to-light\" target=\"_blank\" rel=\"noopener\">as Eyder reported for the Two-Way\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’ll note that while NPR \u003ca href=\"http://ethics.npr.org/category/i-respect/#423\" target=\"_blank\" rel=\"noopener\">doesn’t usually identify\u003c/a> people who say they’re the victims of sexual assault, we’ve done so in this case, because Constand has taken a public stand on the case. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Bill+Cosby+Is+Charged+With+Felony+Sex+Crime+Over+2004+Case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Spotify, the groundbreaking streaming music service, is facing a class-action lawsuit alleging that it violates the copyrights of thousands of independent musicians.\u003c/p>\n\u003cp>If the songwriters prevail it could cost Spotify tens of millions of dollars in unpaid royalties. And according to experts in the music industry, this may be only the beginning, because other streaming services reportedly commit the same violations.\u003c/p>\n\u003cp>The named plaintiff in the lawsuit, filed on Monday in the U.S. District Court for the Central District of California, is David Lowery, an outspoken musicians’ rights advocate and frontman of rock bands Camper Van Beethoven (Santa Cruz) and Cracker (Redlands). He says his songs have been streamed hundreds of thousands of times without his permission.\u003c/p>\n\u003cp>Lowery, who also teaches music business at the University of Georgia, alleges that Spotify streams his songs without getting licenses from him to do it or paying him accordingly.\u003c/p>\n\u003cp>In a statement, Spotify says it has tried to find rights holders, but “the data necessary to confirm the appropriate rights holders is often missing, wrong or incomplete.” Spotify says it has set aside a fund to pay songwriters when they are identified. Earlier this month, it \u003ca href=\"http://www.spotifyartists.com/spotify-songwriters-and-publishers-administration-system/\" target=\"_blank\" rel=\"noopener\">announced that it would invest\u003c/a> in “a comprehensive publishing administration system” to better track royalty information.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The point is not that they didn’t set aside royalties; the point is that they never got the licenses in the first place,” Lowery tells NPR. “There appears to be no licenses on my songs and a great number of songwriters’ songs. Setting aside the royalty, what is that royalty based on? There’s no license.”\u003c/p>\n\u003cp>Lowery’s lawyer, Sanford Michelman, says Spotify may owe tens of millions of dollars not just in unpaid royalties but also for copyright infringement, which can run as high as $150,000 per violation.\u003c/p>\n\u003cp>Music streaming services have been a growing and popular business, but they have faced opposition from artists including Prince, Thom Yorke, Beyonce, \u003ca href=\"http://www.npr.org/2015/06/22/416538103/taylor-swift-wins-battle-with-apple-over-free-music-streaming\" target=\"_blank\" rel=\"noopener\">Taylor Swift\u003c/a> and most recently \u003ca href=\"http://www.nytimes.com/2015/11/20/business/media/adele-music-album-25.html?_r=0\" target=\"_blank\" rel=\"noopener\">Adele\u003c/a>.\u003c/p>\n\u003cp>A major sticking point has been how these services pay the musicians for distributing their music. One study of the music business by the Berklee College of Music’s Institute for Creative Entrepreneurship \u003ca href=\"http://www.npr.org/sections/therecord/2015/07/14/422707429/is-transparency-the-music-industrys-next-battle\" target=\"_blank\" rel=\"noopener\">suggested earlier this year\u003c/a> that anywhere from 20 percent to 50 percent of music payments don’t make it to their rightful owners.\u003c/p>\n\u003cp>And as NPR’s Joel Rose has reported, the songwriters often get a far smaller share of those payments:\u003c/p>\n\u003cblockquote>\n\u003cp>“The way those royalties are split is far from equal, in part because there are two different types of copyright holders for every song a streaming service plays. One is the owner of the sound recording — that’s usually the artist or the record label. The other is the person (or persons) who wrote the song, or someone else to whom rights have been granted, like a music publisher.”\u003c/p>\n\u003c/blockquote>\n\u003cp>(Rose explained in detail the legal framework that guides the music industry \u003ca href=\"http://www.npr.org/sections/therecord/2015/05/07/404700847/songwriters-and-streaming-services-battle-over-decades-old-decree\" target=\"_blank\" rel=\"noopener\">in a story earlier this year\u003c/a>.)\u003c/p>\n\u003cp>Here’s a \u003ca href=\"https://www.thewrap.com/spotify-sued-by-camper-van-beethoven-singer-for-150-million/\" target=\"_blank\" rel=\"noopener\">bit of background\u003c/a> on Lowery’s case from \u003cem>The Wrap:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“The class-action suit identifies members of the class to be anyone who owns reproduction and distribution rights of copyrighted songs that have been played by Spotify.\u003c/p>\n\u003cp>“Lowery has long been an advocate for artists’ interests as the music business shifts its business models. In a \u003ca href=\"http://thetrichordist.com/2013/06/24/my-song-got-played-on-pandora-1-million-times-and-all-i-got-was-16-89-less-than-what-i-make-from-a-single-t-shirt-sale/\" target=\"_blank\" rel=\"noopener\">2013 blog post\u003c/a>, he recounted how online radio service Pandora paid him just $16.89 in songwriter royalties for more than 1 million spins of Cracker’s hit song ‘Low.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Lowery’s lawsuit only names Spotify and doesn’t include the major song publishers (Sony, for example, has an agreement with Spotify). But Jeff Price, CEO of publishing rights tracking company Audiam, says he has seen a similar problem at all the services, including Apple, Google and Tidal.\u003c/p>\n\u003cp>“This suit brings to the foreground an endemic problem that has existed since the launch of the interactive streaming music services,” Price says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read the full court filing from Lowery below. \u003c/p>\n\u003cdiv id=\"res461385498\" class=\"bucketwrap statichtml\">\u003c/div>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Spotify+Faces+Class+Action+For+Copyright+Infringement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The lawsuit alleges that the streaming music service fails to properly compensate artists for the right to reproduce or distribute recordings. It's the latest in the ongoing debate over streaming.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spotify, the groundbreaking streaming music service, is facing a class-action lawsuit alleging that it violates the copyrights of thousands of independent musicians.\u003c/p>\n\u003cp>If the songwriters prevail it could cost Spotify tens of millions of dollars in unpaid royalties. And according to experts in the music industry, this may be only the beginning, because other streaming services reportedly commit the same violations.\u003c/p>\n\u003cp>The named plaintiff in the lawsuit, filed on Monday in the U.S. District Court for the Central District of California, is David Lowery, an outspoken musicians’ rights advocate and frontman of rock bands Camper Van Beethoven (Santa Cruz) and Cracker (Redlands). He says his songs have been streamed hundreds of thousands of times without his permission.\u003c/p>\n\u003cp>Lowery, who also teaches music business at the University of Georgia, alleges that Spotify streams his songs without getting licenses from him to do it or paying him accordingly.\u003c/p>\n\u003cp>In a statement, Spotify says it has tried to find rights holders, but “the data necessary to confirm the appropriate rights holders is often missing, wrong or incomplete.” Spotify says it has set aside a fund to pay songwriters when they are identified. Earlier this month, it \u003ca href=\"http://www.spotifyartists.com/spotify-songwriters-and-publishers-administration-system/\" target=\"_blank\" rel=\"noopener\">announced that it would invest\u003c/a> in “a comprehensive publishing administration system” to better track royalty information.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The point is not that they didn’t set aside royalties; the point is that they never got the licenses in the first place,” Lowery tells NPR. “There appears to be no licenses on my songs and a great number of songwriters’ songs. Setting aside the royalty, what is that royalty based on? There’s no license.”\u003c/p>\n\u003cp>Lowery’s lawyer, Sanford Michelman, says Spotify may owe tens of millions of dollars not just in unpaid royalties but also for copyright infringement, which can run as high as $150,000 per violation.\u003c/p>\n\u003cp>Music streaming services have been a growing and popular business, but they have faced opposition from artists including Prince, Thom Yorke, Beyonce, \u003ca href=\"http://www.npr.org/2015/06/22/416538103/taylor-swift-wins-battle-with-apple-over-free-music-streaming\" target=\"_blank\" rel=\"noopener\">Taylor Swift\u003c/a> and most recently \u003ca href=\"http://www.nytimes.com/2015/11/20/business/media/adele-music-album-25.html?_r=0\" target=\"_blank\" rel=\"noopener\">Adele\u003c/a>.\u003c/p>\n\u003cp>A major sticking point has been how these services pay the musicians for distributing their music. One study of the music business by the Berklee College of Music’s Institute for Creative Entrepreneurship \u003ca href=\"http://www.npr.org/sections/therecord/2015/07/14/422707429/is-transparency-the-music-industrys-next-battle\" target=\"_blank\" rel=\"noopener\">suggested earlier this year\u003c/a> that anywhere from 20 percent to 50 percent of music payments don’t make it to their rightful owners.\u003c/p>\n\u003cp>And as NPR’s Joel Rose has reported, the songwriters often get a far smaller share of those payments:\u003c/p>\n\u003cblockquote>\n\u003cp>“The way those royalties are split is far from equal, in part because there are two different types of copyright holders for every song a streaming service plays. One is the owner of the sound recording — that’s usually the artist or the record label. The other is the person (or persons) who wrote the song, or someone else to whom rights have been granted, like a music publisher.”\u003c/p>\n\u003c/blockquote>\n\u003cp>(Rose explained in detail the legal framework that guides the music industry \u003ca href=\"http://www.npr.org/sections/therecord/2015/05/07/404700847/songwriters-and-streaming-services-battle-over-decades-old-decree\" target=\"_blank\" rel=\"noopener\">in a story earlier this year\u003c/a>.)\u003c/p>\n\u003cp>Here’s a \u003ca href=\"https://www.thewrap.com/spotify-sued-by-camper-van-beethoven-singer-for-150-million/\" target=\"_blank\" rel=\"noopener\">bit of background\u003c/a> on Lowery’s case from \u003cem>The Wrap:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“The class-action suit identifies members of the class to be anyone who owns reproduction and distribution rights of copyrighted songs that have been played by Spotify.\u003c/p>\n\u003cp>“Lowery has long been an advocate for artists’ interests as the music business shifts its business models. In a \u003ca href=\"http://thetrichordist.com/2013/06/24/my-song-got-played-on-pandora-1-million-times-and-all-i-got-was-16-89-less-than-what-i-make-from-a-single-t-shirt-sale/\" target=\"_blank\" rel=\"noopener\">2013 blog post\u003c/a>, he recounted how online radio service Pandora paid him just $16.89 in songwriter royalties for more than 1 million spins of Cracker’s hit song ‘Low.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Lowery’s lawsuit only names Spotify and doesn’t include the major song publishers (Sony, for example, has an agreement with Spotify). But Jeff Price, CEO of publishing rights tracking company Audiam, says he has seen a similar problem at all the services, including Apple, Google and Tidal.\u003c/p>\n\u003cp>“This suit brings to the foreground an endemic problem that has existed since the launch of the interactive streaming music services,” Price says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can read the full court filing from Lowery below. \u003c/p>\n\u003cdiv id=\"res461385498\" class=\"bucketwrap statichtml\">\u003c/div>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Spotify+Faces+Class+Action+For+Copyright+Infringement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over at \u003cem>The Atlantic,\u003c/em> Angelica Jade Bastîen has a smart \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/12/oscar-isaac-and-the-case-against-colorblind-casting/421668/\" target=\"_blank\" rel=\"noopener\">essay\u003c/a> pushing back on the supposed benefits of “colorblind casting” in Hollywood — that is, putting actors of color in roles that weren’t explicitly written as people of color.\u003c/p>\n\u003cp>She points to Oscar Isaac, the prolific, charismatic actor who has surged to \u003ca href=\"http://www.slate.com/blogs/xx_factor/2015/12/23/when_did_you_first_fall_in_love_with_oscar_isaac.html\" target=\"_blank\" rel=\"noopener\">heartthrob/critical darling status over the past year and a half or so\u003c/a>, as her example: His fame has been built on roles that have little to do with race:\u003c/p>\n\u003cblockquote>\n\u003cp>But his success hasn’t come without compromises. Isaac is open about the choices he’s made in his career including \u003ca href=\"http://in-lan.com/en/personage/interviews-personage/secret-weapon/\">dropping his last name\u003c/a>, Hernández.’\u003c/p>\n\u003cp>“Starting out as an actor, you immediately worry about being pigeonholed or typecast, he said to the magazine \u003cem>In\u003c/em>. “I don’t want to just go up for the dead body, the gangster, the bandolero, whatever. I don’t want to be defined by someone else’s idea of what an Oscar Hernández should be playing.”\u003c/p>\n\u003cp>His tendency to play characters of different backgrounds extends to his new Star Wars character, whom Isaac has described as \u003ca href=\"http://thefilmexperience.net/blog/2014/12/30/interview-oscar-isaac-on-a-most-violent-year-and-his-alien-f.html\" target=\"_blank\" rel=\"noopener\">“non-ethnic.”\u003c/a> Notably, he didn’t say “white’ or ‘racially ambiguous,’ instead referring to his character’s absence of ethnicity.\u003c/p>\n\u003c/blockquote>\n\u003cp>(I’d quibble with Isaac’s “absence of ethnicity” in one role: His ace X-wing pilot in the latest \u003cem>Star Wars\u003c/em> is named “Poe Dameron,” suggesting that WASPy, hipster gentrifiers have been with us since a long time ago in a galaxy far, far away.)\u003c/p>\n\u003cp>We know that whiteness often \u003ca href=\"http://www.salon.com/2013/04/25/how_can_white_americans_be_free/\" target=\"_blank\" rel=\"noopener\">masquerades\u003c/a> as a kind of baseline experience without inflection or inclination in American life, and so we tend to buy the idea that progress for actors of color means a choice between roles in which their character’s race is either utterly unremarked upon (see early \u003cem>Grey’s Anatomy\u003c/em>), or where race is the entire point (\u003cem>12 Years a Slave\u003c/em> and other productions \u003ca href=\"http://www.npr.org/sections/codeswitch/2015/06/17/414972407/if-you-dont-get-to-be-black-without-the-struggle-lets-not-forget-the-jokes\" target=\"_blank\" rel=\"noopener\">About Race\u003csup>TM\u003c/sup> and hardship\u003c/a>).\u003c/p>\n\u003cp>Of course, the backgrounds of the characters needn’t be foregrounded in every scene for it to be acknowledged. I’m thinking of \u003cem>Creed,\u003c/em> the very good recent entry to the \u003cem>Rocky\u003c/em> canon that doesn’t run away from the fact that the successor to the Italian Stallion is a black dude who navigates a distinctly black social setting. The same could also be said of \u003cem>Master of None,\u003c/em> Aziz Ansari’s Netflix series about the life of a struggling actor in New York. The show is sometimes a straight-ahead romantic comedy, and other times it deals directly with \u003ca href=\"http://www.npr.org/sections/codeswitch/2015/12/14/458171773/tvs-challenge-for-2016-taking-immigrant-stories-to-the-next-level\" target=\"_blank\" rel=\"noopener\">the way being desi complicates and informs the professional and personal life of Aziz’s character\u003c/a>. (It probably matters that both are the creations of people of color.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the day-to-day experiences of these two characters — notably both created by writers of color — sometimes race matters very little, and other times, it matters quite a bit. Just like in real life! Race is not the focus of \u003cem>Creed\u003c/em> and \u003cem>Master of None,\u003c/em> but neither is it treated as a coincidence without consequence — and both works are far more textured and richer viewing experiences for that honest, straightforward acknowledgment. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Making+The+Case+Against+%27Colorblind+Casting%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over at \u003cem>The Atlantic,\u003c/em> Angelica Jade Bastîen has a smart \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/12/oscar-isaac-and-the-case-against-colorblind-casting/421668/\" target=\"_blank\" rel=\"noopener\">essay\u003c/a> pushing back on the supposed benefits of “colorblind casting” in Hollywood — that is, putting actors of color in roles that weren’t explicitly written as people of color.\u003c/p>\n\u003cp>She points to Oscar Isaac, the prolific, charismatic actor who has surged to \u003ca href=\"http://www.slate.com/blogs/xx_factor/2015/12/23/when_did_you_first_fall_in_love_with_oscar_isaac.html\" target=\"_blank\" rel=\"noopener\">heartthrob/critical darling status over the past year and a half or so\u003c/a>, as her example: His fame has been built on roles that have little to do with race:\u003c/p>\n\u003cblockquote>\n\u003cp>But his success hasn’t come without compromises. Isaac is open about the choices he’s made in his career including \u003ca href=\"http://in-lan.com/en/personage/interviews-personage/secret-weapon/\">dropping his last name\u003c/a>, Hernández.’\u003c/p>\n\u003cp>“Starting out as an actor, you immediately worry about being pigeonholed or typecast, he said to the magazine \u003cem>In\u003c/em>. “I don’t want to just go up for the dead body, the gangster, the bandolero, whatever. I don’t want to be defined by someone else’s idea of what an Oscar Hernández should be playing.”\u003c/p>\n\u003cp>His tendency to play characters of different backgrounds extends to his new Star Wars character, whom Isaac has described as \u003ca href=\"http://thefilmexperience.net/blog/2014/12/30/interview-oscar-isaac-on-a-most-violent-year-and-his-alien-f.html\" target=\"_blank\" rel=\"noopener\">“non-ethnic.”\u003c/a> Notably, he didn’t say “white’ or ‘racially ambiguous,’ instead referring to his character’s absence of ethnicity.\u003c/p>\n\u003c/blockquote>\n\u003cp>(I’d quibble with Isaac’s “absence of ethnicity” in one role: His ace X-wing pilot in the latest \u003cem>Star Wars\u003c/em> is named “Poe Dameron,” suggesting that WASPy, hipster gentrifiers have been with us since a long time ago in a galaxy far, far away.)\u003c/p>\n\u003cp>We know that whiteness often \u003ca href=\"http://www.salon.com/2013/04/25/how_can_white_americans_be_free/\" target=\"_blank\" rel=\"noopener\">masquerades\u003c/a> as a kind of baseline experience without inflection or inclination in American life, and so we tend to buy the idea that progress for actors of color means a choice between roles in which their character’s race is either utterly unremarked upon (see early \u003cem>Grey’s Anatomy\u003c/em>), or where race is the entire point (\u003cem>12 Years a Slave\u003c/em> and other productions \u003ca href=\"http://www.npr.org/sections/codeswitch/2015/06/17/414972407/if-you-dont-get-to-be-black-without-the-struggle-lets-not-forget-the-jokes\" target=\"_blank\" rel=\"noopener\">About Race\u003csup>TM\u003c/sup> and hardship\u003c/a>).\u003c/p>\n\u003cp>Of course, the backgrounds of the characters needn’t be foregrounded in every scene for it to be acknowledged. I’m thinking of \u003cem>Creed,\u003c/em> the very good recent entry to the \u003cem>Rocky\u003c/em> canon that doesn’t run away from the fact that the successor to the Italian Stallion is a black dude who navigates a distinctly black social setting. The same could also be said of \u003cem>Master of None,\u003c/em> Aziz Ansari’s Netflix series about the life of a struggling actor in New York. The show is sometimes a straight-ahead romantic comedy, and other times it deals directly with \u003ca href=\"http://www.npr.org/sections/codeswitch/2015/12/14/458171773/tvs-challenge-for-2016-taking-immigrant-stories-to-the-next-level\" target=\"_blank\" rel=\"noopener\">the way being desi complicates and informs the professional and personal life of Aziz’s character\u003c/a>. (It probably matters that both are the creations of people of color.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the day-to-day experiences of these two characters — notably both created by writers of color — sometimes race matters very little, and other times, it matters quite a bit. Just like in real life! Race is not the focus of \u003cem>Creed\u003c/em> and \u003cem>Master of None,\u003c/em> but neither is it treated as a coincidence without consequence — and both works are far more textured and richer viewing experiences for that honest, straightforward acknowledgment. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Making+The+Case+Against+%27Colorblind+Casting%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "bright-young-in-limbo-film-sees-migrant-farm-life-through-a-childs-eyes",
"title": "Bright, Young, in Limbo: Film Sees Migrant Farm Life Through a Child's Eyes",
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"content": "\u003cp>José Anzaldo is a bright, cheerful third-grader in Salinas, Calif. He loves school, he’s a whiz at math, and, like lots of little boys his age, he wants to be a firefighter when he grows up. He also entered the country illegally, and his parents are migrant farmworkers who harvest lettuce.\u003c/p>\n\u003cp>What will become of this promising young boy? That question drives \u003ca href=\"http://www.pbs.org/independentlens/films/east-of-salinas/\" target=\"_blank\" rel=\"noopener\">East of Salinas\u003c/a>\u003cem>,\u003c/em> a documentary premiering Monday on PBS’s \u003cem>Independent Lens\u003c/em>. It’s a story we rarely hear about the families who are helping to put vegetables on our dinner plates.\u003c/p>\n\u003cp>“Farmworkers are also parents, and they’re also struggling with all the issues all parents are struggling with, on top of backbreaking labor: worrying about the grades their kids are getting, and are they doing their homework, and unpacking backpacks and all of those things,” says Laura Pacheco, who co-directed and produced the film with another filmmaker, \u003ca href=\"http://www.imdb.com/name/nm1848208/\" target=\"_blank\" rel=\"noopener\">Jackie Mow\u003c/a>.\u003c/p>\n\u003cp>Pacheco and Mow spent three years following José and his family — through seven schools and several moves from one cramped living space to another (sometimes in neighborhoods plagued by gang violence).\u003c/p>\n\u003cp>For half the year, José’s stepfather heads off to toil in the fields of Yuma, Ariz., while José and his mother and two siblings stay in Salinas. The family struggles to maintain these two households — in Salinas and in Yuma — on a single income; José sometimes goes to bed hungry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>East of Salinas\u003c/em> is also a story of hope. There’s José’s teacher, Oscar Ramos, who also grew up working in the lettuce fields, then went on to attend college at the University of California, Berkeley. He and his fellow teachers at Salinas’ Sherwood Elementary School go to extraordinary lengths to give their students a support network: They hold clothing drives, deliver Christmas gifts and conduct seminars for parents on how to help their kids with homework. When José’s family moves outside the school’s area, Ramos volunteers to pick the child up every morning, so he can finish up the year in the same school.\u003c/p>\n\u003cfigure id=\"attachment_11201307\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-1180x786.jpg\" alt=\"José Anzaldo starts fifth grade at a new school. He went to seven schools during the three years of filming East Of Salinas.</em\" width=\"640\" height=\"426\" class=\"size-large wp-image-11201307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">José Anzaldo starts fifth grade at a new school. He went to seven schools during the three years of filming ‘East Of Salinas.’ \u003ccite>(Photo: Jackie Mow/Courtesy of ITVS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the kids give back, too, says Ramos. “These kids don’t have much, but they want to give us something [at Christmastime]. So we get lettuce, we get strawberries, we get fruits, and vegetables — fresh from the fields. And I love it. That’s our gift, and I wouldn’t trade that for a Starbucks gift card.”\u003c/p>\n\u003cp>I recently spoke with Mow, Pacheco and Ramos. Highlights from our conversation follow, edited for clarity and brevity.\u003c/p>\n\u003cp>\u003cstrong>José is clearly a bright kid. And despite incredibly hard circumstances — often moving house, exposure to gang violence, food insecurity, predawn drop-offs at the baby sitter so his mother can go work in the lettuce fields — he does very well in school. That’s a lot for a little guy to overcome. Does that make him an exception among the migrant kids you teach, Oscar?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Oscar Ramos:\u003c/strong> It should. But he’s like a lot of our kids. They see what’s going on. They’re very aware of everything, and they don’t want that life. So a lot of them, just like José, they persevere. The do need a lot of help at home, though, because most of our parents have a third-, fourth-, fifth-grade education. So they have to rely on what they get at our school, with a lot of caring teachers. I’m one of many who do the same thing. That’s the school we chose to be at for that particular reason — because we know we can influence these students in a positive way. We can be role models for them because of who we are and where we came from. A lot of the teachers went to Sherwood school as children. Our current principal went to Sherwood school, then came back as a teacher, and now he’s our principal.\u003c/p>\n\u003cp>\u003cstrong>Oscar, most of your students’ parents are migrant farm laborers of Mexican origin who follow the agricultural harvest and take their families with them. How many students do you keep up with after they leave your classroom?\u003c/strong>\u003c/p>\n\u003cp>I keep up with a lot of them. These kids come back after Christmas vacation. They come back for summer school. … They want to come visit their teachers; they want to say hello. Now with Twitter and Facebook and other social media, it’s a lot easier to keep up with students and see what they’re doing. They find us. Just two days ago, I got a friend request on Facebook. The name sounded familiar — he was one of my students in third grade. He’s currently at [the University of California] Berkeley.\u003c/p>\n\u003cp>\u003cstrong>What becomes of most of these students? You mention a student that ended up at Berkeley — that’s impressive. Do you think that’s a result of the efforts that you and your fellow teachers are making, Oscar? \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11201308\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-1180x786.jpg\" alt=\"Oscar Ramos (right) took fifth- and sixth-graders, including José Anzaldo (left), to visit the University of California, Berkeley\" width=\"640\" height=\"426\" class=\"size-large wp-image-11201308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Ramos (right) took fifth- and sixth-graders, including José Anzaldo (left), to visit the University of California, Berkeley \u003ccite>(Photo: Jackie Mow/Courtesy of ITVS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, I definitely believe that. Every teacher has a dedicated space in the classroom where they put up banners and photos and postcards of the college they attended. So mine is a UC Berkeley college wall. And we talk about the experience of college and what it’s like. Every teacher has that, and every teacher emphasizes higher education.\u003c/p>\n\u003cp>\u003cstrong>What do you hope viewers take away from this film?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jackie Mow:\u003c/strong> For me, making the [film] about one child brings the issue of migrant families and undocumented kids in focus. You hear a lot of political rhetoric. But when you walk into that class of third-graders, they’re so full of hope. What we want people to see is who those people … really are.\u003c/p>\n\u003cp>\u003cstrong>Laura Pacheco:\u003c/strong> We really wanted to break down the stereotypes of undocumented kids, of migrant kids and migrant families. We’ve done a lot of [documentaries] around the world, and I don’t think we’ve ever met anyone who tries as hard, who works as hard as José’s family. The only thing they want is for José and his siblings to have a better life than they had. And you see that in José — he wants to give back — he wants to be part of that school, part of that community. He wants to belong.\u003c/p>\n\u003cp>\u003cstrong>Mow:\u003c/strong> You know, he’s not unique in that class. There are a lot of kids like José.\u003c/p>\n\u003cp>\u003cstrong>Ramos:\u003c/strong> I wasn’t going to do this [film] but my wife convinced me. I told Jackie and Laura I’ll do it but I’m kind of tired — everything [in the media] that has to do with migrant families is so negative. You know, how many end up dropping out, that sort of thing. That’s not who we are, but that’s what they show the public. But there’s something bigger and better and amazing going on [with these kids]. … These kids want to be in school. They want to learn. They want to contribute to society and the community.\u003c/p>\n\u003cp>\u003cstrong>How old is José today?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ramos:\u003c/strong> He’s a seventh-grader; he’s in middle school. So he’s 12.\u003c/p>\n\u003cp>\u003cstrong>Mow:\u003c/strong> We just went back to shoot him — just a little snippet. I think our plan is to [continue to] go back and shoot him until he goes to college. … It’s going to be the \u003cem>Boyhood \u003c/em>of Salinas.\u003c/p>\n\u003cp>\u003cstrong>Does he still want to be a police officer or firefighter?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mow:\u003c/strong> No, an engineer.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Ramos:\u003c/strong> You know, when we went on that field trip to UC Berkeley, José did meet other people from Salinas, from the same area … that were attending college at the time. To see his eyes go — whoa, more people from Salinas here [at Berkeley]. I think that was very inspirational for him. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Bright%2C+Young%2C+In+Limbo%3A+Film+Sees+Migrant+Farm+Life+Through+A+Child%27s+Eyes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "José Anzaldo is a third-grader who is a math whiz. He's also the son of itinerant lettuce pickers. A new documentary explores what might become of this promising boy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>José Anzaldo is a bright, cheerful third-grader in Salinas, Calif. He loves school, he’s a whiz at math, and, like lots of little boys his age, he wants to be a firefighter when he grows up. He also entered the country illegally, and his parents are migrant farmworkers who harvest lettuce.\u003c/p>\n\u003cp>What will become of this promising young boy? That question drives \u003ca href=\"http://www.pbs.org/independentlens/films/east-of-salinas/\" target=\"_blank\" rel=\"noopener\">East of Salinas\u003c/a>\u003cem>,\u003c/em> a documentary premiering Monday on PBS’s \u003cem>Independent Lens\u003c/em>. It’s a story we rarely hear about the families who are helping to put vegetables on our dinner plates.\u003c/p>\n\u003cp>“Farmworkers are also parents, and they’re also struggling with all the issues all parents are struggling with, on top of backbreaking labor: worrying about the grades their kids are getting, and are they doing their homework, and unpacking backpacks and all of those things,” says Laura Pacheco, who co-directed and produced the film with another filmmaker, \u003ca href=\"http://www.imdb.com/name/nm1848208/\" target=\"_blank\" rel=\"noopener\">Jackie Mow\u003c/a>.\u003c/p>\n\u003cp>Pacheco and Mow spent three years following José and his family — through seven schools and several moves from one cramped living space to another (sometimes in neighborhoods plagued by gang violence).\u003c/p>\n\u003cp>For half the year, José’s stepfather heads off to toil in the fields of Yuma, Ariz., while José and his mother and two siblings stay in Salinas. The family struggles to maintain these two households — in Salinas and in Yuma — on a single income; José sometimes goes to bed hungry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003cem>East of Salinas\u003c/em> is also a story of hope. There’s José’s teacher, Oscar Ramos, who also grew up working in the lettuce fields, then went on to attend college at the University of California, Berkeley. He and his fellow teachers at Salinas’ Sherwood Elementary School go to extraordinary lengths to give their students a support network: They hold clothing drives, deliver Christmas gifts and conduct seminars for parents on how to help their kids with homework. When José’s family moves outside the school’s area, Ramos volunteers to pick the child up every morning, so he can finish up the year in the same school.\u003c/p>\n\u003cfigure id=\"attachment_11201307\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-1180x786.jpg\" alt=\"José Anzaldo starts fifth grade at a new school. He went to seven schools during the three years of filming East Of Salinas.</em\" width=\"640\" height=\"426\" class=\"size-large wp-image-11201307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-02_custom-148586b3bd90dadaa06137147c3fc584028a5c82-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">José Anzaldo starts fifth grade at a new school. He went to seven schools during the three years of filming ‘East Of Salinas.’ \u003ccite>(Photo: Jackie Mow/Courtesy of ITVS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the kids give back, too, says Ramos. “These kids don’t have much, but they want to give us something [at Christmastime]. So we get lettuce, we get strawberries, we get fruits, and vegetables — fresh from the fields. And I love it. That’s our gift, and I wouldn’t trade that for a Starbucks gift card.”\u003c/p>\n\u003cp>I recently spoke with Mow, Pacheco and Ramos. Highlights from our conversation follow, edited for clarity and brevity.\u003c/p>\n\u003cp>\u003cstrong>José is clearly a bright kid. And despite incredibly hard circumstances — often moving house, exposure to gang violence, food insecurity, predawn drop-offs at the baby sitter so his mother can go work in the lettuce fields — he does very well in school. That’s a lot for a little guy to overcome. Does that make him an exception among the migrant kids you teach, Oscar?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Oscar Ramos:\u003c/strong> It should. But he’s like a lot of our kids. They see what’s going on. They’re very aware of everything, and they don’t want that life. So a lot of them, just like José, they persevere. The do need a lot of help at home, though, because most of our parents have a third-, fourth-, fifth-grade education. So they have to rely on what they get at our school, with a lot of caring teachers. I’m one of many who do the same thing. That’s the school we chose to be at for that particular reason — because we know we can influence these students in a positive way. We can be role models for them because of who we are and where we came from. A lot of the teachers went to Sherwood school as children. Our current principal went to Sherwood school, then came back as a teacher, and now he’s our principal.\u003c/p>\n\u003cp>\u003cstrong>Oscar, most of your students’ parents are migrant farm laborers of Mexican origin who follow the agricultural harvest and take their families with them. How many students do you keep up with after they leave your classroom?\u003c/strong>\u003c/p>\n\u003cp>I keep up with a lot of them. These kids come back after Christmas vacation. They come back for summer school. … They want to come visit their teachers; they want to say hello. Now with Twitter and Facebook and other social media, it’s a lot easier to keep up with students and see what they’re doing. They find us. Just two days ago, I got a friend request on Facebook. The name sounded familiar — he was one of my students in third grade. He’s currently at [the University of California] Berkeley.\u003c/p>\n\u003cp>\u003cstrong>What becomes of most of these students? You mention a student that ended up at Berkeley — that’s impressive. Do you think that’s a result of the efforts that you and your fellow teachers are making, Oscar? \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11201308\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-1180x786.jpg\" alt=\"Oscar Ramos (right) took fifth- and sixth-graders, including José Anzaldo (left), to visit the University of California, Berkeley\" width=\"640\" height=\"426\" class=\"size-large wp-image-11201308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/east_of_salinas-press-04_custom-ec27719af2a2bc59c3250c8b6b46088f738d27e1-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Ramos (right) took fifth- and sixth-graders, including José Anzaldo (left), to visit the University of California, Berkeley \u003ccite>(Photo: Jackie Mow/Courtesy of ITVS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oh, I definitely believe that. Every teacher has a dedicated space in the classroom where they put up banners and photos and postcards of the college they attended. So mine is a UC Berkeley college wall. And we talk about the experience of college and what it’s like. Every teacher has that, and every teacher emphasizes higher education.\u003c/p>\n\u003cp>\u003cstrong>What do you hope viewers take away from this film?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jackie Mow:\u003c/strong> For me, making the [film] about one child brings the issue of migrant families and undocumented kids in focus. You hear a lot of political rhetoric. But when you walk into that class of third-graders, they’re so full of hope. What we want people to see is who those people … really are.\u003c/p>\n\u003cp>\u003cstrong>Laura Pacheco:\u003c/strong> We really wanted to break down the stereotypes of undocumented kids, of migrant kids and migrant families. We’ve done a lot of [documentaries] around the world, and I don’t think we’ve ever met anyone who tries as hard, who works as hard as José’s family. The only thing they want is for José and his siblings to have a better life than they had. And you see that in José — he wants to give back — he wants to be part of that school, part of that community. He wants to belong.\u003c/p>\n\u003cp>\u003cstrong>Mow:\u003c/strong> You know, he’s not unique in that class. There are a lot of kids like José.\u003c/p>\n\u003cp>\u003cstrong>Ramos:\u003c/strong> I wasn’t going to do this [film] but my wife convinced me. I told Jackie and Laura I’ll do it but I’m kind of tired — everything [in the media] that has to do with migrant families is so negative. You know, how many end up dropping out, that sort of thing. That’s not who we are, but that’s what they show the public. But there’s something bigger and better and amazing going on [with these kids]. … These kids want to be in school. They want to learn. They want to contribute to society and the community.\u003c/p>\n\u003cp>\u003cstrong>How old is José today?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ramos:\u003c/strong> He’s a seventh-grader; he’s in middle school. So he’s 12.\u003c/p>\n\u003cp>\u003cstrong>Mow:\u003c/strong> We just went back to shoot him — just a little snippet. I think our plan is to [continue to] go back and shoot him until he goes to college. … It’s going to be the \u003cem>Boyhood \u003c/em>of Salinas.\u003c/p>\n\u003cp>\u003cstrong>Does he still want to be a police officer or firefighter?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Mow:\u003c/strong> No, an engineer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Ramos:\u003c/strong> You know, when we went on that field trip to UC Berkeley, José did meet other people from Salinas, from the same area … that were attending college at the time. To see his eyes go — whoa, more people from Salinas here [at Berkeley]. I think that was very inspirational for him. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Bright%2C+Young%2C+In+Limbo%3A+Film+Sees+Migrant+Farm+Life+Through+A+Child%27s+Eyes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Pocket-Sized Revolution: Behind the Harmonica's World-Music Takeover",
"headTitle": "Pocket-Sized Revolution: Behind the Harmonica’s World-Music Takeover | KQED",
"content": "\u003cp>Most nights, you can walk into a blues club and find a harmonica player blowing their heart out onstage. The wailing, honking sound associated with Western movies and juke joints is what many harp players have emulated for decades. But in the rarefied world of the harmonica, the earth has lately shifted on its axis — primarily because of one man.\u003c/p>\n\u003cp>Howard Levy is a 64-year-old harmonica virtuoso. When I met him he was sitting in the living room of his bungalow in Evanston, Ill., playing his two favorite instruments in unison: a Steinway grand piano, and a harmonica so small that it nearly disappeared in his big hands.\u003c/p>\n\u003cp>Levy has single-handedly revolutionized the harmonica by thinking of it, essentially, like a pocket piano. He’s mastered a maddeningly difficult technique called “overblowing,” in which he squeezes the air flow over the brass reeds to bend each note, and in that way he creates complete 12-tone scales.\u003c/p>\n\u003cp>“All the places on the instrument where the notes were missing, I discovered if I did that same technique, the notes would pop out, as if by magic,” Levy says says. “And it freaked me out, I have to tell you.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/460860955/461095921\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The instrument was never designed to play like this. The modern harmonica was popularized in 1857 by an extravagantly-whiskered German clockmaker named Matthias Hohner. Hohner made \u003cem>diatonic\u003c/em> harmonicas — tuned to play major and minor chords when you inhale and exhale.\u003c/p>\n\u003cp>If you wanted to play advanced music with chord changes, you had to pick up a \u003cem>chromatic\u003c/em> harmonica: the sophisticated, uptown cousin of the diatonic. It’s bigger and heavier, and with the aid of a spring-loaded slide, it can play all of the sharps and flats.\u003c/p>\n\u003cp>Musicians consider the chromatic “a serious” instrument. Larry Adler played Beethoven on it. Toots Theilemans played John Coltrane on it. But then, along came Howard Levy, playing complex pieces on a four-inch-long instrument. It had never been done before\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Levy still remembers visiting the Hohner factory in Germany to show them what overblowing could do: “I was not met with a tremendous amount of friendship by some of the people who were in charge of manufacturing. They said, ‘Why don’t you just play the chromatic? Why are you doing this?'”\u003c/p>\n\u003cp>Elsewhere in the music world, Levy has found more support. He played his \u003cem>Concerto for Diatonic Harmonica and Orchestra\u003c/em> with the Czech National Symphony. And over the last 40 years, he has taught his technique to hundreds of other harp players around the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fmL4RM7IA7A\u003c/p>\n\u003cp>“He’s beyond influential,” says Adam Gussow, an English professor at the University of Mississippi, accomplished harp player and editor of the website Modern Blues Harmonica. “It’s like an epoch. You know, there’s the before and after Howard, in terms of the diatonic harmonica.”\u003c/p>\n\u003cp>Levy’s reach is such that prestigious American music conservatories nowadays have begun accepting students whose instrument is a pocket harmonica. One of them is Thorleif Davidsson, a 24-year-old harmonica player from Reykjavik, Iceland, who has a full in the brass department at the Berklee College of Music. When he arrived in Boston, he says, everyone was skeptical.\u003c/p>\n\u003cp>“Yeah, I kinda always have to prove myself,” Davidsson says. “The diatonic harmonica doesn’t have the greatest reputation. People always know someone that plays the harmonica, and usually not that good.”\u003c/p>\n\u003cp>On the opposite coast in San Francisco, there’s a 26-year-old Russian harp player named Ilya Portnov who recently graduated from the New England Conservatory. “I was the only harmonica student,” he says, “and some of the teachers were surprised how serious I am about the instrument. That was funny to them.”\u003c/p>\n\u003cp>New Zealand-born harmonica wizard Brendan Power, meanwhile, plays the European festival circuit, and makes specialty harmonicas at his workshop in Canterbury, England, with all sorts of imaginative tunings. Like Howard Levy, he took the humble 10-holer and re-imagined it.\u003c/p>\n\u003cp>“The harmonica — there’s an amazing amount of potential in there if you do get in there and change things around, get different sounds and play different styles with more authenticity,” he says.\u003c/p>\n\u003cp>Adam Gussow says the instrument’s footprint keeps getting bigger. Untethered from the rawboned tradition of American blues and cowboy songs, the harmonica now stands at the center of a world-music explosion: “You know, it’s a time of great ferment. Every day I turn around and I see something else done on the harmonica that I didn’t expect to see.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Matthias Hohner would not have believed his ears. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most nights, you can walk into a blues club and find a harmonica player blowing their heart out onstage. The wailing, honking sound associated with Western movies and juke joints is what many harp players have emulated for decades. But in the rarefied world of the harmonica, the earth has lately shifted on its axis — primarily because of one man.\u003c/p>\n\u003cp>Howard Levy is a 64-year-old harmonica virtuoso. When I met him he was sitting in the living room of his bungalow in Evanston, Ill., playing his two favorite instruments in unison: a Steinway grand piano, and a harmonica so small that it nearly disappeared in his big hands.\u003c/p>\n\u003cp>Levy has single-handedly revolutionized the harmonica by thinking of it, essentially, like a pocket piano. He’s mastered a maddeningly difficult technique called “overblowing,” in which he squeezes the air flow over the brass reeds to bend each note, and in that way he creates complete 12-tone scales.\u003c/p>\n\u003cp>“All the places on the instrument where the notes were missing, I discovered if I did that same technique, the notes would pop out, as if by magic,” Levy says says. “And it freaked me out, I have to tell you.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/460860955/461095921\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The instrument was never designed to play like this. The modern harmonica was popularized in 1857 by an extravagantly-whiskered German clockmaker named Matthias Hohner. Hohner made \u003cem>diatonic\u003c/em> harmonicas — tuned to play major and minor chords when you inhale and exhale.\u003c/p>\n\u003cp>If you wanted to play advanced music with chord changes, you had to pick up a \u003cem>chromatic\u003c/em> harmonica: the sophisticated, uptown cousin of the diatonic. It’s bigger and heavier, and with the aid of a spring-loaded slide, it can play all of the sharps and flats.\u003c/p>\n\u003cp>Musicians consider the chromatic “a serious” instrument. Larry Adler played Beethoven on it. Toots Theilemans played John Coltrane on it. But then, along came Howard Levy, playing complex pieces on a four-inch-long instrument. It had never been done before\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Levy still remembers visiting the Hohner factory in Germany to show them what overblowing could do: “I was not met with a tremendous amount of friendship by some of the people who were in charge of manufacturing. They said, ‘Why don’t you just play the chromatic? Why are you doing this?'”\u003c/p>\n\u003cp>Elsewhere in the music world, Levy has found more support. He played his \u003cem>Concerto for Diatonic Harmonica and Orchestra\u003c/em> with the Czech National Symphony. And over the last 40 years, he has taught his technique to hundreds of other harp players around the world.\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/fmL4RM7IA7A'\n title='//www.youtube.com/embed/fmL4RM7IA7A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He’s beyond influential,” says Adam Gussow, an English professor at the University of Mississippi, accomplished harp player and editor of the website Modern Blues Harmonica. “It’s like an epoch. You know, there’s the before and after Howard, in terms of the diatonic harmonica.”\u003c/p>\n\u003cp>Levy’s reach is such that prestigious American music conservatories nowadays have begun accepting students whose instrument is a pocket harmonica. One of them is Thorleif Davidsson, a 24-year-old harmonica player from Reykjavik, Iceland, who has a full in the brass department at the Berklee College of Music. When he arrived in Boston, he says, everyone was skeptical.\u003c/p>\n\u003cp>“Yeah, I kinda always have to prove myself,” Davidsson says. “The diatonic harmonica doesn’t have the greatest reputation. People always know someone that plays the harmonica, and usually not that good.”\u003c/p>\n\u003cp>On the opposite coast in San Francisco, there’s a 26-year-old Russian harp player named Ilya Portnov who recently graduated from the New England Conservatory. “I was the only harmonica student,” he says, “and some of the teachers were surprised how serious I am about the instrument. That was funny to them.”\u003c/p>\n\u003cp>New Zealand-born harmonica wizard Brendan Power, meanwhile, plays the European festival circuit, and makes specialty harmonicas at his workshop in Canterbury, England, with all sorts of imaginative tunings. Like Howard Levy, he took the humble 10-holer and re-imagined it.\u003c/p>\n\u003cp>“The harmonica — there’s an amazing amount of potential in there if you do get in there and change things around, get different sounds and play different styles with more authenticity,” he says.\u003c/p>\n\u003cp>Adam Gussow says the instrument’s footprint keeps getting bigger. Untethered from the rawboned tradition of American blues and cowboy songs, the harmonica now stands at the center of a world-music explosion: “You know, it’s a time of great ferment. Every day I turn around and I see something else done on the harmonica that I didn’t expect to see.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Matthias Hohner would not have believed his ears. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://www.theseams.org/\" target=\"_blank\" rel=\"noopener\">The Seams\u003c/a>, an occasional NPR series on clothing as culture, has been reporting a series about Florida Seminole Indian patchwork and its heritage and use in tribal life. Read the first installment in this series, “\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/11/28/456786680/osceola-at-the-50-yard-line\" target=\"_blank\" rel=\"noopener\">Osceola At The Fifty Yard Line.\u003c/a>“\u003c/em>\u003c/p>\n\u003cp>Twelve young women in their teens and early twenties are walking on a stage surrounded by twinkling lights that look like a starry night sky, wearing eye-catching dresses of Seminole Indian patchwork. They’re contestants in the 58th annual Miss Florida Seminole Princess Pageant. The winner will be the tribe’s ambassador to the wider world.\u003c/p>\n\u003cp>Lewis Gopher was one of the emcees at the pageant, which takes place the last weekend in July. He explains what patchwork is to the crowd at tribal headquarters in Hollywood, Fla.\u003c/p>\n\u003cp>“Sewing is very important to our people,” Gopher says. “There are traditional outfits, which is all cotton, but also new materials like rayon and lace. It’s evolved, just like we have, and we put our own twist on patchwork garments.”\u003c/p>\n\u003cp>Seminole patchwork is not the patchwork we associate with quilting bees and bedspreads. Think of it almost more like cotton origami, squares of cloth rolled and folded into symbols: flags, crosses, bird, traditional elements. The symbols are sewn into strips, and these strips are sewn together to make garments like jackets, vests and skirts. Many Seminole tribal members wear patchwork daily, and nearly always wear it for special occasions like pageants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Making patchwork is intricate and time-consuming, and a finished garment can cost hundreds of dollars. For reasons of tradition and economy, pageant contestants often learn to make it. Twenty-year-old contestant Alexis Jumper is one of them.\u003c/p>\n\u003cp>“I go about picking the colors, and then from there, I would cut the strips and everything in the colors I want, and I can decide if I want to be more traditional, or I can go for a more flashy approach to it,” she says. “I love shiny.”\u003c/p>\n\u003cp>Alexis comes from Hollywood, the largest of the Seminole reservations and communities in South Florida. For her, the pageant is more than a rite of passage — it’s a career step up the tribal hierarchy.\u003c/p>\n\u003cp>“I want to get a job here at the tribe because I want to one day work up to Secretary and then one day I want to strive to be Chairman,” she says.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"medium\" link=\"none\" ids=\"11196920,11196935,11196934,11196933,11196932,11196931,11196930,11196928,11196927,11196926,11196925,11196924,11196923,11196922,11196921\"]\u003c/p>\n\u003cp>Betty Mae Jumper was the first woman elected chairman of any federally recognized American Indian tribe.\u003c/p>\n\u003cp>The Princess Pageant began when the Seminoles were working to gain federal recognition, back in the late 1950’s. Pageant Director Wanda Bowers tells the story of the young secretary who was accompanying tribal elders to Washington, DC. She tired of a certain question.\u003c/p>\n\u003cp>“They’d ask, ‘Is she your princess?’,” says Bowers. “She would always say ‘I’m the secretary-treasurer of the tribe. I’m their translator, their note-taker’ Finally she told the chief, ‘I’m not gonna be recognized as the princess anymore. I want you to start a princess contest so that we can have an official princess to be recognized as our ambassador.”\u003c/p>\n\u003cp>By 1960, the tribe held its first such contest, and it’s become increasingly traditional over time. (The swimsuit contest was dropped after the first season.) Bowers, 64, won the pageant in ’68 and ’69. She’s has been directing the Miss Florida Seminole Princess Pageant since 1991. With the Jr. Miss Pageant added, young women 13 to 25 can participate. Princesses travel — a lot.\u003c/p>\n\u003cp>Alexis is one of several contestants who made some of her outfits. “I learned all my sewing at the [Art and] Culture Center here in Hollywood. Sewing is something that I really love doing. It’s one of my major hobbies that I do every day.”\u003c/p>\n\u003cp>The invention of the sewing machine changed the way the tribe looked. When the Singer sewing machine came into existence in the 19th century, the Seminoles embraced it. The outline of the long skirts and capes emulated European dress — and kept mosquitoes at bay. By the 20th century, tourists sought the Seminole patchwork, too, and that brought in money for the tribe.\u003c/p>\n\u003cp>The sewing room at the Arts and Culture Center is always busy, especially around the Princess Pageant and other festival times. It’s lined with bright skeins of thread, rickrack and bias tape, and banks of sewing machines — even a display of old hand-cranked models.\u003c/p>\n\u003cp>One of the seamstresses in the sewing room on a weekday morning is Shannon Tiger.\u003c/p>\n\u003cp>“I’m making Fire,” she says, of the cloth piecework she’s running on a sewing machine. “This pattern comes from when you start with [another pattern called] Rain, … but you cut it into two squares, and then you cut it and put it them together at an angle and then you get Fire.”\u003c/p>\n\u003cp>For another seamstress, patchwork is also a business. Ashley Cypress is a member of the closely related Miccosukee Tribe. She sews for natives and non-native people alike. She uses social media expertly, especially \u003ca href=\"https://www.instagram.com/alleykatkreations/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. She’s dressed a lot of pageant contestants.\u003c/p>\n\u003cp>“They’ll come to me with a picture and say, ‘Do you think you can make something like this?’ I’m like, ‘I’ll try it!’ Pinterest is like my best friend,” she says, laughing.\u003c/p>\n\u003cfigure id=\"attachment_11196938\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1180x885.jpg\" alt=\"Earlier contestants from the 1960's for the title of Miss Florida Seminole Princess. The dresses have gotten flashier, but traditional cotton patchwork remains an important category in all patchwork competitions.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11196938\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Earlier contestants from the 1960’s for the title of Miss Florida Seminole Princess. The dresses have gotten flashier, but traditional cotton patchwork remains an important category in all patchwork competitions. \u003ccite>(Courtesy: Seminole Tribe of Florida)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One historian says that what makes Seminole patchwork so appealing is the way the patterns move: in the wind or when someone is walking. Arrayed on a stage, the patterns on the young women glow, as if they were part of a neon Pop-art kaleidoscope — they’re often made from modern fabrics today like satin and velvet. In the case of Alexis Jumper’s skirt and cape, she’s used sequins and lace.\u003c/p>\n\u003cp>Alexis greets the pageant audience in Creek first, then English. “Hello and good evening, everyone. My name is Alexis Jumper. I am 20 years old and from the Hollywood Reservation.”\u003c/p>\n\u003cp>Alexis came in second runner-up.\u003c/p>\n\u003cp>Tribal members, like Wanda Bowers, call the contestants the “life-givers” of the next generation. Her daughter, Christine McCall is also a mentor to the contestants and the 2005 Miss Florida Seminole Princess. She reminds the competitors that their role is to represent the tribe to the outside world.\u003c/p>\n\u003cp>“I have to remind the girls that, yes, you know who we are, and you know, you might meet another person in Florida who knows who we are, but when you leave this state, more than likely they’re not going to know who we are and we have to educate them. That might see a beautiful skirt, but they don’t understand why we wear it,” she says.\u003c/p>\n\u003cp>They wear it because it identifies this small tribe as Seminole. And it sparks the curiosity of anyone who sees it. If yours has been sparked, check out \u003ca href=\"http://semtribefairandpowwow.com/\" target=\"_blank\" rel=\"noopener\">The Seminole Tribal Fair and Pow-Wow\u003c/a> at the Hollywood Hard Rock Casino, the first weekend in February.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Reporting for this story comes in part from the Florida Humanities Council and Florida Cultural Resources, Tarpon Springs.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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+Princess+In+Patchwork%3A+Sewing+For+The+Miss+Florida+Seminole+Princess+Pageant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Betty Mae Jumper was the first woman elected chairman of any federally recognized American Indian tribe.\u003c/p>\n\u003cp>The Princess Pageant began when the Seminoles were working to gain federal recognition, back in the late 1950’s. Pageant Director Wanda Bowers tells the story of the young secretary who was accompanying tribal elders to Washington, DC. She tired of a certain question.\u003c/p>\n\u003cp>“They’d ask, ‘Is she your princess?’,” says Bowers. “She would always say ‘I’m the secretary-treasurer of the tribe. I’m their translator, their note-taker’ Finally she told the chief, ‘I’m not gonna be recognized as the princess anymore. I want you to start a princess contest so that we can have an official princess to be recognized as our ambassador.”\u003c/p>\n\u003cp>By 1960, the tribe held its first such contest, and it’s become increasingly traditional over time. (The swimsuit contest was dropped after the first season.) Bowers, 64, won the pageant in ’68 and ’69. She’s has been directing the Miss Florida Seminole Princess Pageant since 1991. With the Jr. Miss Pageant added, young women 13 to 25 can participate. Princesses travel — a lot.\u003c/p>\n\u003cp>Alexis is one of several contestants who made some of her outfits. “I learned all my sewing at the [Art and] Culture Center here in Hollywood. Sewing is something that I really love doing. It’s one of my major hobbies that I do every day.”\u003c/p>\n\u003cp>The invention of the sewing machine changed the way the tribe looked. When the Singer sewing machine came into existence in the 19th century, the Seminoles embraced it. The outline of the long skirts and capes emulated European dress — and kept mosquitoes at bay. By the 20th century, tourists sought the Seminole patchwork, too, and that brought in money for the tribe.\u003c/p>\n\u003cp>The sewing room at the Arts and Culture Center is always busy, especially around the Princess Pageant and other festival times. It’s lined with bright skeins of thread, rickrack and bias tape, and banks of sewing machines — even a display of old hand-cranked models.\u003c/p>\n\u003cp>One of the seamstresses in the sewing room on a weekday morning is Shannon Tiger.\u003c/p>\n\u003cp>“I’m making Fire,” she says, of the cloth piecework she’s running on a sewing machine. “This pattern comes from when you start with [another pattern called] Rain, … but you cut it into two squares, and then you cut it and put it them together at an angle and then you get Fire.”\u003c/p>\n\u003cp>For another seamstress, patchwork is also a business. Ashley Cypress is a member of the closely related Miccosukee Tribe. She sews for natives and non-native people alike. She uses social media expertly, especially \u003ca href=\"https://www.instagram.com/alleykatkreations/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. She’s dressed a lot of pageant contestants.\u003c/p>\n\u003cp>“They’ll come to me with a picture and say, ‘Do you think you can make something like this?’ I’m like, ‘I’ll try it!’ Pinterest is like my best friend,” she says, laughing.\u003c/p>\n\u003cfigure id=\"attachment_11196938\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1180x885.jpg\" alt=\"Earlier contestants from the 1960's for the title of Miss Florida Seminole Princess. The dresses have gotten flashier, but traditional cotton patchwork remains an important category in all patchwork competitions.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11196938\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/patchworkprincess261-34f84fc96ae56dd4a1aaf7af05c40ce3fc3d43ae-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Earlier contestants from the 1960’s for the title of Miss Florida Seminole Princess. The dresses have gotten flashier, but traditional cotton patchwork remains an important category in all patchwork competitions. \u003ccite>(Courtesy: Seminole Tribe of Florida)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One historian says that what makes Seminole patchwork so appealing is the way the patterns move: in the wind or when someone is walking. Arrayed on a stage, the patterns on the young women glow, as if they were part of a neon Pop-art kaleidoscope — they’re often made from modern fabrics today like satin and velvet. In the case of Alexis Jumper’s skirt and cape, she’s used sequins and lace.\u003c/p>\n\u003cp>Alexis greets the pageant audience in Creek first, then English. “Hello and good evening, everyone. My name is Alexis Jumper. I am 20 years old and from the Hollywood Reservation.”\u003c/p>\n\u003cp>Alexis came in second runner-up.\u003c/p>\n\u003cp>Tribal members, like Wanda Bowers, call the contestants the “life-givers” of the next generation. Her daughter, Christine McCall is also a mentor to the contestants and the 2005 Miss Florida Seminole Princess. She reminds the competitors that their role is to represent the tribe to the outside world.\u003c/p>\n\u003cp>“I have to remind the girls that, yes, you know who we are, and you know, you might meet another person in Florida who knows who we are, but when you leave this state, more than likely they’re not going to know who we are and we have to educate them. That might see a beautiful skirt, but they don’t understand why we wear it,” she says.\u003c/p>\n\u003cp>They wear it because it identifies this small tribe as Seminole. And it sparks the curiosity of anyone who sees it. If yours has been sparked, check out \u003ca href=\"http://semtribefairandpowwow.com/\" target=\"_blank\" rel=\"noopener\">The Seminole Tribal Fair and Pow-Wow\u003c/a> at the Hollywood Hard Rock Casino, the first weekend in February.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Reporting for this story comes in part from the Florida Humanities Council and Florida Cultural Resources, Tarpon Springs.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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+Princess+In+Patchwork%3A+Sewing+For+The+Miss+Florida+Seminole+Princess+Pageant&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Is this Snowy Wonderland or the World Inside a Petri Dish?",
"headTitle": "Is this Snowy Wonderland or the World Inside a Petri Dish? | KQED",
"content": "\u003cp>Do you remember cutting paper snowflakes in school? Artist Rogan Brown has elevated that simple seasonal art form and taken it to science class.\u003c/p>\n\u003cp>These large-scale paper sculptures may evoke snow, but actually trade on the forms of bacteria and other organisms. The patterns may feel familiar, but also a bit alien. You’re not looking at a replica of a microbe, but an interpretation of one. And that distinction, Brown says, is important.\u003c/p>\n\u003cp>“Both art and science seek to represent truth but in different ways,” the 49-year-old artist, who lives in France, tells Shots. “It’s the difference between understanding a landscape by looking at a detailed relief map and understanding it by looking at a painting by Cezanne or Van Gogh.”\u003c/p>\n\u003cp>Brown wants to you to \u003cem>feel\u003c/em> something looking at these sculptures.\u003c/p>\n\u003cp>Last year, he met with a group of microbiologists to plan an exhibition on the human microbiome. He became fascinated by the hidden world of microbes and the strange shapes of pathogens. He was particularly interested in humans’ fear of the invisible microbiological world. That meeting led him to spend four months creating \u003cem>Outbreak\u003c/em> entirely by hand. \u003c/p>\n\u003cfigure id=\"attachment_11193677\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1180x603.jpg\" alt=\"Outbreak, which is approximately 58 inches long by 31 inches tall, was exhibited in London in 2014.\" width=\"640\" height=\"327\" class=\"size-large wp-image-11193677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1180x603.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-400x204.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-768x393.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1920x981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-960x491.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Outbreak, which is approximately 58 inches long by 31 inches tall, was exhibited in London in 2014. \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11193678\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1177x1180.jpg\" alt='Outbreak took four months to cut and build. Brown writes on his website that the slow process of cutting mimics the \"long time-based processes that dominate nature: growth and decay.\"' width=\"640\" height=\"642\" class=\"size-large wp-image-11193678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1177x1180.jpg 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850.jpg 1217w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>Outbreak\u003c/em> took four months to cut and build\u003cem>.\u003c/em> Brown writes on his website that the slow process of cutting mimics the “long time-based processes that dominate nature: growth and decay.” \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11193679\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-1180x885.jpg\" alt='A detailed view of <em>Outbreak</em> shows the delicate forms Brown cut by hand. He says he works with paper because it \"embodies the paradoxical qualities that we see in nature: its fragility and durability, its strength and delicacy' width=\"640\" height=\"480\" class=\"size-large wp-image-11193679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b.jpg 1626w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A detailed view of \u003cem>Outbreak\u003c/em> shows the delicate forms Brown cut by hand. He says he works with paper because it “embodies the paradoxical qualities that we see in nature: its fragility and durability, its strength and delicacy \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He starts each construction by sketching detailed designs and then mocking them up in larger pen and ink drawings. Then he begins to think in 3-D. Each structure is composed of layers of paper, which are stacked using foam board spacers. This floating effect allows him to build a complex colony of organisms that appear to grow beyond the confines of their housing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In “Cut Microbe”, that growth is chaotic. The whip-like appendages of the creature branch outward in an invasive way. Those legs, Brown writes on his website, were inspired by the flagella of Salmonella and E. coli, tiny appendages that help the bacteria move.\u003c/p>\n\u003cfigure id=\"attachment_11193680\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-1180x798.jpg\" alt='\"Cut Microbe\" left, was cut entirely by hand. The entire sculpture, right, measures approximately 44 inches tall by 35 inches wide. Brown says it was inspired by Salmonella and E. coli' width=\"640\" height=\"433\" class=\"size-large wp-image-11193680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37.jpg 1805w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Cut Microbe” left, was cut entirely by hand. The entire sculpture, right, measures approximately 44 inches tall by 35 inches wide. Brown says it was inspired by Salmonella and E. coli \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “Magic Circle”, the architecture is more constructive, ordered — there are colonies of intricately shaped forms that evoke the collaborative, constructive network of a coral reef. It also evokes microbes and diatoms.\u003c/p>\n\u003cfigure id=\"attachment_11193681\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-1180x1161.jpg\" alt='\"Magic Circle\" borrows from the forms of bacteria, microbes, diatoms and coral. Brown needed a laser to cut some of the more intricately designed shapes.' width=\"640\" height=\"630\" class=\"size-large wp-image-11193681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-1180x1161.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-400x394.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-610x600.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-768x756.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-960x945.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd.jpg 1185w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Magic Circle” borrows from the forms of bacteria, microbes, diatoms and coral. Brown needed a laser to cut some of the more intricately designed shapes. \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Brown’s work is sliced meticulously by hand using a scalpel. Others, like the one above, are also cut using a laser. The end result is a fragile paper sculpture that borrows from what we can see as well as the artistic imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We live in a world dominated by science,” Brown says. “Art needs to work hard to keep up or use the language and imagery of science for its own ends.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Is+This+Snowy+Wonderland+Or+The+World+Inside+A+Petri+Dish%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Artist Rogan Brown peers into the invisible worlds of microbes, then uses their forms as the inspiration for large paper sculptures that seem at once familiar and profoundly alien.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you remember cutting paper snowflakes in school? Artist Rogan Brown has elevated that simple seasonal art form and taken it to science class.\u003c/p>\n\u003cp>These large-scale paper sculptures may evoke snow, but actually trade on the forms of bacteria and other organisms. The patterns may feel familiar, but also a bit alien. You’re not looking at a replica of a microbe, but an interpretation of one. And that distinction, Brown says, is important.\u003c/p>\n\u003cp>“Both art and science seek to represent truth but in different ways,” the 49-year-old artist, who lives in France, tells Shots. “It’s the difference between understanding a landscape by looking at a detailed relief map and understanding it by looking at a painting by Cezanne or Van Gogh.”\u003c/p>\n\u003cp>Brown wants to you to \u003cem>feel\u003c/em> something looking at these sculptures.\u003c/p>\n\u003cp>Last year, he met with a group of microbiologists to plan an exhibition on the human microbiome. He became fascinated by the hidden world of microbes and the strange shapes of pathogens. He was particularly interested in humans’ fear of the invisible microbiological world. That meeting led him to spend four months creating \u003cem>Outbreak\u003c/em> entirely by hand. \u003c/p>\n\u003cfigure id=\"attachment_11193677\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1180x603.jpg\" alt=\"Outbreak, which is approximately 58 inches long by 31 inches tall, was exhibited in London in 2014.\" width=\"640\" height=\"327\" class=\"size-large wp-image-11193677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1180x603.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-400x204.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-768x393.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-1920x981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-1_enl-c1bcc8951fb8ef9388974ddfc479dc3426f5f42e-960x491.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Outbreak, which is approximately 58 inches long by 31 inches tall, was exhibited in London in 2014. \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11193678\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1177x1180.jpg\" alt='Outbreak took four months to cut and build. Brown writes on his website that the slow process of cutting mimics the \"long time-based processes that dominate nature: growth and decay.\"' width=\"640\" height=\"642\" class=\"size-large wp-image-11193678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1177x1180.jpg 1177w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-400x401.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-1180x1183.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-960x962.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detailx_enl-dbf0fb491a5a45f61d57e5206591ff56b9c96850.jpg 1217w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>Outbreak\u003c/em> took four months to cut and build\u003cem>.\u003c/em> Brown writes on his website that the slow process of cutting mimics the “long time-based processes that dominate nature: growth and decay.” \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11193679\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-1180x885.jpg\" alt='A detailed view of <em>Outbreak</em> shows the delicate forms Brown cut by hand. He says he works with paper because it \"embodies the paradoxical qualities that we see in nature: its fragility and durability, its strength and delicacy' width=\"640\" height=\"480\" class=\"size-large wp-image-11193679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/outbreak-detail-2x-617f26b80d442995884e434c76b26d12e7ab1f2b.jpg 1626w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A detailed view of \u003cem>Outbreak\u003c/em> shows the delicate forms Brown cut by hand. He says he works with paper because it “embodies the paradoxical qualities that we see in nature: its fragility and durability, its strength and delicacy \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He starts each construction by sketching detailed designs and then mocking them up in larger pen and ink drawings. Then he begins to think in 3-D. Each structure is composed of layers of paper, which are stacked using foam board spacers. This floating effect allows him to build a complex colony of organisms that appear to grow beyond the confines of their housing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In “Cut Microbe”, that growth is chaotic. The whip-like appendages of the creature branch outward in an invasive way. Those legs, Brown writes on his website, were inspired by the flagella of Salmonella and E. coli, tiny appendages that help the bacteria move.\u003c/p>\n\u003cfigure id=\"attachment_11193680\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-1180x798.jpg\" alt='\"Cut Microbe\" left, was cut entirely by hand. The entire sculpture, right, measures approximately 44 inches tall by 35 inches wide. Brown says it was inspired by Salmonella and E. coli' width=\"640\" height=\"433\" class=\"size-large wp-image-11193680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/microbe-duo_enl-7635b9e43d640c21352a36b73e86ccf3dd1c8e37.jpg 1805w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Cut Microbe” left, was cut entirely by hand. The entire sculpture, right, measures approximately 44 inches tall by 35 inches wide. Brown says it was inspired by Salmonella and E. coli \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “Magic Circle”, the architecture is more constructive, ordered — there are colonies of intricately shaped forms that evoke the collaborative, constructive network of a coral reef. It also evokes microbes and diatoms.\u003c/p>\n\u003cfigure id=\"attachment_11193681\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-1180x1161.jpg\" alt='\"Magic Circle\" borrows from the forms of bacteria, microbes, diatoms and coral. Brown needed a laser to cut some of the more intricately designed shapes.' width=\"640\" height=\"630\" class=\"size-large wp-image-11193681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-1180x1161.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-400x394.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-610x600.jpg 610w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-768x756.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-960x945.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/magic-circle_enl-640fcafe1d50dcbdedf0795ae5cc637e5aa6bacd.jpg 1185w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Magic Circle” borrows from the forms of bacteria, microbes, diatoms and coral. Brown needed a laser to cut some of the more intricately designed shapes. \u003ccite>(Courtesy: Rogan Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Brown’s work is sliced meticulously by hand using a scalpel. Others, like the one above, are also cut using a laser. The end result is a fragile paper sculpture that borrows from what we can see as well as the artistic imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We live in a world dominated by science,” Brown says. “Art needs to work hard to keep up or use the language and imagery of science for its own ends.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Is+This+Snowy+Wonderland+Or+The+World+Inside+A+Petri+Dish%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tarantino Holes Up A Few Outlaws In 'The Hateful Eight'",
"headTitle": "Tarantino Holes Up A Few Outlaws In ‘The Hateful Eight’ | KQED",
"content": "\u003cp>Depending on your perspective, Quentin Tarantino’s career either comes full circle or spins its wheels with \u003cem>The Hateful Eight\u003c/em>, a three-hour Western pastiche that combines the single-setting theatricality of his first feature, \u003cem>Reservoir Dogs\u003c/em>, with the explosive Civil War politics of his last, \u003cem>Django Unchained\u003c/em>. As cinema’s reigning pastiche artist, Tarantino mixes and matches an array of influences into a remarkably compatible whole, with spaghetti western maestro Ennio Morricone scoring a snowbound chamber piece that evokes John Carpenter’s \u003cem>The Thing\u003c/em> and Agatha Christie’s \u003cem>Ten Little Indians\u003c/em> in equal measure. Everyone old is made new again, which is true not only of the referential texture of \u003cem>The Hateful Eight\u003c/em>, but of the narrow dimensions of Tarantino’s filmic universe, which keeps finding new ways to refresh old themes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6_UI1GzaWv0\u003c/p>\n\u003cp>A natural follow-up to \u003cem>Django Unchained\u003c/em>, a racially charged revenge tale set two years before the Civil War, \u003cem>The Hateful Eight\u003c/em> surveys a collection of outlaws and ne’er-do-wells holed up in a Wyoming cabin in the years after the war, where the same tensions are sublimated rather than dissipated. In fact, the first 100 minutes or so—the length of an average feature—marinate in that tension with only brief, occasional spasms of violence, suggesting the uneasy peace that’s settled over the country from the Reconstruction Era to the present. As with the warehouse in \u003cem>Reservoir Dogs\u003c/em>, where thieves convene with an informant in their midst, the cabin runs hot with suspicion and dubious Clint Eastwood squints, but Tarantino is content to let it linger for a while. This is America as he understands it, and this isolated outpost is his \u003cem>Ship of Fools\u003c/em>.\u003c/p>\n\u003cp>Tarantino takes his sweet time ramping up, careful to give each character enough room for a proper introduction. In what will amount to a rare exterior scene, the action begins in a stagecoach where John “The Hangman” Ruth (Kurt Russell), a bounty hunter known for keeping his targets alive, is escorting black-eyed fugitive Daisy Domergue (Jennifer Jason Leigh) to the town of Red Rock to face execution. As a blizzard encroaches, the pair make room for two more strangers: Major Marquis Warren (Samuel L. Jackson), a former Union soldier and fellow bounty hunter whose tough reputation precedes him, and Chris Mannix (Walton Goggins), a southerner who claimed to be Red Rock’s incoming sheriff.\u003c/p>\n\u003cp>When the quartet arrive for an extended stay at Minnie’s Haberdashery, they encounter another group of men with questionable agendas, including Red Rock’s British hangman (Tim Roth), Minnie’s Mexican caretaker (Demián Bichir), a snarling black hat (Michael Madsen), and foul former general of the Confederacy (Bruce Dern). The allegiances among these men—and Daisy, perhaps the linchpin of the whole drama—are unclear, but Major Warren’s race gives their simmering animosity a focus and he in turn works to leverage an ugly situation to his advantage. Eventually, a trigger is squeezed and the exceedingly bloody reckoning begins in earnest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Photographed in Super Panavision 70mm—the “roadshow” version of which includes an overture, an intermission, and other such blasts from spectacles past—\u003cem>The Hateful Eight\u003c/em> may seem like a willfully perverse candidate for the large format, since the Rocky Mountain expanses can barely be glimpsed through the haberdashery window. It seems likely that timing, as much as vision, inspired Tarantino to commit to an old-fashioned cinematic experience—with his beloved celluloid fading, 70mm is his way of raging against the dying of the Xenon light. But applied to such an intimate setting, the richness and depth of 70mm serve to heighten the tension considerably, as Tarantino keeps adding intrigue between various sets of characters. Samuel L. Jackson presides confidently over this Agatha Christie scenario, but there are potential eruptions all over the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Hateful Eight\u003c/em> veers into dicey territory at times, particularly with Leigh’s Domergue, who absorbs the lion’s share of the physical and verbal abuse, however skilled she is at snarling insults through bloody rictus grins. Add to that Tarantino’s liberal deployment of racial epithets and extravagant violence—Greg Nicotero of \u003cem>The Walking Dead\u003c/em> fame gets second billing for his effects—and the viewership for this one narrows to the self-selected. Yet Tarantino can still spin a great yarn (and yarn within yarns), and his cast makes a meal of the dialogue, with favorites like Jackson and Roth returning to old form and newcomers getting a showcase, particularly Goggins, who excels at charismatic hicks, and Leigh, who converts violence into a form of knockabout comedy. \u003cem>The Hateful Eight\u003c/em> is a big, shambling, audacious inversion of the Western, held together by Tarantino’s sincere conviction that beyond his high juvenilia, American audiences might recognize their own fractious nation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on your perspective, Quentin Tarantino’s career either comes full circle or spins its wheels with \u003cem>The Hateful Eight\u003c/em>, a three-hour Western pastiche that combines the single-setting theatricality of his first feature, \u003cem>Reservoir Dogs\u003c/em>, with the explosive Civil War politics of his last, \u003cem>Django Unchained\u003c/em>. As cinema’s reigning pastiche artist, Tarantino mixes and matches an array of influences into a remarkably compatible whole, with spaghetti western maestro Ennio Morricone scoring a snowbound chamber piece that evokes John Carpenter’s \u003cem>The Thing\u003c/em> and Agatha Christie’s \u003cem>Ten Little Indians\u003c/em> in equal measure. Everyone old is made new again, which is true not only of the referential texture of \u003cem>The Hateful Eight\u003c/em>, but of the narrow dimensions of Tarantino’s filmic universe, which keeps finding new ways to refresh old themes.\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/6_UI1GzaWv0'\n title='//www.youtube.com/embed/6_UI1GzaWv0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A natural follow-up to \u003cem>Django Unchained\u003c/em>, a racially charged revenge tale set two years before the Civil War, \u003cem>The Hateful Eight\u003c/em> surveys a collection of outlaws and ne’er-do-wells holed up in a Wyoming cabin in the years after the war, where the same tensions are sublimated rather than dissipated. In fact, the first 100 minutes or so—the length of an average feature—marinate in that tension with only brief, occasional spasms of violence, suggesting the uneasy peace that’s settled over the country from the Reconstruction Era to the present. As with the warehouse in \u003cem>Reservoir Dogs\u003c/em>, where thieves convene with an informant in their midst, the cabin runs hot with suspicion and dubious Clint Eastwood squints, but Tarantino is content to let it linger for a while. This is America as he understands it, and this isolated outpost is his \u003cem>Ship of Fools\u003c/em>.\u003c/p>\n\u003cp>Tarantino takes his sweet time ramping up, careful to give each character enough room for a proper introduction. In what will amount to a rare exterior scene, the action begins in a stagecoach where John “The Hangman” Ruth (Kurt Russell), a bounty hunter known for keeping his targets alive, is escorting black-eyed fugitive Daisy Domergue (Jennifer Jason Leigh) to the town of Red Rock to face execution. As a blizzard encroaches, the pair make room for two more strangers: Major Marquis Warren (Samuel L. Jackson), a former Union soldier and fellow bounty hunter whose tough reputation precedes him, and Chris Mannix (Walton Goggins), a southerner who claimed to be Red Rock’s incoming sheriff.\u003c/p>\n\u003cp>When the quartet arrive for an extended stay at Minnie’s Haberdashery, they encounter another group of men with questionable agendas, including Red Rock’s British hangman (Tim Roth), Minnie’s Mexican caretaker (Demián Bichir), a snarling black hat (Michael Madsen), and foul former general of the Confederacy (Bruce Dern). The allegiances among these men—and Daisy, perhaps the linchpin of the whole drama—are unclear, but Major Warren’s race gives their simmering animosity a focus and he in turn works to leverage an ugly situation to his advantage. Eventually, a trigger is squeezed and the exceedingly bloody reckoning begins in earnest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Photographed in Super Panavision 70mm—the “roadshow” version of which includes an overture, an intermission, and other such blasts from spectacles past—\u003cem>The Hateful Eight\u003c/em> may seem like a willfully perverse candidate for the large format, since the Rocky Mountain expanses can barely be glimpsed through the haberdashery window. It seems likely that timing, as much as vision, inspired Tarantino to commit to an old-fashioned cinematic experience—with his beloved celluloid fading, 70mm is his way of raging against the dying of the Xenon light. But applied to such an intimate setting, the richness and depth of 70mm serve to heighten the tension considerably, as Tarantino keeps adding intrigue between various sets of characters. Samuel L. Jackson presides confidently over this Agatha Christie scenario, but there are potential eruptions all over the frame.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Hateful Eight\u003c/em> veers into dicey territory at times, particularly with Leigh’s Domergue, who absorbs the lion’s share of the physical and verbal abuse, however skilled she is at snarling insults through bloody rictus grins. Add to that Tarantino’s liberal deployment of racial epithets and extravagant violence—Greg Nicotero of \u003cem>The Walking Dead\u003c/em> fame gets second billing for his effects—and the viewership for this one narrows to the self-selected. Yet Tarantino can still spin a great yarn (and yarn within yarns), and his cast makes a meal of the dialogue, with favorites like Jackson and Roth returning to old form and newcomers getting a showcase, particularly Goggins, who excels at charismatic hicks, and Leigh, who converts violence into a form of knockabout comedy. \u003cem>The Hateful Eight\u003c/em> is a big, shambling, audacious inversion of the Western, held together by Tarantino’s sincere conviction that beyond his high juvenilia, American audiences might recognize their own fractious nation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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