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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nowadays, the news is full of stories about sexual assaults on children by priests and other religious authority figures, as well as battles over compensation for victims. There were many such cases in the last half of the 20th century, but the idea that such revelations would someday be \u003cem>routine\u003c/em> — and be centered all over the U.S., in Ireland, in South America — was unimaginable.\u003c/p>\n\u003cp>The tipping point was in 2002, when a group of \u003cem>Boston Globe\u003c/em> reporters uncovered not just a vast number of pedophile priests, but a vast network of Church enablers. The reporters’ unit was called “Spotlight,” which is the name of the film that recounts their investigation.\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/yXymzwz0V2g'\n title='//www.youtube.com/embed/yXymzwz0V2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a brilliant, riveting work — but not a sensationalized one. Director Tom McCarthy never uses the victims’ anguished recollections for easy shocks. Instead, he and co-writer Josh Singer fashion a tight, step-by-step procedural drama in which most scenes turn on reporters poring over old files and pressing closed-down people to open up. The horror builds gradually.\u003c/p>\n\u003cp>The “Spotlight” team is allowed to spend months, even years, exploring single stories, but this one at first looks to the unit’s chief, Michael Keaton’s Walter “Robby” Robinson, like a long shot. He and the others are Catholic, and even if they’ve lapsed, who wants to offend relatives or neighbors? Plus, more than half the \u003cem>Globe\u003c/em>‘s subscribers are Catholic and prone to picketing the paper. It takes an outsider — new, non-Bostonian, Jewish editor, Marty Baron, played by Liev Schreiber — to ratchet things up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The turning point is when Baron meets with Robinson, reporters Michael Rezendes (played by Mark Ruffalo) and Sacha Pfeiffer (played by Rachel McAdams), and deputy managing editor Ben Bradlee, Jr. (played by John Slattery). Years earlier, the paper reported on a pedophile priest named Porter, but the story stopped there. This time, the story could widen to call into question the actions of the Archbishop of Boston, Cardinal Bernard Law.\u003c/p>\n\u003cp>In \u003cem>Spotlight\u003c/em>, there’s no central protagonist, only reporters pulling out threads and phoning one another breathlessly as the scale of the cover-up becomes visible. Priests preyed on lonely kids from poor neighborhoods who could be bullied into silence or would never be believed. All were damaged, some are dead.\u003c/p>\n\u003cp>Meanwhile, hearty, backslapping church officials lean in close to Robinson and Bradlee and say, in effect, \u003cem>Marty Baron has an agenda. He’s not from here, he can leave anytime. You, on the other hand, have to live here…\u003c/em> Until the team uncovers a larger pattern, the Church can claim it’s a few “bad apples” rather than an epidemic that thrives in a culture of secrecy and male privilege.\u003c/p>\n\u003cp>The film has one of the best ensembles — top to bottom — in years. Okay, Ruffalo overdoes his character’s shlubbiness, but whenever he’s opposite Stanley Tucci as cranky crusading class-action lawyer Mitchell Garabedian, the \u003cem>mano a mano\u003c/em> is thrilling. For legal reasons, Garabedian has to muzzle himself, but he has such contempt for the reporters’ slowness in coming to the story that, even though they’re allies, he taunts them with his silence. Billy Crudup is particularly convincing as a super-smooth victims’ lawyer with a history of helping the Church dispose of cases cheaply, without publicity. Jamey Sheridan as a Church-connected lawyer gives us glimpses of the demon under the human face — and, later, the human under the demon’s.\u003c/p>\n\u003cp>Two actors give \u003cem>Spotlight\u003c/em> its dramatic fulcrum. Slattery’s Bradlee is a friend of Church figures and palpably uncomfortable early on — but he goes forward anyway. Keaton’s Robinson is even more jittery, shocked by his own history of non-action. Keaton and Slattery turn a particular tragedy into a universal one: They play men who sit in judgment on themselves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was the existence of the \u003cem>Globe’\u003c/em>s “Spotlight” unit that made these revelations possible. The movie makes the best case for the necessity of investigative journalism than any film since \u003cem>All the President’s Men\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Earlier this year, singer and cookbook author Patti LaBelle teamed up with Wal-Mart to make a sweet potato pie.\u003c/p>\n\u003cp>It costs $3.48, it’s got her face on the box, and sales were just OK when it came out in September.\u003c/p>\n\u003cp>But today, it’s a scarcity. The pies have sold out in many Wal-Mart stores and are going for up to $40.00 on Ebay. (We found this \u003ca href=\"https://washingtondc.craigslist.org/doc/for/5316668722.html\">Craigslist listing\u003c/a> selling slices for $10 each in Washington, D.C.)\u003c/p>\n\u003cp>And that’s all because of this guy.\u003cstrong> (Warning: The video includes some profanity.)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eQRwFn7WPk8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A singer named James Wright posted this video to Facebook last week. In it, he unboxes and eats the Patti LaBelle pie, while breaking into song like he’s in a Patti LaBelle musical (with the occasional profanity thrown in.) The video has since racked up over 8.5 million views, and Wal-Mart hasn’t been able to keep up with the ensuing demand for pie.\u003c/p>\n\u003cp>According to Kerry Robinson, vice president for bakery and deli at Wal-Mart, they were selling \u003cem>a pie per second\u003c/em> last weekend, after the video dropped.\u003c/p>\n\u003cp>That number is close to the reigning king of holiday pies, pumpkin. It’s also caused some supply issues for LaBelle’s pies.\u003c/p>\n\u003cp>“We are working very hard with our supplier to try and produce more product,” says Robinson. “We’re in the process of securing another 2 million pounds of sweet potatoes.”\u003c/p>\n\u003cp>Syreeta Gates is banking on those 2 million pounds coming through by Saturday. She lives in New York City, and she’s hoping to buy a couple pies this weekend.\u003c/p>\n\u003cp>“I’ve been a fan of Patti LaBelle for my entire life,” Gates says. “I remember my mother playing her at home, and I have all the cookbooks. But after I saw the video, I said, ‘You know what? I think I’m going to go out and buy some pies.’ ”\u003c/p>\n\u003cp>She’s got the cookbooks, and she can make the pie herself. But she’s still going out to buy a bunch for her friends. Because she says it’s not about the taste: It’s about taking part in a wider celebration of black culture.\u003c/p>\n\u003cp>“I’m sure a lot of our grandmas can make sweet potato pies that are equivalent ,if not possibly better, than Patti LaBelle’s pie,” Gates says. “People congregate around food. But this is the first time in a real way that the community — black people, or people of color — have communed around food via the Internet.” They’re “breaking bread” together, she says.\u003c/p>\n\u003cp>And to participate in that, Syreeta gates says, is a treat. It’s like Thanksgiving came early. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/456395409/456395410\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\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=Once+A+Hard+Sell%2C+Wal-Mart%27s+Patti+LaBelle+Pies+Fly+Off+Shelves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this year, singer and cookbook author Patti LaBelle teamed up with Wal-Mart to make a sweet potato pie.\u003c/p>\n\u003cp>It costs $3.48, it’s got her face on the box, and sales were just OK when it came out in September.\u003c/p>\n\u003cp>But today, it’s a scarcity. The pies have sold out in many Wal-Mart stores and are going for up to $40.00 on Ebay. (We found this \u003ca href=\"https://washingtondc.craigslist.org/doc/for/5316668722.html\">Craigslist listing\u003c/a> selling slices for $10 each in Washington, D.C.)\u003c/p>\n\u003cp>And that’s all because of this guy.\u003cstrong> (Warning: The video includes some profanity.)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eQRwFn7WPk8'\n title='//www.youtube.com/embed/eQRwFn7WPk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A singer named James Wright posted this video to Facebook last week. In it, he unboxes and eats the Patti LaBelle pie, while breaking into song like he’s in a Patti LaBelle musical (with the occasional profanity thrown in.) The video has since racked up over 8.5 million views, and Wal-Mart hasn’t been able to keep up with the ensuing demand for pie.\u003c/p>\n\u003cp>According to Kerry Robinson, vice president for bakery and deli at Wal-Mart, they were selling \u003cem>a pie per second\u003c/em> last weekend, after the video dropped.\u003c/p>\n\u003cp>That number is close to the reigning king of holiday pies, pumpkin. It’s also caused some supply issues for LaBelle’s pies.\u003c/p>\n\u003cp>“We are working very hard with our supplier to try and produce more product,” says Robinson. “We’re in the process of securing another 2 million pounds of sweet potatoes.”\u003c/p>\n\u003cp>Syreeta Gates is banking on those 2 million pounds coming through by Saturday. She lives in New York City, and she’s hoping to buy a couple pies this weekend.\u003c/p>\n\u003cp>“I’ve been a fan of Patti LaBelle for my entire life,” Gates says. “I remember my mother playing her at home, and I have all the cookbooks. But after I saw the video, I said, ‘You know what? I think I’m going to go out and buy some pies.’ ”\u003c/p>\n\u003cp>She’s got the cookbooks, and she can make the pie herself. But she’s still going out to buy a bunch for her friends. Because she says it’s not about the taste: It’s about taking part in a wider celebration of black culture.\u003c/p>\n\u003cp>“I’m sure a lot of our grandmas can make sweet potato pies that are equivalent ,if not possibly better, than Patti LaBelle’s pie,” Gates says. “People congregate around food. But this is the first time in a real way that the community — black people, or people of color — have communed around food via the Internet.” They’re “breaking bread” together, she says.\u003c/p>\n\u003cp>And to participate in that, Syreeta gates says, is a treat. It’s like Thanksgiving came early. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/456395409/456395410\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\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=Once+A+Hard+Sell%2C+Wal-Mart%27s+Patti+LaBelle+Pies+Fly+Off+Shelves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Circle Of Hope: How a Raw Reaction Became a Sign of Solidarity",
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"content": "\u003cp>In the aftermath of the coordinated terror attacks on Paris, people around the world have been taking to social media to share their grief and show support for the French people.\u003c/p>\n\u003cp>One image, in particular, has become a kind of icon of international solidarity: a simple, but powerful, black-and-white ink drawing of a peace sign — with the Eiffel Tower at its heart. The picture popped up online last night, and since then it has been shared, liked, tweeted and retweeted as people attempt to cope with the tragedy.\u003c/p>\n\u003cp>It has become known as the “Peace for Paris” symbol. And its creator, illustrator Jean Jullien, awoke Saturday morning to discover that it had gone viral.\u003c/p>\n\u003cp>“Last night I was about to go for dinner,” Jullien, who was out of the country at the time of the attacks, tells NPR’s Michel Martin. “I turned on the French radio. I heard that it was an attack, and my first reaction was to draw.”\u003c/p>\n\u003cp>What he produced ended up being raw, minimal and resonant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s this sort of moment where you don’t necessarily try to understand everything coherently. It’s more of a state of shock and sadness and anger and all these very sort of raw feelings. So for me, it’s just sort of trying to summarize these feelings in one image with my way of reacting,” Jullien says.\u003c/p>\n\u003cp>“I shared it online as a reaction, not really thought through at all.”\u003c/p>\n\u003cp>His original tweet has since been retweeted more than 49,000 times, and it has appeared on signs, memorials and even T-shirts in countries around the world — from Berlin to New Zealand. And, frankly, he says it has made him a little bit uncomfortable.\u003c/p>\n\u003cp>“You know, it’s putting me in a spotlight that I don’t necessarily want to be [in], because I don’t want to benefit from this exposure, in the sense that it’s a tragedy first and foremost,” Jullien tells Martin.\u003c/p>\n\u003cp>Still, despite his discomfort, Jullien says his work achieved what he’d hoped.\u003c/p>\n\u003cp>“The idea was just for people to have a tool to communicate, and to respond and to share solidarity and peace. It seems that’s what most people got out of it. So in that sense, if it was useful for people to share and communicate their loss and need for peace, then that’s what it was meant to be.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/456022682/456045309\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\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=Circle+Of+Hope%3A+How+A+Raw+Reaction+Became+A+Sign+Of+Solidarity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the aftermath of the coordinated terror attacks on Paris, people around the world have been taking to social media to share their grief and show support for the French people.\u003c/p>\n\u003cp>One image, in particular, has become a kind of icon of international solidarity: a simple, but powerful, black-and-white ink drawing of a peace sign — with the Eiffel Tower at its heart. The picture popped up online last night, and since then it has been shared, liked, tweeted and retweeted as people attempt to cope with the tragedy.\u003c/p>\n\u003cp>It has become known as the “Peace for Paris” symbol. And its creator, illustrator Jean Jullien, awoke Saturday morning to discover that it had gone viral.\u003c/p>\n\u003cp>“Last night I was about to go for dinner,” Jullien, who was out of the country at the time of the attacks, tells NPR’s Michel Martin. “I turned on the French radio. I heard that it was an attack, and my first reaction was to draw.”\u003c/p>\n\u003cp>What he produced ended up being raw, minimal and resonant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Hours after launching a Kickstarter campaign to revive a TV show that made it fun to watch horrible movies, \u003cem>Mystery Science Theater 3000\u003c/em> creator Joel Hodgson has raised more than $500,000 — a quarter of his $2 million goal.\u003c/p>\n\u003cp>If the fundraising campaign is successful, the \u003cem>Mystery Science Theater\u003c/em> team could start a new run of up to 12 feature-length episodes next July, depending on the amount of donations over the next month.\u003c/p>\n\u003cp>From \u003ca href=\"https://www.kickstarter.com/projects/mst3k/bringbackmst3k\" target=\"_blank\" rel=\"noopener\">Hodgson’s Kickstarter pitch\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Our show has had a long, strange run. Across a UHF channel, a cable network, cancellation, a feature film, then another cable network, the show lasted for 12 years, two generations of hosts and puppeteers, 2 Emmy nominations and a total of 197 episodes before we got canceled again ‘for good’ in 1999. Sadly, it was just as Prince predicted.\u003c/p>\n\u003cp>“But maybe that’s not where it all ends.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Known as MST3K, Hodgson’s show was famous for riffing on anything that happened on screen, from an unusual name in a film’s credits to clunky dialogue or unlikely filmmaking choices.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nrlMibryPLY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Citing the rise of riffing among TV viewers, Hodgson says, “sometimes it feels good to just sit back and watch the original movie riffing team take a whack at it.”\u003c/p>\n\u003cp>The push for a new season comes two years after the folks behind \u003cem>Mystery Science Theater 3000\u003c/em> released a 25th-anniversary DVD set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On that occasion, here’s how \u003ca href=\"http://www.npr.org/sections/monkeysee/2013/11/27/247520996/about-mystery-science-theater-a-bold-declaration-its-bold\" target=\"_blank\" rel=\"noopener\">NPR’s Monkey See blog\u003c/a> explained the show’s premise:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Mystery Science Theater 3000\u003c/em> was early performative badmouthing of old movies, long before we had Twitter to make fun of \u003cem>Scandal.\u003c/em> The gimmick was that Joel had been shot into space with nothing but old movies to entertain him, so he built wisecracking robots out of spare parts and they all watched and mocked movies together. (It’s not as sophisticated as it sounds.)”\u003c/p>\n\u003c/blockquote>\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=%27Mystery+Science+Theater+3000%27+Creator+Raises+%24500K+Toward+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Saturday Night Live acknowledged a group of \u003ca href=\"http://www.huffingtonpost.com/entry/donald-trump-nbc_563e9a49e4b0b24aee4a9836\" target=\"-blank\" rel=\"noopener\">protesters outside of its studios\u003c/a> with a bit of comedy last night.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/10/25/451322445/would-snl-have-donald-trump-as-host-if-it-had-latino-cast-members\" target=\"-blank\" rel=\"noopener\">As we’ve reported\u003c/a>, Latino activists had called on NBC to disinvite Donald Trump from hosting the late-night comedy show. They charged that Trump had shown himself to be a bigot \u003ca href=\"http://www.npr.org/sections/itsallpolitics/2015/06/25/417586527/univision-cuts-ties-with-trump-after-comments-about-immigrants\" target=\"-blank\" rel=\"noopener\">when he denigrated Mexican immigrants\u003c/a>.\u003c/p>\n\u003cp>In the past, NBC reacted to those comments by dropping him as host of \u003cem>Celebrity Apprentice\u003c/em> and dropping Trump’s Miss USA and Miss Universe pageants.\u003c/p>\n\u003cp>But last night, Trump took the stage as planned. And NBC planted comedian Larry David to heckle him:\u003c/p>\n\u003cp>https://twitter.com/nbcsnl/status/663232455197851649\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The joke, of course, is based on a offer by Deport Racism PAC that \u003ca href=\"http://deportracism.com/pages/media-information-xxxxxx\" target=\"_blank\" rel=\"noopener\">offered $5,000 in “cold hard cash”\u003c/a> to anyone who shouted “Trump is a racist” during the live broadcast.\u003c/p>\n\u003cp>On Twitter, the group said David had won the bounty: \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/DeportRacism/status/663231776815386624\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=WATCH%3A+Donald+Trump+Is+Called+%27Racist%27+On+SNL...+But+As+Part+Of+The+Gag&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>\u003cem>Spectre\u003c/em> opens in Mexico City — a Day of the Dead festival in full swing — streets crowded with partying skeletons, and director Sam Mendes celebrating the dead in his own way with a nifty Orson Welles tribute: A \u003cem>Touch of Evil\u003c/em>-style tracking shot that has no obvious edits for at least five minutes as it follows Bond (Daniel Craig) and a gorgeous brunette (Stephanie Sigman) from the costumed parade route into a hotel, up in a crowded elevator to a well-appointed room where she settles seductively on a bed — only to watch him zip out onto a roof ledge with a quick shirt cuff adjustment, and murder on his mind.\u003c/p>\n\u003cp>At some point, the director starts cutting as 007 dispatches bad guys, collapses buildings, and wrestles with a villain in a suddenly pilotless, upside-down helicopter. As showoff-y starts go, this one ranks with the best in the series. And if the prize Bond is after — a ring with an octopus-y Spectre symbol — seems kind of minor for all that mayhem, it does lead nicely into the film’s titles, Sam Smith’s melody-challenged, but suitably sultry “Writing’s on the Wall” backed by gorgeous women writhing with octopus tentacles, bullets trailing inky jets. It’s everything a Bond fan could wish, and then some.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PwZCrR72_6k\u003c/p>\n\u003cp>Which seems to be the operating aesthetic this time out: everything you could wish, and then some, for an epically overstuffed 2 hours and 28 minutes. Enough time to pack in a whole bunch of bad guys from pencil pushers to bodybuilders to Christoph Waltz, an extravagance of exotic locales, from Moroccan meteor craters to a Rome-the-eternal-city that feels like a racetrack with palazzos, and — of course — a bevy of beauties, who do what Bond beauties do.\u003c/p>\n\u003cp>Monica Belluci, whom Bond divests of widow’s weeds as he’s introducing himself as “Bond, James Bond,” is easily the most compelling (though she’s accorded the least screen time). Petulant, obstreperous shrink Léa Seydoux may be the least compelling (perhaps because she’s accorded the most screen time).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We are not, in other words, tilling a lot of new ground in \u003cem>Spectre\u003c/em>. In fact, the screenplay is pretty consciously tilling old ground, with shout-outs to all three of Craig’s 007 movies, and also to those of his predecessors, including a compartment-smashing fistfight on a train that echoes camera angles and even a couple of Sean Connery’s punches from \u003cem>From Russia With Love\u003c/em>. (For more on the shout-outs to earlier 007 exploits, check out my colleague Chris Klimek’s \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=453959502\" target=\"_blank\" rel=\"noopener\">ruminations\u003c/a>.)\u003c/p>\n\u003cp>There are hints that the filmmakers aren’t just going for nostalgia but would also like to be of the moment — talk of “smart blood,” drones and online surveillance to drive the plot — but none of it feels especially urgent, even when red digital readouts are counting down to imminent explosions.\u003c/p>\n\u003cp>It might feel more urgent if the writing were tighter. But I suppose if you have lots of villains, locales, homages and explosions, it’s only natural to have lots of words. Naomie Harris’ dutiful Miss Moneypenny, for instance, says early on, “You’ve got a secret” and should really leave it there. Instead she continues with “something you can’t tell anyone because you don’t trust anyone,” an explanation so unnecessary you half expect Bond to call her on it.\u003c/p>\n\u003cp>He, however, is too busy being tortured by Waltz, dressed down by new “M” Ralph Fiennes, dressed up by costumer Jany Temime in form-fitting formal wear, and put through his sharply staged and shot action-hero paces by the director.\u003c/p>\n\u003cp>They are familiar paces — how could they not be the two-dozenth time — updated for different cities, different women, different tuxes. And fans will doubtless find them pleasantly diverting, though even the most rabid will have to concede there’s been a falloff in emotional resonance since Bond’s last outing. In that one, this same director, star and writing team (augmented here by writer Jez Butterworth) managed to outfit the action with all sorts of feeling — feeling that made \u003cem>Skyfall\u003c/em> feel more substantial than most Bond pictures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which perhaps set expectations unreasonably high for this installment. It remains a decently robust and entertaining midlevel Bond movie — just one that’s haunted by the specter of its predecessor.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Spectre\u003c/em> opens in Mexico City — a Day of the Dead festival in full swing — streets crowded with partying skeletons, and director Sam Mendes celebrating the dead in his own way with a nifty Orson Welles tribute: A \u003cem>Touch of Evil\u003c/em>-style tracking shot that has no obvious edits for at least five minutes as it follows Bond (Daniel Craig) and a gorgeous brunette (Stephanie Sigman) from the costumed parade route into a hotel, up in a crowded elevator to a well-appointed room where she settles seductively on a bed — only to watch him zip out onto a roof ledge with a quick shirt cuff adjustment, and murder on his mind.\u003c/p>\n\u003cp>At some point, the director starts cutting as 007 dispatches bad guys, collapses buildings, and wrestles with a villain in a suddenly pilotless, upside-down helicopter. As showoff-y starts go, this one ranks with the best in the series. And if the prize Bond is after — a ring with an octopus-y Spectre symbol — seems kind of minor for all that mayhem, it does lead nicely into the film’s titles, Sam Smith’s melody-challenged, but suitably sultry “Writing’s on the Wall” backed by gorgeous women writhing with octopus tentacles, bullets trailing inky jets. It’s everything a Bond fan could wish, and then some.\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/PwZCrR72_6k'\n title='//www.youtube.com/embed/PwZCrR72_6k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which seems to be the operating aesthetic this time out: everything you could wish, and then some, for an epically overstuffed 2 hours and 28 minutes. Enough time to pack in a whole bunch of bad guys from pencil pushers to bodybuilders to Christoph Waltz, an extravagance of exotic locales, from Moroccan meteor craters to a Rome-the-eternal-city that feels like a racetrack with palazzos, and — of course — a bevy of beauties, who do what Bond beauties do.\u003c/p>\n\u003cp>Monica Belluci, whom Bond divests of widow’s weeds as he’s introducing himself as “Bond, James Bond,” is easily the most compelling (though she’s accorded the least screen time). Petulant, obstreperous shrink Léa Seydoux may be the least compelling (perhaps because she’s accorded the most screen time).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We are not, in other words, tilling a lot of new ground in \u003cem>Spectre\u003c/em>. In fact, the screenplay is pretty consciously tilling old ground, with shout-outs to all three of Craig’s 007 movies, and also to those of his predecessors, including a compartment-smashing fistfight on a train that echoes camera angles and even a couple of Sean Connery’s punches from \u003cem>From Russia With Love\u003c/em>. (For more on the shout-outs to earlier 007 exploits, check out my colleague Chris Klimek’s \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=453959502\" target=\"_blank\" rel=\"noopener\">ruminations\u003c/a>.)\u003c/p>\n\u003cp>There are hints that the filmmakers aren’t just going for nostalgia but would also like to be of the moment — talk of “smart blood,” drones and online surveillance to drive the plot — but none of it feels especially urgent, even when red digital readouts are counting down to imminent explosions.\u003c/p>\n\u003cp>It might feel more urgent if the writing were tighter. But I suppose if you have lots of villains, locales, homages and explosions, it’s only natural to have lots of words. Naomie Harris’ dutiful Miss Moneypenny, for instance, says early on, “You’ve got a secret” and should really leave it there. Instead she continues with “something you can’t tell anyone because you don’t trust anyone,” an explanation so unnecessary you half expect Bond to call her on it.\u003c/p>\n\u003cp>He, however, is too busy being tortured by Waltz, dressed down by new “M” Ralph Fiennes, dressed up by costumer Jany Temime in form-fitting formal wear, and put through his sharply staged and shot action-hero paces by the director.\u003c/p>\n\u003cp>They are familiar paces — how could they not be the two-dozenth time — updated for different cities, different women, different tuxes. And fans will doubtless find them pleasantly diverting, though even the most rabid will have to concede there’s been a falloff in emotional resonance since Bond’s last outing. In that one, this same director, star and writing team (augmented here by writer Jez Butterworth) managed to outfit the action with all sorts of feeling — feeling that made \u003cem>Skyfall\u003c/em> feel more substantial than most Bond pictures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which perhaps set expectations unreasonably high for this installment. It remains a decently robust and entertaining midlevel Bond movie — just one that’s haunted by the specter of its predecessor.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The world’s most prolific banned filmmaker, Jafar Panahi has made three features since 2010, when the Iranian government officially prohibited him from working. The latest, \u003cem>Taxi\u003c/em>, is the friskiest and most expansive. Its relative sweep, though, must be understood in terms of Iranian art cinema, which has always emphasized the things it \u003cem>can’t\u003c/em> show.\u003c/p>\n\u003cp>After co-directing \u003cem>This Is Not a Film\u003c/em> and \u003cem>Closed Curtain\u003c/em>, which riffed on being under house arrest, Panahi takes to the street with \u003cem>Taxi\u003c/em>, in which he tools around Tehran, picking up passengers. Two cameras are mounted on the dashboard, a setup that initially suggests we’ll see random encounters. But it soon becomes clear that the passengers are playing roles scripted, or at least suggested, by the man who’s driving the narrative.\u003c/p>\n\u003cp>The movie is, in part, a playful tour of Panahi’s previous work. One of the film’s motifs is crime and punishment, recalling \u003cem>Crimson Gold\u003c/em>. Two older women enter the cab with a cargo of ritual goldfish, much like the younger protagonist of \u003cem>The White Balloon\u003c/em>. A human rights lawyer hops in, on her way to visit a woman who was arrested for attending a men’s athletic event, as did the heroine of \u003cem>Offside\u003c/em>. And Panahi gives a ride to a 10-year-old who is identified as his niece, Hana, and who resembles the willful little girls at the center of both \u003cem>The White Balloon\u003c/em> and \u003cem>The Mirror\u003c/em>.\u003c/p>\n\u003cp>Clearly, \u003cem>Taxi\u003c/em> was not designed for viewers unfamiliar with Panahi’s films. It also includes a few references that may mystify non-Iranians who’ve seen all the director’s movies. What’s the significance of the women’s urgent quest to release goldfish in a local spring before noon? It is, presumably, a tradition that Iranian viewers will recognize.\u003c/p>\n\u003cp>The movie’s other concerns are easier to understand, although of more interest to art-film devotees than action-flick fans. Panahi and mentor Abbas Kiarostami — who pioneered the car-bound tale with \u003cem>Ten\u003c/em> and \u003cem>A Taste Of Cherry\u003c/em>–— have always been careful to stage their stories in public places, where the constraints on Iranian women are evident. Privacy and intimacy are avoided, since they can’t be depicted authentically under Islamic censorship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Taxi\u003c/em> visualizes such restrictions through the use of fixed-position cameras. Panahi sometimes leaves the cab, but the image doesn’t follow him; viewers are left behind, stuck in the passenger seat.\u003c/p>\n\u003cp>Yet the director toys with this limitation by offering other perspectives. His cellphone includes a camera, which Panahi uses to record the last will and testament of a crash victim who fears he’s dying. (He clearly isn’t.) Hana also carries a camera, which she’s using to make a “distributable” short film. (Of Panahi’s movies, only \u003cem>The White Balloon\u003c/em> was approved for distribution in Iran.)\u003c/p>\n\u003cp>Hana reads the list of qualities, provided by her teacher, that make for an acceptable film, as her uncle grins. Among the requirements is to avoid portraying “sordid reality,” Hana explains — shortly before pointing her camera out the widow and capturing a boy’s small, but clearly sordid, act.\u003c/p>\n\u003cp>Another of \u003cem>Taxi\u003c/em>‘s passengers is a movie bootlegger who has all the latest American TV series and Asian art films. His vocation, he boasts, is “a cultural activity.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the bootlegger’s clients, a film student, enters the cab and asks which illicit DVDs he should buy. “I think all movies are worth watching,” Panahi replies simply. What he doesn’t add is that’s because every movie is an insurrection, however small, against the authorities that would control what people are allowed to see.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The world’s most prolific banned filmmaker, Jafar Panahi has made three features since 2010, when the Iranian government officially prohibited him from working. The latest, \u003cem>Taxi\u003c/em>, is the friskiest and most expansive. Its relative sweep, though, must be understood in terms of Iranian art cinema, which has always emphasized the things it \u003cem>can’t\u003c/em> show.\u003c/p>\n\u003cp>After co-directing \u003cem>This Is Not a Film\u003c/em> and \u003cem>Closed Curtain\u003c/em>, which riffed on being under house arrest, Panahi takes to the street with \u003cem>Taxi\u003c/em>, in which he tools around Tehran, picking up passengers. Two cameras are mounted on the dashboard, a setup that initially suggests we’ll see random encounters. But it soon becomes clear that the passengers are playing roles scripted, or at least suggested, by the man who’s driving the narrative.\u003c/p>\n\u003cp>The movie is, in part, a playful tour of Panahi’s previous work. One of the film’s motifs is crime and punishment, recalling \u003cem>Crimson Gold\u003c/em>. Two older women enter the cab with a cargo of ritual goldfish, much like the younger protagonist of \u003cem>The White Balloon\u003c/em>. A human rights lawyer hops in, on her way to visit a woman who was arrested for attending a men’s athletic event, as did the heroine of \u003cem>Offside\u003c/em>. And Panahi gives a ride to a 10-year-old who is identified as his niece, Hana, and who resembles the willful little girls at the center of both \u003cem>The White Balloon\u003c/em> and \u003cem>The Mirror\u003c/em>.\u003c/p>\n\u003cp>Clearly, \u003cem>Taxi\u003c/em> was not designed for viewers unfamiliar with Panahi’s films. It also includes a few references that may mystify non-Iranians who’ve seen all the director’s movies. What’s the significance of the women’s urgent quest to release goldfish in a local spring before noon? It is, presumably, a tradition that Iranian viewers will recognize.\u003c/p>\n\u003cp>The movie’s other concerns are easier to understand, although of more interest to art-film devotees than action-flick fans. Panahi and mentor Abbas Kiarostami — who pioneered the car-bound tale with \u003cem>Ten\u003c/em> and \u003cem>A Taste Of Cherry\u003c/em>–— have always been careful to stage their stories in public places, where the constraints on Iranian women are evident. Privacy and intimacy are avoided, since they can’t be depicted authentically under Islamic censorship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "From Shirley Bassey to Sam Smith, Bond Songs Remain a Pop Oddity",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/450828660/451403477\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A new James Bond movie tends to mean a few things: a new villain, two new Bond girls (one of whom may or may not be painted gold), and — perhaps most dependably — a new song playing behind the opening credits. Fifty years of Bond films has left much music to be analyzed, and the Oxford University Press does just that in a new book called \u003cem>The James Bond Songs: Pop Anthems of Late Capitalism\u003c/em>.\u003c/p>\n\u003cp>NPR’s Scott Simon caught up with the two Stanford University professors who wrote the book: Adrian Daub, who teaches German Studies, and Charles Kronengold, who teaches music. Hear their conversation at the audio link, and read an edited version below.\u003c/p>\n\u003cp>\u003cstrong>Scott Simon: It seems fair to assert that \u003ca href=\"http://www.npr.org/artists/88186965/dame-shirley-bassey\" target=\"_blank\" rel=\"noopener\">Dame Shirley Bassey\u003c/a>‘s “Goldfinger” remains the best-known Bond theme. Did that song break the mold — or make the mold, I should say?\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11033220\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/JAmes-Bonds-Songs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/JAmes-Bonds-Songs-399x600.jpg\" alt='\"The James Bond Songs: Pop Anthems of Late Capitalism\" by Adrian Daub and Charles Kronengold' width=\"399\" height=\"600\" class=\"size-medium wp-image-11033220\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The James Bond Songs:\u003cbr>Pop Anthems of Late Capitalism” by Adrian Daub and Charles Kronengold\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adrian Daub:\u003c/strong> It did. This is the song that everybody’s been trying to copy ever since, and it’s the standard that listeners hold these songs up to on whatever level of consciousness. You listen to a new song every two or three years, and on some level you ask, “Is this measuring up to what Shirley Bassey did with ‘Goldfinger’?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>One of the things you point out in this book is, some of the best-known recording artists of their time have done a James Bond song — and yet, if you do a greatest hits of that artist, that Bond song is not necessarily there. Why do you think that is?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Charles Kronengold:\u003c/strong> I think it’s because there are so many constraints put on you when you’re writing a Bond song, or singing a Bond song, that you have to feel yourself compromise — kind of pulled in two or three directions at once. I mean, if you’re a lyricist, having to use a ridiculous word like “Moonraker” or “Thunderball” is not going to make your life any easier or pleasanter. It’s not necessarily going to be your best work, so the records don’t necessarily add up.\u003c/p>\n\u003cp>\u003cstrong>Simon: The first Bond film to star Roger Moore, after the long reign of Sean Connery\u003c/strong>\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003cstrong>,\u003c/strong>\u003cstrong> is\u003c/strong>\u003cstrong> 1973’s \u003cem>\u003c/em>\u003c/strong>\u003cstrong>\u003cem>Live and Let Die\u003c/em>\u003c/strong>\u003cstrong>\u003c/strong>\u003cstrong> — and the title theme is performed by \u003ca href=\"http://www.npr.org/artists/15158238/paul-mccartney\" target=\"_blank\" rel=\"noopener\">Paul McCartney\u003c/a>. Do you think there’s a little bit of composer autobiography in this song?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> Yeah, I think it would have been hard to hear that in the mid-’70s — from someone who \u003cem>\u003c/em>\u003cem>used\u003c/em> to say, “Live and let live,” but the world around him changed — and not think of the man at the mic.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Kronengold:\u003c/strong> I mean, being an ex-\u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">Beatle\u003c/a> in 1973 is probably about as weird as being a James Bond who is \u003cem>\u003c/em>\u003cem>not\u003c/em> the guy who was James Bond 10 years earlier. This is Roger Moore, when people are just kind of getting used to the idea that Bond is going to somebody other than Sean Connery. And the idea that Paul McCartney is going to be still around, still making music, but not with The Beatles — what does that mean? Why does he even come to work? Why does he have to do this, and what’s the point of it? And the song brings that out in a really nice way.\u003c/p>\n\u003cp>\u003cstrong>Simon: What do you hear in the newest Bond theme, “Writing on the Wall” by \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\" target=\"_blank\" rel=\"noopener\">Sam Smith\u003c/a>? Menace? Danger? Glamour?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kronengold:\u003c/strong> Well, not enough menace and danger for our taste. It seems like they forgot about the swagger and the bite that the best Bond songs have.\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> At the same time, there’s one part of it that we really like, and it seems to be the one that everyone else hates — which is when you get to the chorus. You know, a Bond song is supposed to play to the rafters; it’s supposed to yell out the word “Goldfinger” over and over and over again. And that’s the thing that Sam Smith, probably having listened back to the canon, decides not to do. The song builds to this amazing crescendo, and then just kind of ends with this whimper.\u003c/p>\n\u003cp>\u003cstrong>Simon: \u003c/strong>\u003cstrong>You say in the book that, in the end, Bond songs are perishable — and that’s OK.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> Absolutely. A Bond song, from the very first, says, “I will be here. I will be all over the charts. People will be humming me in elevators or in their cars. And then, you’ll forget about me, and there’ll be another one in two years.” A pop song is supposed to stride on the scene with this sort of cocksure sense of, “This is all there is. This is all you should care about right now.” And Bond songs are very honest with us! They say, “I’m a product tie-in for a movie. Eventually you’ll forget about me, and that’s all right.” \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=From+Shirley+Bassey+To+Sam+Smith%2C+Bond+Songs+Remain+A+Pop+Oddity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/450828660/451403477\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>A new James Bond movie tends to mean a few things: a new villain, two new Bond girls (one of whom may or may not be painted gold), and — perhaps most dependably — a new song playing behind the opening credits. Fifty years of Bond films has left much music to be analyzed, and the Oxford University Press does just that in a new book called \u003cem>The James Bond Songs: Pop Anthems of Late Capitalism\u003c/em>.\u003c/p>\n\u003cp>NPR’s Scott Simon caught up with the two Stanford University professors who wrote the book: Adrian Daub, who teaches German Studies, and Charles Kronengold, who teaches music. Hear their conversation at the audio link, and read an edited version below.\u003c/p>\n\u003cp>\u003cstrong>Scott Simon: It seems fair to assert that \u003ca href=\"http://www.npr.org/artists/88186965/dame-shirley-bassey\" target=\"_blank\" rel=\"noopener\">Dame Shirley Bassey\u003c/a>‘s “Goldfinger” remains the best-known Bond theme. Did that song break the mold — or make the mold, I should say?\u003c/strong>\u003cstrong>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11033220\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/JAmes-Bonds-Songs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/JAmes-Bonds-Songs-399x600.jpg\" alt='\"The James Bond Songs: Pop Anthems of Late Capitalism\" by Adrian Daub and Charles Kronengold' width=\"399\" height=\"600\" class=\"size-medium wp-image-11033220\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The James Bond Songs:\u003cbr>Pop Anthems of Late Capitalism” by Adrian Daub and Charles Kronengold\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adrian Daub:\u003c/strong> It did. This is the song that everybody’s been trying to copy ever since, and it’s the standard that listeners hold these songs up to on whatever level of consciousness. You listen to a new song every two or three years, and on some level you ask, “Is this measuring up to what Shirley Bassey did with ‘Goldfinger’?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>One of the things you point out in this book is, some of the best-known recording artists of their time have done a James Bond song — and yet, if you do a greatest hits of that artist, that Bond song is not necessarily there. Why do you think that is?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Charles Kronengold:\u003c/strong> I think it’s because there are so many constraints put on you when you’re writing a Bond song, or singing a Bond song, that you have to feel yourself compromise — kind of pulled in two or three directions at once. I mean, if you’re a lyricist, having to use a ridiculous word like “Moonraker” or “Thunderball” is not going to make your life any easier or pleasanter. It’s not necessarily going to be your best work, so the records don’t necessarily add up.\u003c/p>\n\u003cp>\u003cstrong>Simon: The first Bond film to star Roger Moore, after the long reign of Sean Connery\u003c/strong>\u003cstrong>\u003cem>\u003c/em>\u003c/strong>\u003cstrong>,\u003c/strong>\u003cstrong> is\u003c/strong>\u003cstrong> 1973’s \u003cem>\u003c/em>\u003c/strong>\u003cstrong>\u003cem>Live and Let Die\u003c/em>\u003c/strong>\u003cstrong>\u003c/strong>\u003cstrong> — and the title theme is performed by \u003ca href=\"http://www.npr.org/artists/15158238/paul-mccartney\" target=\"_blank\" rel=\"noopener\">Paul McCartney\u003c/a>. Do you think there’s a little bit of composer autobiography in this song?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> Yeah, I think it would have been hard to hear that in the mid-’70s — from someone who \u003cem>\u003c/em>\u003cem>used\u003c/em> to say, “Live and let live,” but the world around him changed — and not think of the man at the mic.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Kronengold:\u003c/strong> I mean, being an ex-\u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">Beatle\u003c/a> in 1973 is probably about as weird as being a James Bond who is \u003cem>\u003c/em>\u003cem>not\u003c/em> the guy who was James Bond 10 years earlier. This is Roger Moore, when people are just kind of getting used to the idea that Bond is going to somebody other than Sean Connery. And the idea that Paul McCartney is going to be still around, still making music, but not with The Beatles — what does that mean? Why does he even come to work? Why does he have to do this, and what’s the point of it? And the song brings that out in a really nice way.\u003c/p>\n\u003cp>\u003cstrong>Simon: What do you hear in the newest Bond theme, “Writing on the Wall” by \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\" target=\"_blank\" rel=\"noopener\">Sam Smith\u003c/a>? Menace? Danger? Glamour?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kronengold:\u003c/strong> Well, not enough menace and danger for our taste. It seems like they forgot about the swagger and the bite that the best Bond songs have.\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> At the same time, there’s one part of it that we really like, and it seems to be the one that everyone else hates — which is when you get to the chorus. You know, a Bond song is supposed to play to the rafters; it’s supposed to yell out the word “Goldfinger” over and over and over again. And that’s the thing that Sam Smith, probably having listened back to the canon, decides not to do. The song builds to this amazing crescendo, and then just kind of ends with this whimper.\u003c/p>\n\u003cp>\u003cstrong>Simon: \u003c/strong>\u003cstrong>You say in the book that, in the end, Bond songs are perishable — and that’s OK.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Daub:\u003c/strong> Absolutely. A Bond song, from the very first, says, “I will be here. I will be all over the charts. People will be humming me in elevators or in their cars. And then, you’ll forget about me, and there’ll be another one in two years.” A pop song is supposed to stride on the scene with this sort of cocksure sense of, “This is all there is. This is all you should care about right now.” And Bond songs are very honest with us! They say, “I’m a product tie-in for a movie. Eventually you’ll forget about me, and that’s all right.” \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=From+Shirley+Bassey+To+Sam+Smith%2C+Bond+Songs+Remain+A+Pop+Oddity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Pottery Winner: An Artist's Dark, Funny Oeuvre Gets Major Show",
"headTitle": "Pottery Winner: An Artist’s Dark, Funny Oeuvre Gets Major Show | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/451176250/451403513\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Ron Nagle is a lot like his ceramics: compact, tidy, quirky — and colorful.\u003c/p>\n\u003cp>The longtime San Francisco artist, who has helped take clay to the heights of the contemporary art world, recently sported black pants, a blue-and-white striped T-shirt, white shoes, red socks and a rose-colored hat.\u003c/p>\n\u003cp>Around his neck hangs a long silver chain, filled with charms. There’s a heart, signifying Valentine’s day, the date he was married decades ago; an R for his first name; a skull representing death; a hare, Nagle’s sign in Chinese astrology.\u003c/p>\n\u003cp>“This is the most important,” he says, showing a slice of cheese. “It just means — well, you’ll get it later.”\u003c/p>\n\u003cfigure id=\"attachment_11033213\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-600x600.jpg\" alt=\"Ron Nagle, <em>Handsome Drifter</em>, 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 3 3/4 x 4 x 3 inches; 10 x 10 x 8 cm. Copyright Ron Nagle,.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11033213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ron Nagle, \u003cem>Handsome Drifter\u003c/em>, 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 3 3/4 x 4 x 3 inches; 10 x 10 x 8 cm. Copyright Ron Nagle,. \u003ccite>(Courtesy Matthew Marks Gallery.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nagle, 76, has pieces in the permanent collections of the Metropolitan Museum of Art in New York, the Philadelphia Museum of Art and the Detroit Institute of the Arts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’s also got a major New York show — \u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/\" target=\"_blank\" rel=\"noopener\">the biggest solo exhibition ever at New York City’s blue chip Mathew Marks Gallery\u003c/a> — and he’s part of a show at the Yale University Art Gallery.\u003c/p>\n\u003cp>On top of all that, Nagle is seeing a CD reissue of his 1970 solo record.\u003c/p>\n\u003cp>In one song, he laments, “Cheese now, there’s no time like the present — do I have to die to get it?” Now, his wait may be over.\u003c/p>\n\u003cp>Nagle’s band The Mystery Trend was an early part of the San Francisco rock scene in the mid-1960s. By the time Nagle recorded “Cheese Now,” the band had already broken up — Nagle wasn’t too keen on touring.\u003c/p>\n\u003cp>“I’d get homesick, even as a kid,” he says. “I’ve got a few neurotic quirks.”\u003c/p>\n\u003cp>Fortunately, he’d been interested in ceramics since he was a kid. He had received a degree in ceramics from San Francisco state, but knew there was more than the program offered.\u003c/p>\n\u003cp>“My mother had a ceramic club in the basement,” he says. “So all of those hobbyist techniques I eventually incorporated into my own work.”\u003c/p>\n\u003cp>Nagle’s distinctive work still uses the molds that he saw in his mom’s basement, and a bright palette like the paints he and his father used on model planes and cars.\u003c/p>\n\u003cp>Much like those models, the scale of Nagle’s work his scale is also small, as if they’re tiny, non-functional containers for bigger ideas.\u003c/p>\n\u003cp>“[They’re] kind of like bonsai, but with a kind of distinctive weirdness about it,” says Roberta Smith, a chief art critic at the \u003cem>New York Times\u003c/em>. “There’s all kinds of building. There’s different kinds of crafts and there’s different kinds of allusions to the body and its functions.”\u003c/p>\n\u003cp>Of the three dozen pieces in Nagle’s current exhibition at the Matthew Marks gallery in Manhattan, all are under 8 inches in any direction. The sculptures — no cups, no bowls — are multi-colored and multi textured: one pebbled, the other smooth, one mottled, the other slick. Thin, coral-like branches tilt atop a slab.\u003c/p>\n\u003cp>Nagle also combines clay with other materials, including something used by model makers: Magic Sculp, which doesn’t need to be fired.\u003c/p>\n\u003cp>“It’s more about the idea now,” Nagle says.\u003c/p>\n\u003cp>It’s definitely not his mother’s ceramics, says Roberta Smith.\u003c/p>\n\u003cp>“It’s very complicated what he does,” she says. “Sex … illusions … body … remember that piece, ‘\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/14/\" target=\"_blank\" rel=\"noopener\">Lotta Wattage\u003c/a>‘?”\u003c/p>\n\u003cp>Nagle is big on titles — not just “Lotta Wattage” but “\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/23/\" target=\"_blank\" rel=\"noopener\">Centaur Of Attention\u003c/a>,” “\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/12/\" target=\"_blank\" rel=\"noopener\">Skin Grift\u003c/a>,” “\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/13/\" target=\"_blank\" rel=\"noopener\">Lamb Shank Redemption\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_11033212\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-600x600.jpg\" alt=\"Ron Nagle, <em>Boston Scrambler,</em> 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 2 x 4 1/2 x 3 inches; 5 x 11 x 8 cm. Copyright Ron Nagle.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11033212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ron Nagle, \u003cem>Boston Scrambler,\u003c/em> 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 2 x 4 1/2 x 3 inches; 5 x 11 x 8 cm. Copyright Ron Nagle. \u003ccite>(Courtesy Matthew Marks Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t see this in any egotistical way but I would say my greatest gift, more than music … is my sense of humor — basically because I’m a melancholy person,” he says.\u003c/p>\n\u003cp>That humor with a tinge of latent menace is also true of the music Nagle’s continued to make during his career. He’s also written songs for other artists, like Barbra Streisand, The Tubes and Michelle Phillips of the Mamas and the Papas.\u003c/p>\n\u003cp>But it’s Nagle’s sculptures that have earned him his widest audience, and now, a show in a major gallery — displaying the objects in special vitrines as if they were works of ancient pottery in the Metropolitan Museum of Art.\u003c/p>\n\u003cp>“This is the big deal, the top of the bucket list,” Nagle says. “What I’ve always wanted.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After decades of work, Nagle’s gotten his cheese. \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=Pottery+Winner%3A+An+Artist%27s+Dark%2C+Funny+Oeuvre+Gets+Major+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Ceramics artist Ron Nagle uses unconventional materials and bright colors to make odd, miniature marvels with punderful titles. His work has helped make modern ceramics a star at art museums.",
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"title": "Pottery Winner: An Artist's Dark, Funny Oeuvre Gets Major Show | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/451176250/451403513\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Ron Nagle is a lot like his ceramics: compact, tidy, quirky — and colorful.\u003c/p>\n\u003cp>The longtime San Francisco artist, who has helped take clay to the heights of the contemporary art world, recently sported black pants, a blue-and-white striped T-shirt, white shoes, red socks and a rose-colored hat.\u003c/p>\n\u003cp>Around his neck hangs a long silver chain, filled with charms. There’s a heart, signifying Valentine’s day, the date he was married decades ago; an R for his first name; a skull representing death; a hare, Nagle’s sign in Chinese astrology.\u003c/p>\n\u003cp>“This is the most important,” he says, showing a slice of cheese. “It just means — well, you’ll get it later.”\u003c/p>\n\u003cfigure id=\"attachment_11033213\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-600x600.jpg\" alt=\"Ron Nagle, <em>Handsome Drifter</em>, 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 3 3/4 x 4 x 3 inches; 10 x 10 x 8 cm. Copyright Ron Nagle,.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11033213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Handsome-Drifter.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ron Nagle, \u003cem>Handsome Drifter\u003c/em>, 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 3 3/4 x 4 x 3 inches; 10 x 10 x 8 cm. Copyright Ron Nagle,. \u003ccite>(Courtesy Matthew Marks Gallery.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nagle, 76, has pieces in the permanent collections of the Metropolitan Museum of Art in New York, the Philadelphia Museum of Art and the Detroit Institute of the Arts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s also got a major New York show — \u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/\" target=\"_blank\" rel=\"noopener\">the biggest solo exhibition ever at New York City’s blue chip Mathew Marks Gallery\u003c/a> — and he’s part of a show at the Yale University Art Gallery.\u003c/p>\n\u003cp>On top of all that, Nagle is seeing a CD reissue of his 1970 solo record.\u003c/p>\n\u003cp>In one song, he laments, “Cheese now, there’s no time like the present — do I have to die to get it?” Now, his wait may be over.\u003c/p>\n\u003cp>Nagle’s band The Mystery Trend was an early part of the San Francisco rock scene in the mid-1960s. By the time Nagle recorded “Cheese Now,” the band had already broken up — Nagle wasn’t too keen on touring.\u003c/p>\n\u003cp>“I’d get homesick, even as a kid,” he says. “I’ve got a few neurotic quirks.”\u003c/p>\n\u003cp>Fortunately, he’d been interested in ceramics since he was a kid. He had received a degree in ceramics from San Francisco state, but knew there was more than the program offered.\u003c/p>\n\u003cp>“My mother had a ceramic club in the basement,” he says. “So all of those hobbyist techniques I eventually incorporated into my own work.”\u003c/p>\n\u003cp>Nagle’s distinctive work still uses the molds that he saw in his mom’s basement, and a bright palette like the paints he and his father used on model planes and cars.\u003c/p>\n\u003cp>Much like those models, the scale of Nagle’s work his scale is also small, as if they’re tiny, non-functional containers for bigger ideas.\u003c/p>\n\u003cp>“[They’re] kind of like bonsai, but with a kind of distinctive weirdness about it,” says Roberta Smith, a chief art critic at the \u003cem>New York Times\u003c/em>. “There’s all kinds of building. There’s different kinds of crafts and there’s different kinds of allusions to the body and its functions.”\u003c/p>\n\u003cp>Of the three dozen pieces in Nagle’s current exhibition at the Matthew Marks gallery in Manhattan, all are under 8 inches in any direction. The sculptures — no cups, no bowls — are multi-colored and multi textured: one pebbled, the other smooth, one mottled, the other slick. Thin, coral-like branches tilt atop a slab.\u003c/p>\n\u003cp>Nagle also combines clay with other materials, including something used by model makers: Magic Sculp, which doesn’t need to be fired.\u003c/p>\n\u003cp>“It’s more about the idea now,” Nagle says.\u003c/p>\n\u003cp>It’s definitely not his mother’s ceramics, says Roberta Smith.\u003c/p>\n\u003cp>“It’s very complicated what he does,” she says. “Sex … illusions … body … remember that piece, ‘\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/14/\" target=\"_blank\" rel=\"noopener\">Lotta Wattage\u003c/a>‘?”\u003c/p>\n\u003cp>Nagle is big on titles — not just “Lotta Wattage” but “\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/23/\" target=\"_blank\" rel=\"noopener\">Centaur Of Attention\u003c/a>,” “\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/12/\" target=\"_blank\" rel=\"noopener\">Skin Grift\u003c/a>,” “\u003ca href=\"http://www.matthewmarks.com/new-york/exhibitions/2015-09-11_ron-nagle/works-in-exhibition/#/images/13/\" target=\"_blank\" rel=\"noopener\">Lamb Shank Redemption\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_11033212\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-600x600.jpg\" alt=\"Ron Nagle, <em>Boston Scrambler,</em> 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 2 x 4 1/2 x 3 inches; 5 x 11 x 8 cm. Copyright Ron Nagle.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11033212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Ron-Nagle-Boston-Scrambler.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ron Nagle, \u003cem>Boston Scrambler,\u003c/em> 2015. Ceramic, glaze, catalyzed polyurethane, epoxy resin. 2 x 4 1/2 x 3 inches; 5 x 11 x 8 cm. Copyright Ron Nagle. \u003ccite>(Courtesy Matthew Marks Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t see this in any egotistical way but I would say my greatest gift, more than music … is my sense of humor — basically because I’m a melancholy person,” he says.\u003c/p>\n\u003cp>That humor with a tinge of latent menace is also true of the music Nagle’s continued to make during his career. He’s also written songs for other artists, like Barbra Streisand, The Tubes and Michelle Phillips of the Mamas and the Papas.\u003c/p>\n\u003cp>But it’s Nagle’s sculptures that have earned him his widest audience, and now, a show in a major gallery — displaying the objects in special vitrines as if they were works of ancient pottery in the Metropolitan Museum of Art.\u003c/p>\n\u003cp>“This is the big deal, the top of the bucket list,” Nagle says. “What I’ve always wanted.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After decades of work, Nagle’s gotten his cheese. \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=Pottery+Winner%3A+An+Artist%27s+Dark%2C+Funny+Oeuvre+Gets+Major+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Something’s happening on the internet,” yelps Kimber to her shy older sister Jerrica Benton, the instant pop sensation known as “Jem,” in the live-action version of Christy Marx’s mid-’80s cartoon staple \u003cem>Jem and the Holograms\u003c/em>. Kimber is delighting over an acoustic video gone viral, but the line aptly describes the modus operandi of the filmmakers, who are desperate to tap into the preteen zeitgeist but haven’t got a clue how to do it. From what they can gather, the internet is \u003ca href=\"https://en.wikipedia.org/wiki/Series_of_tubes\">a series of tubes\u003c/a>, connected by hashtag-dealing vloggers who will surely love the movie if they feel validated by it. The film is a cynical marketing plan set to music, as if director John M. Chu and his (all-male) producers and writer came away from \u003cem>Josie and the Pussycats\u003c/em> thinking Parker Posey’s music-biz CEO was the hero.\u003c/p>\n\u003cp>That’s not all \u003cem>Jem\u003c/em> takes from \u003cem>Josie\u003c/em>. Ryan Landels’ script lifts the premise almost beat for beat — teen musician becomes overnight sensation, signs a Faustian deal with a slick-talking label executive (Juliette Lewis in the Posey role), and loses her bandmates in a bid for solo stardom. But the film loses the catchy soundtrack, the candy-colored production design, and the satire on a culture geared toward turning kids into consumerist zombies. Few critics gave \u003cem>Josie\u003c/em> enough credit for cleverly subverting the teen-pop musical, but \u003cem>Jem\u003c/em> preys so rapaciously on its target demographic that it holds the virtues of the earlier film in sharp relief. \u003cem>Jem and the Holograms\u003c/em> is \u003cem>Mac and Me\u003c/em> to \u003cem>Josie and the Pussycats\u003c/em>‘ \u003cem>E.T.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pifhszsZKg4\u003c/p>\n\u003cp>Yet another in a \u003ca href=\"http://www.npr.org/2015/10/08/446354289/pan-asks-the-odd-question-what-happened-before-the-fun-started\">regrettable trend\u003c/a> of franchise-starting origin stories, \u003cem>Jem\u003c/em> follows Jerrica/Jem, her Instagram/YouTube-crazy sister Kimber, and their foster sisters Aja (Hayley Kiyoko) and Shana (Aurora Perrineau) on the fast track to musical fame. After Jerrica records a heartfelt song in her room — hiding her face under a pink wig and her identity under the \u003cem>nom de rock\u003c/em> Jem — Kimber secretly posts it online and it immediately attracts interest from Starlight Enterprises honcho Erica Raymond (Lewis). With Jerrica eager to make money to save her aunt and the quartet’s adoptive mother (Molly Ringwald) from foreclosure, she gets coerced into Raymond’s plan to make her a solo act.\u003c/p>\n\u003cp>That’s plenty of intrigue for one 90-minute confection, but \u003cem>Jem and the Holograms\u003c/em> is a full two hours and has much more tedious narrative business on the agenda. It would seem that Jerrica’s late father, an inventor, bequeathed to her a hologram-projecting robot named Synergy who won’t work until Jerrica finds three missing pieces, each hidden in a hard-to-access location. Her mission, should she choose to accept it, is to waste an hour of screen time following clues so her dad can appear like Obi-Wan Kenobi (or \u003ca href=\"https://www.youtube.com/watch?v=deoOTqT-SMI\">Will.I.Am\u003c/a>). Synergy has a critical role in Marx’s show — as does the rival band The Misfits, who are only teased for the wildly optimistic prospect of a sequel — but the bleeping robot does nothing that a simple letter couldn’t do. It’s just something to keep Jerrica and her friends busy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chu directed the Justin Bieber doc \u003cem>Never Say Never \u003c/em>— Bieber management svengali Scooter Braun co-produces here, too — and made the second and third \u003cem>Step Up\u003c/em> movies, and he attempts to find a choreography between Jem’s music and the homemade sounds of YouTube artists. But the overall effect is to sell teenagers on the lie that they’re creatively invested in this boondoggle — that they are “Jem” just as much as Jerrica is. In fact, \u003cem>Jem and the Holograms\u003c/em> is so committed to the concept that it \u003cem>looks\u003c/em> like an online video, washed out in a low-resolution gray that exposes its exceptionally modest $5 million budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Something will definitely happen on the internet when the film hits theaters. Useful advice to the filmmakers: Don’t read the comments.\u003c/p>\n\n",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/450009076/450175933\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Today, some kid named Marty McFly will arrive (or already has) in a flying car.\u003c/p>\n\u003cp>Oct. 21, 2015, is when the first act of \u003cem>Back to the Future Part II\u003c/em> is set. In the sequel, Marty McFly goes forth and back in time, and complications ensue. It’s a 2015 that’s different from the one we know now — but not that different.\u003c/p>\n\u003cp>On one hand, in the movie, electric cars quietly hum around the streets. We’ve got those. A hologram for \u003cem>Jaws 19\u003c/em> pops out of a theater marquee and freaks Marty out. You can find holograms like that on the Atlantic City Boardwalk. When bad guy Griff gets arrested for wrecking the clock tower near the lake? A drone takes his picture for \u003cem>USA Today\u003c/em>. And the Chicago Cubs, in the \u003cem>Back to the Future\u003c/em> universe, win the World Series in 2015. As of right now, they can still make that happen.\u003c/p>\n\u003cp>Of course, there’s a lot of stuff that \u003cem>Back to the Future Part II\u003c/em> doesn’t get right. Our cars don’t fly. Our shoes don’t tie themselves. Our clothes don’t blow dry themselves, either. And what we call “hoverboards” today don’t really hover, if we’re going to be honest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So what does a 1980s movie tell us about ourselves today in 2015? Does it say anything about how we got here?\u003c/p>\n\u003cp>Not really, according to Rick Carter. He was the production designer on the movie.\u003c/p>\n\u003cp>“It’s an attempt to stimulate in the time it was made. It wasn’t made for now.”\u003c/p>\n\u003cp>Carter’s got strong credits when it comes to time travel. He also worked on \u003cem>A.I. Artificial Intelligence,\u003c/em> \u003cem>Avatar\u003c/em> and the new \u003cem>Star Wars\u003c/em> movie.\u003c/p>\n\u003cp>Carter says time-travel stories are more about the time in which they were made. And what was big in the late ’80s when \u003cem>Back to the Future Part II\u003c/em> was made? Buying stuff.\u003c/p>\n\u003cp>“Not just product placement, but the branding of our culture,” says Carter. “This was no longer the hippie era where everything that was of corporations was being pushed to the side in terms of being hip or cool. It was a celebration of what the culture and the economy was creating.”\u003c/p>\n\u003cp>Like a hologram Ronald Reagan selling fast food.\u003c/p>\n\u003cp>It was, at least, a somewhat optimistic view of the future. More optimistic than, say, \u003cem>Blade Runner. \u003c/em>To Carter, creating the future wasn’t about predicting. It was about making the present seem better.\u003c/p>\n\u003cp>“That’s how we saw the holograms coming out of the movie theaters, or the litter bug that’s running around that’s positive, sweeping things up,” says Carter. “It was about projecting from a very exuberant sense we had at the time being young until now.”\u003c/p>\n\u003cp>That exuberance was tempered a bit, though. With some pointed jokes knocking nostalgia, the movie knew that the future wouldn’t be perfect. Or was it the past?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever. Nothing’s perfect. \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=%27Back+To+The+Future+Part+2%27%3A+Designing+A+Future+For+30+Years+Ago&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "Hear 'II,' the New Album from Ty Seagall's Fuzz",
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"content": "\u003cp>If you didn’t know that \u003ca href=\"http://www.npr.org/artists/161430476/ty-segall\">Ty Segall\u003c/a> had spent a good chunk of 2015 on tour, you might think the prolific Bay Area garage-glam wunderkind had gone into hiding. Apart from a solo EP earlier this year, Segall’s efforts this year have mostly been behind the boards, as he’s produced records for Peacers and Birth Defects. With a new Fuzz album, though, Segall is back in the spotlight, playing drums with his power trio of guitarist Charlie Moothart (Moonhearts) and bassist Chad Ubovich (\u003ca href=\"http://www.npr.org/event/music/381570823/kexp-presents-meatbodies\">Meatbodies\u003c/a>). This time around, he heaves forth an impressive 14-song double album made for headbanging and the cultivation of bad vibes, as if all the warmth and goodwill of last year’s \u003cem>Manipulator\u003c/em> had turned to ash.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2015/10/14/444448267/first-listen-fuzz-ii\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>Listen to Fuzz’s ‘II’ at NPR.\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Once again, Segall and his cohorts are ushered out of the garage; this is music meant to be played at a volume walls can’t contain. Fuzz’s namesake is no joke, either — this is proto-metal, anvil-head blues-rock, thick like cement about to harden. \u003cem>II\u003c/em> vacillates between blunt-force heaviness and a slightly trippier variant, but the pall of doom is cast all over it, making it Segall’s darkest record in a good long time. He’s got an athletic presence on the drums, with a pingy snare sound that captures how hard he hits, but his faux-Brit glam vocals can’t mask the darkness as he brings to mind a young \u003ca href=\"http://www.npr.org/artists/124120879/ozzy-osbourne\">Ozzy Osbourne\u003c/a>. “Bringer Of Light” and “Pipe” sound like they should be reverberating across a Hammer horror castle in the chill of late November, as Moothart and Ubovich flex their instrumental muscle, sounding for all the world like a diesel freighter downshifting.\u003c/p>\n\u003cp>Still, Fuzz recognizes the powers of restraint. Follow the 14-minute title track to its core, and instead of meandering off into drum solos and other diversions, the three simply opt to get low. The riffs are still there, of course, but this time they’re engineered to pull you into the shadows. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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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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"mindshift": {
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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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"order": 12
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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": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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