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"content": "\u003cp>You may feel you’ve been here before: the story of a man who uses technology to bring millions of people together, but who can’t seem to figure out how to connect with the people who are actually around him.\u003c/p>\n\u003cp>Screenwriter Aaron Sorkin told that story a few years back in his script for the Facebook movie, \u003cem>The Social Network\u003c/em>. Now, in \u003cem>Steve Jobs,\u003c/em> he’s got a strikingly different, equally riveting take centered on the guy who put music in your pocket and gave the world a personal computer that said “Hello” — ideas that sounded crazy back when most of what computers did was make spreadsheets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aEr6K1bwIVs\u003c/p>\n\u003cp>The film begins with a 1974 video clip, not of the title character but of sci-fi author Arthur C. Clarke, speaking in a room dominated by an enormous industrial computer, about a then almost inconceivable future when average Joes would have computers in their own homes. He has to convince a skeptical interviewer that this might possibly be a good thing.\u003c/p>\n\u003cp>That year, a 19-year-old Jobs would’ve been planning a trip to India to study Buddhism, but in the next shot, we meet him a decade later, as he’s about to unveil the Macintosh personal computer to an audience whose appetite has been whetted by an Orwellian Ridley Scott commercial titled simply “1984.” The commercial, which aired during the Super Bowl, didn’t show the product, because the product wasn’t ready yet. And as Jobs, played with ferocious intensity by Michael Fassbender, stands backstage, preparing to introduce it, it still isn’t. For some reason, it won’t say “Hello.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So he’s badgering, insisting, cajoling, threatening — doing whatever it takes to get his tech team, led by a panicked Andy Hertzfeld (Michael Stuhlbarg) to promise the Mac will talk on cue.\u003c/p>\n\u003cp>How he earns the loyalty of people who look to him for approval and never, ever get it is at once the crux of the film and its great mystery. There’s Apple co-founder Steve Wozniak, played explosively by Seth Rogen, who notes that Jobs can’t write code, isn’t an engineer or a designer, and is still being described in the press as a “genius.”\u003c/p>\n\u003cp>“What do you do?” he asks in exasperation.\u003c/p>\n\u003cp>And Woz is hardly the only person Jobs ticks off. There’s the mother (Katherine Waterston) of a daughter (Makenzie Moss, then Perla Haney-Jardine) he refuses to acknowledge; the marketer/right-hand/conscience who enables him (Kate Winslet); the multitude of hangers-on who have to make things actually work… hard feelings, every step of the way\u003c/p>\n\u003cp>Sorkin and director Danny Boyle give the story a three-act structure — each act playing out in real time — all of it crisis time in the half-hour or so just before three of those product launches Jobs was so famously good at. First the original Mac. Then the attention-getting but wildly overpriced NeXT CUBE in 1988 after Jobs had been fired from Apple by John Sculley (Jeff Daniels), the former Pepsi exec he’d helped install as CEO. And finally, in 1998, after Apple had hired him back, he premieres the egg-shape iMac that would set the company on its industry-dominating path.\u003c/p>\n\u003cp>The film’s tension comes partly from a raft of terrific performances — everyone’s good, and Fassbender’s stellar — and partly from juxtaposing Jobs’ public and private personas. He could make cheering audiences believe he was changing the world, but backstage… not so much.\u003c/p>\n\u003cp>If you have a sharp eye, you’ll note a difference in texture as the film moves through these three launches. Boyle shoots the first section in 16 millimeter, the second in considerably less grainy 35 millimeter, the third in glossy, crystalline high-def — a visual echo for the technical advances Jobs is talking so passionately about. And talking, and talking in Sorkin’s hard-charging, superarticulate, somehow still emotionally resonant way.\u003c/p>\n\u003cp>The film feels so electric while you’re watching, it’s hard to believe that after two hours, it doesn’t even get to the iPod, let alone the iPhone. Maybe they’re leaving themselves room for \u003cem>Steve Jobs 2\u003c/em>? Or rather, \u003cem>Steve Jobs\u003c/em>… what would the Apple folks call it? Yosemite and El Capitan are their operating systems. Maybe \u003cem>Steve Jobs Half Dome\u003c/em>. They’ll announce it but it won’t be available for a year. And it’ll cost an extra $100. And the ticket’ll require a new adapter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And we’ll all — millions of us — line up, happily, to buy it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may feel you’ve been here before: the story of a man who uses technology to bring millions of people together, but who can’t seem to figure out how to connect with the people who are actually around him.\u003c/p>\n\u003cp>Screenwriter Aaron Sorkin told that story a few years back in his script for the Facebook movie, \u003cem>The Social Network\u003c/em>. Now, in \u003cem>Steve Jobs,\u003c/em> he’s got a strikingly different, equally riveting take centered on the guy who put music in your pocket and gave the world a personal computer that said “Hello” — ideas that sounded crazy back when most of what computers did was make spreadsheets.\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/aEr6K1bwIVs'\n title='//www.youtube.com/embed/aEr6K1bwIVs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film begins with a 1974 video clip, not of the title character but of sci-fi author Arthur C. Clarke, speaking in a room dominated by an enormous industrial computer, about a then almost inconceivable future when average Joes would have computers in their own homes. He has to convince a skeptical interviewer that this might possibly be a good thing.\u003c/p>\n\u003cp>That year, a 19-year-old Jobs would’ve been planning a trip to India to study Buddhism, but in the next shot, we meet him a decade later, as he’s about to unveil the Macintosh personal computer to an audience whose appetite has been whetted by an Orwellian Ridley Scott commercial titled simply “1984.” The commercial, which aired during the Super Bowl, didn’t show the product, because the product wasn’t ready yet. And as Jobs, played with ferocious intensity by Michael Fassbender, stands backstage, preparing to introduce it, it still isn’t. For some reason, it won’t say “Hello.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So he’s badgering, insisting, cajoling, threatening — doing whatever it takes to get his tech team, led by a panicked Andy Hertzfeld (Michael Stuhlbarg) to promise the Mac will talk on cue.\u003c/p>\n\u003cp>How he earns the loyalty of people who look to him for approval and never, ever get it is at once the crux of the film and its great mystery. There’s Apple co-founder Steve Wozniak, played explosively by Seth Rogen, who notes that Jobs can’t write code, isn’t an engineer or a designer, and is still being described in the press as a “genius.”\u003c/p>\n\u003cp>“What do you do?” he asks in exasperation.\u003c/p>\n\u003cp>And Woz is hardly the only person Jobs ticks off. There’s the mother (Katherine Waterston) of a daughter (Makenzie Moss, then Perla Haney-Jardine) he refuses to acknowledge; the marketer/right-hand/conscience who enables him (Kate Winslet); the multitude of hangers-on who have to make things actually work… hard feelings, every step of the way\u003c/p>\n\u003cp>Sorkin and director Danny Boyle give the story a three-act structure — each act playing out in real time — all of it crisis time in the half-hour or so just before three of those product launches Jobs was so famously good at. First the original Mac. Then the attention-getting but wildly overpriced NeXT CUBE in 1988 after Jobs had been fired from Apple by John Sculley (Jeff Daniels), the former Pepsi exec he’d helped install as CEO. And finally, in 1998, after Apple had hired him back, he premieres the egg-shape iMac that would set the company on its industry-dominating path.\u003c/p>\n\u003cp>The film’s tension comes partly from a raft of terrific performances — everyone’s good, and Fassbender’s stellar — and partly from juxtaposing Jobs’ public and private personas. He could make cheering audiences believe he was changing the world, but backstage… not so much.\u003c/p>\n\u003cp>If you have a sharp eye, you’ll note a difference in texture as the film moves through these three launches. Boyle shoots the first section in 16 millimeter, the second in considerably less grainy 35 millimeter, the third in glossy, crystalline high-def — a visual echo for the technical advances Jobs is talking so passionately about. And talking, and talking in Sorkin’s hard-charging, superarticulate, somehow still emotionally resonant way.\u003c/p>\n\u003cp>The film feels so electric while you’re watching, it’s hard to believe that after two hours, it doesn’t even get to the iPod, let alone the iPhone. Maybe they’re leaving themselves room for \u003cem>Steve Jobs 2\u003c/em>? Or rather, \u003cem>Steve Jobs\u003c/em>… what would the Apple folks call it? Yosemite and El Capitan are their operating systems. Maybe \u003cem>Steve Jobs Half Dome\u003c/em>. They’ll announce it but it won’t be available for a year. And it’ll cost an extra $100. And the ticket’ll require a new adapter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And we’ll all — millions of us — line up, happily, to buy it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Declan Patrick MacManus was just 7, his father — a musician of Irish descent, with thick glasses and tousled black hair — left home. The boy grew up to be \u003ca href=\"http://www.npr.org/artists/15045892/elvis-costello\">Elvis Costello\u003c/a>, and throughout his career-spanning 674-page memoir, \u003cem>Unfaithful Music & Disappearing Ink,\u003c/em> the singer-songwriter grapples with that relationship and the parallels in their lives.\u003c/p>\n\u003cp>Costello and NPR’s Kelly McEvers recently discussed those familial similarities, the gap in his teeth and why Lorne Michaels will probably take the truth of Costello’s infamous \u003cem>Saturday Night Live\u003c/em> performance to his grave.\u003c/p>\n\u003cp>\u003cstrong>Both you and your dad wear glasses. At one point, you’re wearing the same kind of boots. You borrow his equipment. You know, his tape recorder, and at one point —\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>I was just a thief, really. That’s the truth of it. [Both laugh.]\u003c/p>\n\u003cp>\u003cstrong>At one point, you guys are even living in the same building. He’s remarried and you’re married, and you’re living up and downstairs from each other.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s right.\u003c/p>\n\u003cp>\u003cstrong>So you’re together a lot.\u003c/strong>\u003c/p>\n\u003cp>Actually, you know, the poignant thing about it is, towards the end of his life, he enjoyed the robust health of a man who knew about the restorative powers of Bushmills whiskey, and never took an aspirin until he was about 79 and then developed Parkinson’s. And when he was in his last illness, I sat and tried to talk to him and keep him in the present, because dementia was developing rapidly. And when I actually tried to recall our times together, I ran out of experiences very quickly. In fact, I may have written all of them down in the book. That’s how few there were.\u003c/p>\n\u003cp>\u003cstrong>There’s a chapter in the book that’s called “Unfaithful Music,” and that’s part of the title of this book. This chapter is about that great song of yours, “\u003ca href=\"https://www.youtube.com/watch?v=C9GlC9GyF4Y\" target=\"_blank\" rel=\"noopener\">Alison\u003c/a>,” and I was wondering if you could read Page 187. There’s two short paragraphs.\u003c/strong>\u003c/p>\n\u003cp>“I believed that ‘Alison’ was a work of fiction taking the sad face of a beautiful girl glimpsed by chance and imagining her life unraveling before her. It was a premonition, my fear that I would not be faithful, or that my disbelief in happy endings would lead me to kill the love that I had longed for.”\u003c/p>\n\u003cp>\u003cstrong>So, you have said that the sad face of this beautiful girl was somebody you saw in a supermarket.\u003c/strong>\u003c/p>\n\u003cp>That — I just supposed I had a momentary crush on this girl, but in a way, the song became a premonition of my own ability to be constant.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>I mean, basically, you’re talking about being unfaithful to your wife; to your family?\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>Yeah, and your dad wasn’t faithful, either.\u003c/strong>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>Do you think that in some ways you were bound to be like him?\u003c/strong>\u003c/p>\n\u003cp>No, I really don’t. That makes it less forgivable, because I don’t — I’m not inclined to say, “Like father, like son,” or that because I came from a gently broken home that I would inevitably break one up myself. I can acknowledge what’s in the past. You can’t go back and change it.\u003c/p>\n\u003cp>\u003cstrong>So, this was the late ’70s and you were making this very, in some ways, very catchy pop music. But there was, of course, a lot of other stuff going on in the ’70s in music with punk and rock. You weren’t necessarily the glamorous type — you weren’t doing the Ziggy Stardust shiny-jumpsuit thing.\u003c/strong>\u003c/p>\n\u003cp>I worked for Elizabeth Arden for a while.\u003c/p>\n\u003cp>\u003cstrong>Yes, you did!\u003c/strong>\u003c/p>\n\u003cp>I did for several years, and I could get cheap lipstick and cheap mascara, and I still never made it in glam rock.\u003c/p>\n\u003cp>\u003cstrong>[Laughs.] So, I mean, you did later get cast as the angry type.\u003c/strong>\u003c/p>\n\u003cp>I’ve explained that very clearly in the book.\u003c/p>\n\u003cp>\u003cstrong>You have.\u003c/strong>\u003c/p>\n\u003cp>I have. It’s because I have a gap in my teeth. And although this makes people such as Jerry Lewis and Jane Birkin sex symbols, it just makes me sound aggressive. A lot of air gets pressed out between that gap, and it makes everything I say sound like a provocation or a threat, and quite often — I mean, that’s really true. I’m making a joke, obviously, because there were things in the songs that I said emphatically and things I meant, and there was just something about my face that made people think they read them this way. And I certainly didn’t help myself by going along to my couple early interviews very drunk.\u003c/p>\n\u003cp>http://youtu.be/D8caBUVjWvA\u003c/p>\n\u003cp>\u003cstrong>You know, I think Americans might remember you — the sort of angry you — from an episode in 1977. You were appearing on \u003cem>Saturday Night Live;\u003c/em> you were supposed to play your latest single called “Less than Zero,” but then you played “Radio Radio.”\u003c/strong>\u003c/p>\n\u003cp>My argument was not really with \u003cem>SNL;\u003c/em> my argument was with my own record company, because they were just going on at me to do this song. And I said, “I’m not sure people even know what this song is about in America, because it was written about very specific English circumstances.” I had a brand-new song ready to go that I thought was the one we should play — and I did play — and because I didn’t tell the producers about it, it was a little bit of a stink, as they say. A kerfuffle. And we were told we would never work on American television again. There was a period where I didn’t appear on TV in America — about three years. It was 12 years before Lorne Michaels let me back in the building.\u003c/p>\n\u003cp>\u003cstrong>We read somewhere that Lorne Michaels was giving you the finger from the booth. Is that true?\u003c/strong>\u003c/p>\n\u003cp>I’m not going to say that’s true. Bill Murray told me that at the 25th-anniversary party. He said, “Don’t let Lorne tell you he was in on the joke. I remember him doing that.” So I’m not saying it; Bill is saying it. Lorne can take it up with Bill. I don’t know.\u003c/p>\n\u003cp>\u003cstrong>Your dad, he died in 2011. He had Parkinson’s, and then he had a brain tumor, and you write in the book that at one point you thought you couldn’t bear to write any more songs if you couldn’t play them for your father.\u003c/strong>\u003c/p>\n\u003cp>No, not write them so much as record them, because it was the taking the record home. I always used to like playing the record and seeing what he took out of it. He would always listen in and find the center of it for him, and I was always encouraged by that, because I know there is no one way to listen. There is no absolute right and wrong about music.\u003c/p>\n\u003cp>\u003cstrong>So, you write that you couldn’t record another song if you couldn’t play it —\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No, not for a while. No. And then I stumbled into a recording collaboration with \u003ca href=\"http://www.npr.org/artists/15121130/the-roots\">The Roots\u003c/a> and \u003ca href=\"http://www.npr.org/2013/09/22/224505408/questlove-and-elvis-costello-on-writing-together\">the oddest thing happened\u003c/a>: Quest[love] and a keyboard player who plays with The Roots sometimes, Ray Angry, sent me a composition, and within an hour or so I had written this song called “A Puppet Has Cut His Strings,” which was almost like a moment-by-moment recitation of my dad’s passing. And I told myself I wasn’t ready to write about that, or I would never write about it, but it just came out. In the end, music was playing in the room when my father left this earth, and I suppose that something that I returned to throughout the book [is] thinking about how music has served me as being my companion. It’s got me into all kinds of trouble, but also got me all sorts of things, as well; all sorts of experiences that I wouldn’t trade. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Declan Patrick MacManus was just 7, his father — a musician of Irish descent, with thick glasses and tousled black hair — left home. The boy grew up to be \u003ca href=\"http://www.npr.org/artists/15045892/elvis-costello\">Elvis Costello\u003c/a>, and throughout his career-spanning 674-page memoir, \u003cem>Unfaithful Music & Disappearing Ink,\u003c/em> the singer-songwriter grapples with that relationship and the parallels in their lives.\u003c/p>\n\u003cp>Costello and NPR’s Kelly McEvers recently discussed those familial similarities, the gap in his teeth and why Lorne Michaels will probably take the truth of Costello’s infamous \u003cem>Saturday Night Live\u003c/em> performance to his grave.\u003c/p>\n\u003cp>\u003cstrong>Both you and your dad wear glasses. At one point, you’re wearing the same kind of boots. You borrow his equipment. You know, his tape recorder, and at one point —\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>I was just a thief, really. That’s the truth of it. [Both laugh.]\u003c/p>\n\u003cp>\u003cstrong>At one point, you guys are even living in the same building. He’s remarried and you’re married, and you’re living up and downstairs from each other.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s right.\u003c/p>\n\u003cp>\u003cstrong>So you’re together a lot.\u003c/strong>\u003c/p>\n\u003cp>Actually, you know, the poignant thing about it is, towards the end of his life, he enjoyed the robust health of a man who knew about the restorative powers of Bushmills whiskey, and never took an aspirin until he was about 79 and then developed Parkinson’s. And when he was in his last illness, I sat and tried to talk to him and keep him in the present, because dementia was developing rapidly. And when I actually tried to recall our times together, I ran out of experiences very quickly. In fact, I may have written all of them down in the book. That’s how few there were.\u003c/p>\n\u003cp>\u003cstrong>There’s a chapter in the book that’s called “Unfaithful Music,” and that’s part of the title of this book. This chapter is about that great song of yours, “\u003ca href=\"https://www.youtube.com/watch?v=C9GlC9GyF4Y\" target=\"_blank\" rel=\"noopener\">Alison\u003c/a>,” and I was wondering if you could read Page 187. There’s two short paragraphs.\u003c/strong>\u003c/p>\n\u003cp>“I believed that ‘Alison’ was a work of fiction taking the sad face of a beautiful girl glimpsed by chance and imagining her life unraveling before her. It was a premonition, my fear that I would not be faithful, or that my disbelief in happy endings would lead me to kill the love that I had longed for.”\u003c/p>\n\u003cp>\u003cstrong>So, you have said that the sad face of this beautiful girl was somebody you saw in a supermarket.\u003c/strong>\u003c/p>\n\u003cp>That — I just supposed I had a momentary crush on this girl, but in a way, the song became a premonition of my own ability to be constant.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>I mean, basically, you’re talking about being unfaithful to your wife; to your family?\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>Yeah, and your dad wasn’t faithful, either.\u003c/strong>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>Do you think that in some ways you were bound to be like him?\u003c/strong>\u003c/p>\n\u003cp>No, I really don’t. That makes it less forgivable, because I don’t — I’m not inclined to say, “Like father, like son,” or that because I came from a gently broken home that I would inevitably break one up myself. I can acknowledge what’s in the past. You can’t go back and change it.\u003c/p>\n\u003cp>\u003cstrong>So, this was the late ’70s and you were making this very, in some ways, very catchy pop music. But there was, of course, a lot of other stuff going on in the ’70s in music with punk and rock. You weren’t necessarily the glamorous type — you weren’t doing the Ziggy Stardust shiny-jumpsuit thing.\u003c/strong>\u003c/p>\n\u003cp>I worked for Elizabeth Arden for a while.\u003c/p>\n\u003cp>\u003cstrong>Yes, you did!\u003c/strong>\u003c/p>\n\u003cp>I did for several years, and I could get cheap lipstick and cheap mascara, and I still never made it in glam rock.\u003c/p>\n\u003cp>\u003cstrong>[Laughs.] So, I mean, you did later get cast as the angry type.\u003c/strong>\u003c/p>\n\u003cp>I’ve explained that very clearly in the book.\u003c/p>\n\u003cp>\u003cstrong>You have.\u003c/strong>\u003c/p>\n\u003cp>I have. It’s because I have a gap in my teeth. And although this makes people such as Jerry Lewis and Jane Birkin sex symbols, it just makes me sound aggressive. A lot of air gets pressed out between that gap, and it makes everything I say sound like a provocation or a threat, and quite often — I mean, that’s really true. I’m making a joke, obviously, because there were things in the songs that I said emphatically and things I meant, and there was just something about my face that made people think they read them this way. And I certainly didn’t help myself by going along to my couple early interviews very drunk.\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/D8caBUVjWvA'\n title='//www.youtube.com/embed/D8caBUVjWvA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You know, I think Americans might remember you — the sort of angry you — from an episode in 1977. You were appearing on \u003cem>Saturday Night Live;\u003c/em> you were supposed to play your latest single called “Less than Zero,” but then you played “Radio Radio.”\u003c/strong>\u003c/p>\n\u003cp>My argument was not really with \u003cem>SNL;\u003c/em> my argument was with my own record company, because they were just going on at me to do this song. And I said, “I’m not sure people even know what this song is about in America, because it was written about very specific English circumstances.” I had a brand-new song ready to go that I thought was the one we should play — and I did play — and because I didn’t tell the producers about it, it was a little bit of a stink, as they say. A kerfuffle. And we were told we would never work on American television again. There was a period where I didn’t appear on TV in America — about three years. It was 12 years before Lorne Michaels let me back in the building.\u003c/p>\n\u003cp>\u003cstrong>We read somewhere that Lorne Michaels was giving you the finger from the booth. Is that true?\u003c/strong>\u003c/p>\n\u003cp>I’m not going to say that’s true. Bill Murray told me that at the 25th-anniversary party. He said, “Don’t let Lorne tell you he was in on the joke. I remember him doing that.” So I’m not saying it; Bill is saying it. Lorne can take it up with Bill. I don’t know.\u003c/p>\n\u003cp>\u003cstrong>Your dad, he died in 2011. He had Parkinson’s, and then he had a brain tumor, and you write in the book that at one point you thought you couldn’t bear to write any more songs if you couldn’t play them for your father.\u003c/strong>\u003c/p>\n\u003cp>No, not write them so much as record them, because it was the taking the record home. I always used to like playing the record and seeing what he took out of it. He would always listen in and find the center of it for him, and I was always encouraged by that, because I know there is no one way to listen. There is no absolute right and wrong about music.\u003c/p>\n\u003cp>\u003cstrong>So, you write that you couldn’t record another song if you couldn’t play it —\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No, not for a while. No. And then I stumbled into a recording collaboration with \u003ca href=\"http://www.npr.org/artists/15121130/the-roots\">The Roots\u003c/a> and \u003ca href=\"http://www.npr.org/2013/09/22/224505408/questlove-and-elvis-costello-on-writing-together\">the oddest thing happened\u003c/a>: Quest[love] and a keyboard player who plays with The Roots sometimes, Ray Angry, sent me a composition, and within an hour or so I had written this song called “A Puppet Has Cut His Strings,” which was almost like a moment-by-moment recitation of my dad’s passing. And I told myself I wasn’t ready to write about that, or I would never write about it, but it just came out. In the end, music was playing in the room when my father left this earth, and I suppose that something that I returned to throughout the book [is] thinking about how music has served me as being my companion. It’s got me into all kinds of trouble, but also got me all sorts of things, as well; all sorts of experiences that I wouldn’t trade. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ted Hughes left behind a path of personal tragedy and destruction — and also some of the most beautiful poetry in the English language. The British Poet Laureate was the husband of writer Sylvia Plath, who famously committed suicide following his affair with Assia Wevill. Just six years later, Wevill took her own life, and also the life of the young daughter she had with Hughes.\u003c/p>\n\u003cp>Jonathan Bate of Oxford University weighs the beauty and tragedy of this life in a new biography (disavowed by the Hughes estate) called \u003cem>Ted Hughes: The Unauthorised Life\u003c/em>. He tells NPR’s Scott Simon that, from a biographer’s perspective, “the quality of the work [and] the morality of the life, are not actually the same thing.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/player/embed/447156705/447451430\">\u003cb>Listen to NPR’s interview with Jonathan Bate here.\u003c/b>\u003c/a>\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what made his work extraordinary and enduring\u003c/strong>\u003c/p>\n\u003cp>He explored so many different cultures and traditions. He was fascinated by myths and stories, by anthropology, by ancient wisdom. But also by so many different poets like T.S. Eliot and W.B. Yeats. But also by the best new poetry coming out of Eastern Europe, coming out of America. And he just wrote and wrote and wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On what brought Hughes and Plath together\u003c/strong>\u003c/p>\n\u003cp>The simple answer is that they were both geniuses. They met as young poets just as their art was on the brink of taking off. And for six years they lived together, worked together, day and night. He helped her to develop her voice. She helped him to develop his. And the tragedy then was that the intensity of the relationship, the mental illness of Sylvia, and then Ted’s dalliance with this other woman, Assia Wevill, led to their tragic separation.\u003c/p>\n\u003cp>But he never ever forgot about Sylvia Plath, and never forgave himself for not being there when she took her own life. Everybody knows that in the final year of his life, he published \u003cem>Birthday Letters\u003c/em> — this collection of poems of memory about their marriage, of her death. What I discovered in the archive is he’d been working on it for nearly 30 years. Only at the very end of his life did he let those poems go.\u003c/p>\n\u003cp>\u003cstrong>On Hughes’ infidelity\u003c/strong>\u003c/p>\n\u003cp>He was capable of fidelity. Like I said, he was faithful to Sylvia for six years. … One of the things I say in the book is that on some level, his fidelity [was] to the idea of Sylvia as the ideal partner who, because of his mistake, he lost, and her life was lost. Because of that he was never able to remain faithful to another woman. That pretty well for the rest of his life, he had this kind of double life. The idea that infidelity to others is a form of fidelity to the true love that you’ve lost, as I say — not everybody would go along that.\u003c/p>\n\u003cp>\u003cstrong>On the destruction Hughes left in his wake\u003c/strong>\u003c/p>\n\u003cp>There’s no doubt about that. But it seems to me the business of the literary biographer is to tell the story as truthfully and fully as possible. And to leave it to the reader to make judgments. What I’m in the business of making judgments about is the quality and endurance of the literary work. And it does seem to me that that sense that the trauma of Sylvia Plath’s death — leading on the one hand to extraordinary works of powerful but dark imagination, such as his great poem \u003ca href=\"http://www.npr.org/books/titles/447265387/crow-from-the-life-and-songs-of-the-crow\">“Crow”\u003c/a> — and on the other hand, to a wake of human destruction, is a key fact at the heart of Hughes’ life.\u003c/p>\n\u003cp>\u003cstrong>On whether he had the support and cooperation of Hughes’ widow \u003c/strong>\u003c/p>\n\u003cp>The origin of this project was a proposal to write what I called a “literary life” of Ted Hughes, to focus very much on the development of his literary voice, his poems, his plays, his children’s writing. The sheer scale of the archive meant that I found myself asking my publisher for a one-year extension. They were happy with that. But at that point, Carol Hughes, his widow, said that she was withdrawing support from the project.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The reason for that was she said I’d not shown sufficient draft material for her to have the assurance that I wasn’t trespassing too much from the literary into the purely biographical. But in a way, I think what she was worried about was she would’ve known that [I’d] discovered in the archive that so much of his work does take the form of veiled autobiography, closet confession. And so inevitably that distinction between a purely literary life and a more no-holds-barred, more comprehensive biography, that that distinction was breaking down. And so I suspect a falling out with the estate was probably going to happen anyway. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ted Hughes left behind a path of personal tragedy and destruction — and also some of the most beautiful poetry in the English language. The British Poet Laureate was the husband of writer Sylvia Plath, who famously committed suicide following his affair with Assia Wevill. Just six years later, Wevill took her own life, and also the life of the young daughter she had with Hughes.\u003c/p>\n\u003cp>Jonathan Bate of Oxford University weighs the beauty and tragedy of this life in a new biography (disavowed by the Hughes estate) called \u003cem>Ted Hughes: The Unauthorised Life\u003c/em>. He tells NPR’s Scott Simon that, from a biographer’s perspective, “the quality of the work [and] the morality of the life, are not actually the same thing.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/player/embed/447156705/447451430\">\u003cb>Listen to NPR’s interview with Jonathan Bate here.\u003c/b>\u003c/a>\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what made his work extraordinary and enduring\u003c/strong>\u003c/p>\n\u003cp>He explored so many different cultures and traditions. He was fascinated by myths and stories, by anthropology, by ancient wisdom. But also by so many different poets like T.S. Eliot and W.B. Yeats. But also by the best new poetry coming out of Eastern Europe, coming out of America. And he just wrote and wrote and wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On what brought Hughes and Plath together\u003c/strong>\u003c/p>\n\u003cp>The simple answer is that they were both geniuses. They met as young poets just as their art was on the brink of taking off. And for six years they lived together, worked together, day and night. He helped her to develop her voice. She helped him to develop his. And the tragedy then was that the intensity of the relationship, the mental illness of Sylvia, and then Ted’s dalliance with this other woman, Assia Wevill, led to their tragic separation.\u003c/p>\n\u003cp>But he never ever forgot about Sylvia Plath, and never forgave himself for not being there when she took her own life. Everybody knows that in the final year of his life, he published \u003cem>Birthday Letters\u003c/em> — this collection of poems of memory about their marriage, of her death. What I discovered in the archive is he’d been working on it for nearly 30 years. Only at the very end of his life did he let those poems go.\u003c/p>\n\u003cp>\u003cstrong>On Hughes’ infidelity\u003c/strong>\u003c/p>\n\u003cp>He was capable of fidelity. Like I said, he was faithful to Sylvia for six years. … One of the things I say in the book is that on some level, his fidelity [was] to the idea of Sylvia as the ideal partner who, because of his mistake, he lost, and her life was lost. Because of that he was never able to remain faithful to another woman. That pretty well for the rest of his life, he had this kind of double life. The idea that infidelity to others is a form of fidelity to the true love that you’ve lost, as I say — not everybody would go along that.\u003c/p>\n\u003cp>\u003cstrong>On the destruction Hughes left in his wake\u003c/strong>\u003c/p>\n\u003cp>There’s no doubt about that. But it seems to me the business of the literary biographer is to tell the story as truthfully and fully as possible. And to leave it to the reader to make judgments. What I’m in the business of making judgments about is the quality and endurance of the literary work. And it does seem to me that that sense that the trauma of Sylvia Plath’s death — leading on the one hand to extraordinary works of powerful but dark imagination, such as his great poem \u003ca href=\"http://www.npr.org/books/titles/447265387/crow-from-the-life-and-songs-of-the-crow\">“Crow”\u003c/a> — and on the other hand, to a wake of human destruction, is a key fact at the heart of Hughes’ life.\u003c/p>\n\u003cp>\u003cstrong>On whether he had the support and cooperation of Hughes’ widow \u003c/strong>\u003c/p>\n\u003cp>The origin of this project was a proposal to write what I called a “literary life” of Ted Hughes, to focus very much on the development of his literary voice, his poems, his plays, his children’s writing. The sheer scale of the archive meant that I found myself asking my publisher for a one-year extension. They were happy with that. But at that point, Carol Hughes, his widow, said that she was withdrawing support from the project.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The reason for that was she said I’d not shown sufficient draft material for her to have the assurance that I wasn’t trespassing too much from the literary into the purely biographical. But in a way, I think what she was worried about was she would’ve known that [I’d] discovered in the archive that so much of his work does take the form of veiled autobiography, closet confession. And so inevitably that distinction between a purely literary life and a more no-holds-barred, more comprehensive biography, that that distinction was breaking down. And so I suspect a falling out with the estate was probably going to happen anyway. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In their absence, the twin towers have occupied such a significant place in the American conscience, it can be easy to forget they were once considered a blight on the landscape. “Like two file cabinets,” snorts one New Yorker in \u003cem>The Walk\u003c/em>, Robert Zemeckis’ exhilarating film about Philippe Petit, the French wire-walker who tightroped across the towers as they were nearing completion in 1974. Zemeckis makes our current associations with the World Trade Center a little too explicit at times, but his film carries the touching sentiment that buildings are not defined by their architecture. They’re animated by our imagination and our experiences, too.\u003c/p>\n\u003cp>For Petit, a street performer and self-styled artiste from Paris, the construction of the World Trade Center was a dream clarified, the ultimate high-wire act for a man with no respect for proper permits. With a showman’s buoyancy and a Maurice Chevalier \u003cem>ahkzent zet\u003c/em> takes some getting used to, Joseph Gordon-Levitt plays Petit as a twinkle-eyed visionary who understands the Towers’ majesty before anyone else does. After covering the bullet points of Petit’s backstory—a childhood interest in juggling, miming, unicycling, and wire-walking; a mentorship under circus scion Papa Rudy (Ben Kingsley); an audacious walk across the towers of Notre-Dame Cathedral—the film finally lands in New York City, where he and his co-conspirators make plans for the surreptitious walk of the title.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GR1EmTKAWIw&list=PLYeOyMz9C9kZQDleU6Emj093Xsg1_Xa0L&index=4\u003c/p>\n\u003cp>The first half of \u003cem>The Walk\u003c/em> gets into the origins of Petit’s philosophy and craft, as well as the support he brought with him to America, but Zemeckis can’t get through that obligatory business fast enough. Once it’s wheels-down in New York City, however, Petit (and the movie) really set to work. The second hour of \u003cem>The Walk\u003c/em> has the quality of a great heist film: Petit assembles a team of trusted confidantes and motley additions, stakes out the location, plans a complex operation down to the very last bolt, and then finally sets about executing it. But for all of his meticulousness, there are still plenty of close calls and hair-raising feats of improvisation.\u003c/p>\n\u003cp>Petit’s self-described “coup” has been recounted before, in the fine documentary \u003cem>Man on Wire\u003c/em>, but Zemeckis’ combination of digital artistry and old-school storytelling chops brings a singularly exquisite tension to the final act. It’s not often that a sequence is at once suspenseful \u003cem>and\u003c/em> moving, but that’s where grunt work of establishing the stakes and paying close attention to detail pays off. The audience can feel the tension—and the possible points of vulnerability—in the wire itself, and appreciate what it means for Petit (and for America) to be held in precarious balance between the Towers, giving them a story to tell. Suddenly, these immense file cabinets in the sky have a necessary splash of paint on them and New Yorkers can see them in a new light. The fact that we’d see them in another way after they’re gone makes \u003cem>The Walk\u003c/em> a stealth September 11 tribute, the most beautiful of its kind since the opening credits of Spike Lee’s \u003cem>25th Hour\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Expanding on a résumé that includes \u003cem>Back to the Future\u003c/em>, \u003cem>Who Framed Roger Rabbit?\u003c/em>, \u003cem>Contact\u003c/em>, \u003cem>Forrest Gump\u003c/em>, and \u003cem>Death Becomes Her\u003c/em>, \u003cem>The Walk\u003c/em> also affirms Zemeckis as a peerless orchestrator of special effects. This is the rare movie that’s essential in 3D, because Zemeckis takes advantage of the format’s potential for depth \u003cem>and\u003c/em> visceral pop. Advances in 3D have made comin’-atcha effects seem gauche, as many of the most celebrated examples (such as \u003cem>Avatar\u003c/em>, \u003cem>Coraline\u003c/em>, \u003cem>Hugo\u003c/em>, and \u003cem>Pina\u003c/em>) have focused on creating immersive environments rather than poking viewers in the face. Zemeckis does both, inducing the intense vertigo of being suspended 110 stories high while occasionally extending the wire to the seats, tendril by tendril.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are plenty of nits to pick about \u003cem>The Walk\u003c/em>: Gordon-Levitt’s overcranked performance, the excessive whimsy and biopic conventionality of the French section, the thinly drawn relationships between Petit and his team, the slight overstatement of the September 11 theme. But Zemeckis throws all of the emphasis on the walk itself, which minimizes the film’s annoyances and justifies the groundwork necessary for the big payoff. In that, he and Petit have everything in common.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In their absence, the twin towers have occupied such a significant place in the American conscience, it can be easy to forget they were once considered a blight on the landscape. “Like two file cabinets,” snorts one New Yorker in \u003cem>The Walk\u003c/em>, Robert Zemeckis’ exhilarating film about Philippe Petit, the French wire-walker who tightroped across the towers as they were nearing completion in 1974. Zemeckis makes our current associations with the World Trade Center a little too explicit at times, but his film carries the touching sentiment that buildings are not defined by their architecture. They’re animated by our imagination and our experiences, too.\u003c/p>\n\u003cp>For Petit, a street performer and self-styled artiste from Paris, the construction of the World Trade Center was a dream clarified, the ultimate high-wire act for a man with no respect for proper permits. With a showman’s buoyancy and a Maurice Chevalier \u003cem>ahkzent zet\u003c/em> takes some getting used to, Joseph Gordon-Levitt plays Petit as a twinkle-eyed visionary who understands the Towers’ majesty before anyone else does. After covering the bullet points of Petit’s backstory—a childhood interest in juggling, miming, unicycling, and wire-walking; a mentorship under circus scion Papa Rudy (Ben Kingsley); an audacious walk across the towers of Notre-Dame Cathedral—the film finally lands in New York City, where he and his co-conspirators make plans for the surreptitious walk of the title.\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/GR1EmTKAWIw'\n title='//www.youtube.com/embed/GR1EmTKAWIw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first half of \u003cem>The Walk\u003c/em> gets into the origins of Petit’s philosophy and craft, as well as the support he brought with him to America, but Zemeckis can’t get through that obligatory business fast enough. Once it’s wheels-down in New York City, however, Petit (and the movie) really set to work. The second hour of \u003cem>The Walk\u003c/em> has the quality of a great heist film: Petit assembles a team of trusted confidantes and motley additions, stakes out the location, plans a complex operation down to the very last bolt, and then finally sets about executing it. But for all of his meticulousness, there are still plenty of close calls and hair-raising feats of improvisation.\u003c/p>\n\u003cp>Petit’s self-described “coup” has been recounted before, in the fine documentary \u003cem>Man on Wire\u003c/em>, but Zemeckis’ combination of digital artistry and old-school storytelling chops brings a singularly exquisite tension to the final act. It’s not often that a sequence is at once suspenseful \u003cem>and\u003c/em> moving, but that’s where grunt work of establishing the stakes and paying close attention to detail pays off. The audience can feel the tension—and the possible points of vulnerability—in the wire itself, and appreciate what it means for Petit (and for America) to be held in precarious balance between the Towers, giving them a story to tell. Suddenly, these immense file cabinets in the sky have a necessary splash of paint on them and New Yorkers can see them in a new light. The fact that we’d see them in another way after they’re gone makes \u003cem>The Walk\u003c/em> a stealth September 11 tribute, the most beautiful of its kind since the opening credits of Spike Lee’s \u003cem>25th Hour\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Expanding on a résumé that includes \u003cem>Back to the Future\u003c/em>, \u003cem>Who Framed Roger Rabbit?\u003c/em>, \u003cem>Contact\u003c/em>, \u003cem>Forrest Gump\u003c/em>, and \u003cem>Death Becomes Her\u003c/em>, \u003cem>The Walk\u003c/em> also affirms Zemeckis as a peerless orchestrator of special effects. This is the rare movie that’s essential in 3D, because Zemeckis takes advantage of the format’s potential for depth \u003cem>and\u003c/em> visceral pop. Advances in 3D have made comin’-atcha effects seem gauche, as many of the most celebrated examples (such as \u003cem>Avatar\u003c/em>, \u003cem>Coraline\u003c/em>, \u003cem>Hugo\u003c/em>, and \u003cem>Pina\u003c/em>) have focused on creating immersive environments rather than poking viewers in the face. Zemeckis does both, inducing the intense vertigo of being suspended 110 stories high while occasionally extending the wire to the seats, tendril by tendril.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are plenty of nits to pick about \u003cem>The Walk\u003c/em>: Gordon-Levitt’s overcranked performance, the excessive whimsy and biopic conventionality of the French section, the thinly drawn relationships between Petit and his team, the slight overstatement of the September 11 theme. But Zemeckis throws all of the emphasis on the walk itself, which minimizes the film’s annoyances and justifies the groundwork necessary for the big payoff. In that, he and Petit have everything in common.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sculptor Turns Rain, Ice and Trees into 'Ephemeral Works'",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/446731282/446931348\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>British artist Andy Goldsworthy works in the fields and forests near his home in Scotland using natural elements as his media. His pieces have a tendency to collapse, decay and melt, but, as he tells \u003cem>Fresh Air’s\u003c/em> Terry Gross, “It’s not about art. It’s just about life and the need to understand that a lot of things in life do not last.”\u003c/p>\n\u003cp>The list of elements Goldsworthy has worked with includes ice, snow, mud, wind and the rising tide. In one piece, he used twigs to fashion a giant spider web hanging from a tree. In another, he decorated a stone wall with sheets of ice. He has also lain in the rain to create “rain shadows” in the shape of his body on city streets.\u003c/p>\n\u003cp>Goldsworthy refers to his creations as “ephemeral works.” He says, “When I make an ephemeral work, when it’s finished, that’s the moment that it ends, in a way.”\u003c/p>\n\u003cp>Though Goldsworthy has also worked with more enduring materials, he says that using temporal materials is a reflection of the world we live in. His materials, he says, “Come raw from the ground and have all the irregularities and peculiarities because of that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Goldsworthy’s ephemeral creations aren’t completely lost to audiences upon completion; a new book, \u003cem>Andy Goldsworthy: Ephemeral Works: 2004-2014\u003c/em>, presents a collection of photographs of his work. There’s also an exhibition of Goldsworthy’s photos opening Oct. 22 at the \u003ca href=\"http://www.galerielelong.com/\" target=\"_blank\" rel=\"noopener\">Galerie Lelong\u003c/a> in New York.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why he doesn’t see himself as “designing” his works\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11003563\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/goldsworthy-cover.jpg\" alt=\"Andy Goldsworthy, 'Ephemeral Works 2004-2014'\" width=\"400\" height=\"508\" class=\"size-full wp-image-11003563\">\u003cfigcaption class=\"wp-caption-text\">Andy Goldsworthy,\u003cbr>‘Ephemeral Works 2004-2014’\u003c/figcaption>\u003c/figure>\n\u003cp>Design implies a sense of mapping something out, and then you follow the plan; [but] these things grow, and the process of making it parallels that of growth. So in the making of a work — layer by layer, stone by stone, branch by branch, leaf by leaf, petal by petal, one being added to the next — something grows in front of you. And the process of growth is obviously critical to my understanding of the land and myself. … It’s a lot more unpredictable, the process is far more unpredictable, and with far more compromises with the day, the weather, the material.\u003c/p>\n\u003cp>\u003cstrong>On rebuilding a piece that keeps collapsing \u003c/strong>\u003c/p>\n\u003cp>This particular piece [a tree stump with a stone wall inside] — it has fallen down now three times: three days, three collapses. The actual act of collapse and the attempt is becoming interesting enough to become the work. I may have bitten off something I cannot make here. I don’t know if I will be able to achieve what I want to; or I will, with a huge amount of luck and chance. But if I don’t, I think the act of building and rebuilding, collapse, could become the work. …\u003c/p>\n\u003cp>Failure is really, really important, but failures have to hurt. … And if I start making this work with the intention of it collapsing, then I’ve lost that intensity of the will for it to succeed, which makes the failure that much more poignant and significant. So there’s a really odd sort of state of mind that I guess I get into when I’m making these works, that is necessary for me to extract the finished piece [and] extract the right kind of feeling for the work as I’m making it. …\u003c/p>\n\u003cp>To achieve what I want, to achieve the works that I make, I have to be fully committed to them succeeding. I couldn’t make them otherwise. And you cannot feel that commitment without feeling or having a deep sense of loss when they do collapse or fail, and that’s inevitable.\u003c/p>\n\u003cp>\u003cstrong>On working with ice\u003c/strong>\u003c/p>\n\u003cp>We generally don’t get these severe winters [in Britain] and when it does get below freezing and it’s cold enough for ice to form, then that changes the whole landscape and it makes the landscape a different landscape to the one that I’ve worked with previously. And I want to understand that — the relationship of cold, or what the cold is, to the land. Many of the things that I’ve done in ice almost reflect those things that I’ve done in stone, so you can learn a lot about stone by working with ice, and I can learn a lot about ice by working with stone.\u003c/p>\n\u003cp>But the big tension of the ice works is that they’re often made when it’s cold enough to freeze one piece of ice to another, and the temperature very rarely stays below freezing all day long in Britain. So I typically will get up very, very early, when it’s dark, and I’ll start working in the dark, which can be difficult because I can’t really see what I’m doing. So I can freeze ice to ice and I can work very, very quickly, and then the temperature starts to rise, and the work slows down. And then, if it stops freezing, the work collapses. But if I can get through the midday period, then I often try to find places where the sun can’t reach. … There’s a huge number of things that are occurring with the ice works which fascinate me enormously, but it’s driven by this kind of frantic race against time.\u003c/p>\n\u003cp>\u003cstrong>On “rain shadows” \u003c/strong>\u003c/p>\n\u003cp>These are outdoor works. So when it rains, I lay down or I find a surface quickly that I think will produce a good rain shadow, and I lay there, and when it’s wet enough, I get up and there is left me — my imprint, my shadow. That sounds really quite simple, but it is beautifully complex. … Sometimes it stops raining when I’m half-way through. Sometimes I can lie there for an hour waiting for the rain. And other times it’s over in four or five seconds. Often I do them on video, so you have the whole film of laying down and then me getting up and leaving the shadow. …\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I just concentrate on the rain. I’ve learned so much about rain — the different kinds of rains, the rhythms of rains. And people will say, “Oh, why don’t you just use a hose pipe?” That would be totally pointless. The point is not just to make the shadow, it’s to understand the rain that falls and the relationship with rain and the different rhythms of different rainfalls. \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=Sculptor+Turns+Rain%2C+Ice+And+Trees+Into+%27Ephemeral+Works%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Goldsworthy’s ephemeral creations aren’t completely lost to audiences upon completion; a new book, \u003cem>Andy Goldsworthy: Ephemeral Works: 2004-2014\u003c/em>, presents a collection of photographs of his work. There’s also an exhibition of Goldsworthy’s photos opening Oct. 22 at the \u003ca href=\"http://www.galerielelong.com/\" target=\"_blank\" rel=\"noopener\">Galerie Lelong\u003c/a> in New York.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why he doesn’t see himself as “designing” his works\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11003563\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/goldsworthy-cover.jpg\" alt=\"Andy Goldsworthy, 'Ephemeral Works 2004-2014'\" width=\"400\" height=\"508\" class=\"size-full wp-image-11003563\">\u003cfigcaption class=\"wp-caption-text\">Andy Goldsworthy,\u003cbr>‘Ephemeral Works 2004-2014’\u003c/figcaption>\u003c/figure>\n\u003cp>Design implies a sense of mapping something out, and then you follow the plan; [but] these things grow, and the process of making it parallels that of growth. So in the making of a work — layer by layer, stone by stone, branch by branch, leaf by leaf, petal by petal, one being added to the next — something grows in front of you. And the process of growth is obviously critical to my understanding of the land and myself. … It’s a lot more unpredictable, the process is far more unpredictable, and with far more compromises with the day, the weather, the material.\u003c/p>\n\u003cp>\u003cstrong>On rebuilding a piece that keeps collapsing \u003c/strong>\u003c/p>\n\u003cp>This particular piece [a tree stump with a stone wall inside] — it has fallen down now three times: three days, three collapses. The actual act of collapse and the attempt is becoming interesting enough to become the work. I may have bitten off something I cannot make here. I don’t know if I will be able to achieve what I want to; or I will, with a huge amount of luck and chance. But if I don’t, I think the act of building and rebuilding, collapse, could become the work. …\u003c/p>\n\u003cp>Failure is really, really important, but failures have to hurt. … And if I start making this work with the intention of it collapsing, then I’ve lost that intensity of the will for it to succeed, which makes the failure that much more poignant and significant. So there’s a really odd sort of state of mind that I guess I get into when I’m making these works, that is necessary for me to extract the finished piece [and] extract the right kind of feeling for the work as I’m making it. …\u003c/p>\n\u003cp>To achieve what I want, to achieve the works that I make, I have to be fully committed to them succeeding. I couldn’t make them otherwise. And you cannot feel that commitment without feeling or having a deep sense of loss when they do collapse or fail, and that’s inevitable.\u003c/p>\n\u003cp>\u003cstrong>On working with ice\u003c/strong>\u003c/p>\n\u003cp>We generally don’t get these severe winters [in Britain] and when it does get below freezing and it’s cold enough for ice to form, then that changes the whole landscape and it makes the landscape a different landscape to the one that I’ve worked with previously. And I want to understand that — the relationship of cold, or what the cold is, to the land. Many of the things that I’ve done in ice almost reflect those things that I’ve done in stone, so you can learn a lot about stone by working with ice, and I can learn a lot about ice by working with stone.\u003c/p>\n\u003cp>But the big tension of the ice works is that they’re often made when it’s cold enough to freeze one piece of ice to another, and the temperature very rarely stays below freezing all day long in Britain. So I typically will get up very, very early, when it’s dark, and I’ll start working in the dark, which can be difficult because I can’t really see what I’m doing. So I can freeze ice to ice and I can work very, very quickly, and then the temperature starts to rise, and the work slows down. And then, if it stops freezing, the work collapses. But if I can get through the midday period, then I often try to find places where the sun can’t reach. … There’s a huge number of things that are occurring with the ice works which fascinate me enormously, but it’s driven by this kind of frantic race against time.\u003c/p>\n\u003cp>\u003cstrong>On “rain shadows” \u003c/strong>\u003c/p>\n\u003cp>These are outdoor works. So when it rains, I lay down or I find a surface quickly that I think will produce a good rain shadow, and I lay there, and when it’s wet enough, I get up and there is left me — my imprint, my shadow. That sounds really quite simple, but it is beautifully complex. … Sometimes it stops raining when I’m half-way through. Sometimes I can lie there for an hour waiting for the rain. And other times it’s over in four or five seconds. Often I do them on video, so you have the whole film of laying down and then me getting up and leaving the shadow. …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I just concentrate on the rain. I’ve learned so much about rain — the different kinds of rains, the rhythms of rains. And people will say, “Oh, why don’t you just use a hose pipe?” That would be totally pointless. The point is not just to make the shadow, it’s to understand the rain that falls and the relationship with rain and the different rhythms of different rainfalls. \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=Sculptor+Turns+Rain%2C+Ice+And+Trees+Into+%27Ephemeral+Works%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Punk Icon Patti Smith Releases Second Memoir, 'M Train'",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/445943695/445943696\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Patti Smith has a new memoir out. And the \u003ca href=\"http://www.nytimes.com/2015/10/02/books/review-m-train-patti-smith-on-all-the-roads-she-has-taken.html?_r=2\" target=\"_blank\" rel=\"noopener\">reviews\u003c/a> \u003ca href=\"http://www.startribune.com/review-m-train-by-patti-smith/330413911/\" target=\"_blank\" rel=\"noopener\">are\u003c/a> \u003ca href=\"https://www.washingtonpost.com/entertainment/books/in-her-memoir-m-train-patti-smith-opens-up-about-her-life-and-loves/2015/09/28/a81a40ec-6159-11e5-9757-e49273f05f65_story.html\" target=\"_blank\" rel=\"noopener\">really\u003c/a> \u003ca href=\"http://www.latimes.com/books/la-ca-jc-patti-smith-20151004-story.html\" target=\"_blank\" rel=\"noopener\">good\u003c/a>.\u003c/p>\n\u003cp>Her last memoir, \u003cem>Just Kids\u003c/em>, from 2010, chronicled her relationship with Robert Mapplethorpe before he became known as one of the best and most provocative photographers of the 20th century and before she became, well, a rock goddess. \u003cem>Just Kids\u003c/em> won a National Book Award. It spent 42 weeks on the best-seller lists. Smith spent years crafting it, after promising Mapplethorpe, who was then dying of AIDS, that she’d write about him.\u003c/p>\n\u003cp>\u003cem>M Train\u003c/em> is a very different project, impressionistic and digressive.\u003c/p>\n\u003cp>“It’s like a mental train, a train of thought,” Smith says over coffee at New York’s Whynot Coffee. “It’s a mystery train. I just hopped on the train and see where I went every day.”\u003c/p>\n\u003cfigure id=\"attachment_10999493\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/M-Train-Patti-Smith.jpg\" alt=\"'M Train' by Patti Smith\" width=\"391\" height=\"600\" class=\"size-full wp-image-10999493\">\u003cfigcaption class=\"wp-caption-text\">‘M Train’ by Patti Smith\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes her mental train took her into a meditation about a sublime cafe or a perfect cup of coffee. Or remembrances of her pilgrimages to the homes and graves of famous writers. Or how she joined an obscure society of philosophers and scientists called the Continental Drift Club. Or the time she ended up singing rock songs all night with chess prodigy Bobby Fisher.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wrote whatever came to mind,” she says. “It had no outline. I just wanted to keep writing and writing and writing. No editing, and just go on and on and on.”\u003c/p>\n\u003cp>What might sound like an editor’s nightmare was a dream come true to Kevin Bourke, who copy edited \u003cem>M Train\u003c/em>.\u003c/p>\n\u003cp>“Patti Smith’s been important to me since her first albums,” he said. “Even the liner notes just introduced me to so much I hadn’t experienced before, like [Jean] Genet or [Arthur] Rimbaud.”\u003c/p>\n\u003cp>For Bourke, one of the pleasures of copyediting \u003cem>M Train\u003c/em> was learning about more of Smith’s enthusiasms. Which, on any given page, might include German romanticists, the Japanese author Ryūnosuke Akutagawa, detective shows or Pat Sajak. Still, Bourke admits to initial intimidation when it came to fact-checking Patti Smith.\u003c/p>\n\u003cp>“That’s a voice I’ve been hearing for 40 years,” he says. “In the beginning, it was a little bit difficult because I was … staring at her and not paying attention to what she was saying. But she changes the atmosphere of a room when she comes in. She’s got a really sweet energy about her, so I was nervous — until she showed up.”\u003c/p>\n\u003cp>Smith said one of her goals with this memoir was to write about her late husband, Fred “Sonic” Smith, who played guitar in the influential early punk band MC5. He died in 1994 of heart failure. Patti Smith followed him to Detroit soon after meeting him in 1976. Then, she more or less dropped out of the music scene for years. In \u003cem>M Train\u003c/em>, she writes about mending Fred Smith’s clothes and adopting his interests — such as the Detroit Tigers, and boating. It seems far removed from the subversive spirit she conveyed as a musician.\u003c/p>\n\u003cp>“Well, I do have that sense of giving the male his due,” Smith says mildly. “You look at the lioness. She is really — I was really the one that held the reins in the household. But he was our king, you know? That’s like lions. The king sits there being king; he has this beautiful mane and watches over everybody. But it’s the mother, the lioness, who goes out and finds the food and drags it back and gives it to the kids. He was our king.”\u003c/p>\n\u003cp>It’s Patti Smith’s loves and what she thinks about that fills \u003cem>M Train\u003c/em>‘s pages. An entire chapter is devoted to the TV show \u003cem>The Killing\u003c/em>. She adored it so much, she sent a fan letter to the show’s producer and ended up on the Vancouver set for a cameo.\u003c/p>\n\u003cp>“The role I was born to play: a neurosurgeon, of course,” she says, happily.\u003c/p>\n\u003cp>Smith thinks detective work is much like being a poet. It’s a vocation that’s observant and relentless. She was, in her words, “heartbroken” when \u003cem>The Killing\u003c/em> was canceled. She writes movingly about growing old without the treasured company of several people she’s loved most, in a world that can feel often frightening and terrible. But Patti Smith is a romantic, and an optimist.\u003c/p>\n\u003cp>“For everything bad, there’s a million really exciting things,” she says, “whether it’s someone puts out a really great book, there’s a new movie, there’s a new detective, the sky is unbelievably golden or you have the best cup of coffee you ever had in your life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A million things. And many of them are in Patti Smith’s new book. \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=Punk+Icon+Patti+Smith+Releases+Second+Memoir%2C+%27M+Train%27&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/445943695/445943696\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Patti Smith has a new memoir out. And the \u003ca href=\"http://www.nytimes.com/2015/10/02/books/review-m-train-patti-smith-on-all-the-roads-she-has-taken.html?_r=2\" target=\"_blank\" rel=\"noopener\">reviews\u003c/a> \u003ca href=\"http://www.startribune.com/review-m-train-by-patti-smith/330413911/\" target=\"_blank\" rel=\"noopener\">are\u003c/a> \u003ca href=\"https://www.washingtonpost.com/entertainment/books/in-her-memoir-m-train-patti-smith-opens-up-about-her-life-and-loves/2015/09/28/a81a40ec-6159-11e5-9757-e49273f05f65_story.html\" target=\"_blank\" rel=\"noopener\">really\u003c/a> \u003ca href=\"http://www.latimes.com/books/la-ca-jc-patti-smith-20151004-story.html\" target=\"_blank\" rel=\"noopener\">good\u003c/a>.\u003c/p>\n\u003cp>Her last memoir, \u003cem>Just Kids\u003c/em>, from 2010, chronicled her relationship with Robert Mapplethorpe before he became known as one of the best and most provocative photographers of the 20th century and before she became, well, a rock goddess. \u003cem>Just Kids\u003c/em> won a National Book Award. It spent 42 weeks on the best-seller lists. Smith spent years crafting it, after promising Mapplethorpe, who was then dying of AIDS, that she’d write about him.\u003c/p>\n\u003cp>\u003cem>M Train\u003c/em> is a very different project, impressionistic and digressive.\u003c/p>\n\u003cp>“It’s like a mental train, a train of thought,” Smith says over coffee at New York’s Whynot Coffee. “It’s a mystery train. I just hopped on the train and see where I went every day.”\u003c/p>\n\u003cfigure id=\"attachment_10999493\" class=\"wp-caption alignright\" style=\"max-width: 391px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/M-Train-Patti-Smith.jpg\" alt=\"'M Train' by Patti Smith\" width=\"391\" height=\"600\" class=\"size-full wp-image-10999493\">\u003cfigcaption class=\"wp-caption-text\">‘M Train’ by Patti Smith\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes her mental train took her into a meditation about a sublime cafe or a perfect cup of coffee. Or remembrances of her pilgrimages to the homes and graves of famous writers. Or how she joined an obscure society of philosophers and scientists called the Continental Drift Club. Or the time she ended up singing rock songs all night with chess prodigy Bobby Fisher.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wrote whatever came to mind,” she says. “It had no outline. I just wanted to keep writing and writing and writing. No editing, and just go on and on and on.”\u003c/p>\n\u003cp>What might sound like an editor’s nightmare was a dream come true to Kevin Bourke, who copy edited \u003cem>M Train\u003c/em>.\u003c/p>\n\u003cp>“Patti Smith’s been important to me since her first albums,” he said. “Even the liner notes just introduced me to so much I hadn’t experienced before, like [Jean] Genet or [Arthur] Rimbaud.”\u003c/p>\n\u003cp>For Bourke, one of the pleasures of copyediting \u003cem>M Train\u003c/em> was learning about more of Smith’s enthusiasms. Which, on any given page, might include German romanticists, the Japanese author Ryūnosuke Akutagawa, detective shows or Pat Sajak. Still, Bourke admits to initial intimidation when it came to fact-checking Patti Smith.\u003c/p>\n\u003cp>“That’s a voice I’ve been hearing for 40 years,” he says. “In the beginning, it was a little bit difficult because I was … staring at her and not paying attention to what she was saying. But she changes the atmosphere of a room when she comes in. She’s got a really sweet energy about her, so I was nervous — until she showed up.”\u003c/p>\n\u003cp>Smith said one of her goals with this memoir was to write about her late husband, Fred “Sonic” Smith, who played guitar in the influential early punk band MC5. He died in 1994 of heart failure. Patti Smith followed him to Detroit soon after meeting him in 1976. Then, she more or less dropped out of the music scene for years. In \u003cem>M Train\u003c/em>, she writes about mending Fred Smith’s clothes and adopting his interests — such as the Detroit Tigers, and boating. It seems far removed from the subversive spirit she conveyed as a musician.\u003c/p>\n\u003cp>“Well, I do have that sense of giving the male his due,” Smith says mildly. “You look at the lioness. She is really — I was really the one that held the reins in the household. But he was our king, you know? That’s like lions. The king sits there being king; he has this beautiful mane and watches over everybody. But it’s the mother, the lioness, who goes out and finds the food and drags it back and gives it to the kids. He was our king.”\u003c/p>\n\u003cp>It’s Patti Smith’s loves and what she thinks about that fills \u003cem>M Train\u003c/em>‘s pages. An entire chapter is devoted to the TV show \u003cem>The Killing\u003c/em>. She adored it so much, she sent a fan letter to the show’s producer and ended up on the Vancouver set for a cameo.\u003c/p>\n\u003cp>“The role I was born to play: a neurosurgeon, of course,” she says, happily.\u003c/p>\n\u003cp>Smith thinks detective work is much like being a poet. It’s a vocation that’s observant and relentless. She was, in her words, “heartbroken” when \u003cem>The Killing\u003c/em> was canceled. She writes movingly about growing old without the treasured company of several people she’s loved most, in a world that can feel often frightening and terrible. But Patti Smith is a romantic, and an optimist.\u003c/p>\n\u003cp>“For everything bad, there’s a million really exciting things,” she says, “whether it’s someone puts out a really great book, there’s a new movie, there’s a new detective, the sky is unbelievably golden or you have the best cup of coffee you ever had in your life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A million things. And many of them are in Patti Smith’s new book. \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=Punk+Icon+Patti+Smith+Releases+Second+Memoir%2C+%27M+Train%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>American Apparel, the trendy clothing company perhaps best known for its racy, sexually charged ads, filed for Chapter 11 bankruptcy protection on Monday.\u003c/p>\n\u003cp>The made-in-the-U.S.A. clothing chain announced it had reached an agreement with 95 percent of its secured lenders to put in place what it is calling “a comprehensive transformation strategy to revitalize the business and brand.” The company says it will keep production and operations in the U.S.\u003c/p>\n\u003cp>The restructuring agreement, which the company says has been approved by its board of directors, will drastically reduce American Apparel’s debt and interest payments by eliminating more than $200 million of its bonds in exchange for equity interests in the reorganized company.\u003c/p>\n\u003cp>In a statement \u003ca href=\"http://investors.americanapparel.net/releasedetail.cfm?ReleaseID=935021\" target=\"_blank\" rel=\"noopener\">American Apparel Chief Executive Officer\u003c/a> Paula Schneider said:\u003c/p>\n\u003cblockquote>\n\u003cp>“This restructuring will enable American Apparel to become a stronger, more vibrant company. By improving our financial footing, we will be able to refocus our business efforts on the execution of our turnaround strategy as we look to create new and relevant products, launch new design and merchandising initiatives, invest in new stores, grow our e-commerce business, and create captivating new marketing campaigns that will help drive our business forward.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Los Angeles-based company has been struggling since last year’s public ouster of its founder and chief executive officer. And NPR business correspondent Yuki Noguchi tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel made its name with its basic cotton T-shirts and tank tops and its edgy, sexualized advertising. But the Los Angeles-based company has a large real estate footprint, and its sales have been in decline. Last year, the company also contended with a messy struggle to oust its founder and chief executive, Dov Charney. The company is trying to restructure with the backing of its creditors who would put up new capital. The company says the filing will not affect its retail operation, but it did not say whether it would eventually close stores.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/06/19/323548153/american-apparel-ousts-its-controversial-founder-dov-charney\" target=\"_blank\" rel=\"noopener\">Two-Way reported last year\u003c/a>, the board of American Apparel voted to replace Charney in the wake of allegations against him. As we reported at the time, the company did not provide details of the complaints, but Charney had been the target of lawsuits alleging sexual misconduct.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.usatoday.com/story/money/2015/10/05/american-apparel-files-chapter-11-bankruptcy/73365964/\" target=\"_blank\" rel=\"noopener\">USA Today reports\u003c/a> that since his removal as CEO, Charney has sued American Apparel. The publication also reports the company has not held up well in the face of other competitors vying for young consumers.\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel, which flirted with bankruptcy as early as 2011, has about 8,500 employees at six factories and 230 stores in the U.S. and 17 countries. The company famously bet its business model on clothing made in the U.S.\u003c/p>\n\u003cp>“The company said in a court filing that it plans to shed unprofitable stores, though it did not identify how many.\u003c/p>\n\u003cp>“American Apparel has slumped in competition with agile retailers such as H&M and Forever 21 that have appealed to Millennial consumers with cheaper, more fashionable products.”\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=American+Apparel%2C+Best+Known+For+Racy+Ads%2C+Files+For+Chapter+11+Bankruptcy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>American Apparel, the trendy clothing company perhaps best known for its racy, sexually charged ads, filed for Chapter 11 bankruptcy protection on Monday.\u003c/p>\n\u003cp>The made-in-the-U.S.A. clothing chain announced it had reached an agreement with 95 percent of its secured lenders to put in place what it is calling “a comprehensive transformation strategy to revitalize the business and brand.” The company says it will keep production and operations in the U.S.\u003c/p>\n\u003cp>The restructuring agreement, which the company says has been approved by its board of directors, will drastically reduce American Apparel’s debt and interest payments by eliminating more than $200 million of its bonds in exchange for equity interests in the reorganized company.\u003c/p>\n\u003cp>In a statement \u003ca href=\"http://investors.americanapparel.net/releasedetail.cfm?ReleaseID=935021\" target=\"_blank\" rel=\"noopener\">American Apparel Chief Executive Officer\u003c/a> Paula Schneider said:\u003c/p>\n\u003cblockquote>\n\u003cp>“This restructuring will enable American Apparel to become a stronger, more vibrant company. By improving our financial footing, we will be able to refocus our business efforts on the execution of our turnaround strategy as we look to create new and relevant products, launch new design and merchandising initiatives, invest in new stores, grow our e-commerce business, and create captivating new marketing campaigns that will help drive our business forward.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Los Angeles-based company has been struggling since last year’s public ouster of its founder and chief executive officer. And NPR business correspondent Yuki Noguchi tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel made its name with its basic cotton T-shirts and tank tops and its edgy, sexualized advertising. But the Los Angeles-based company has a large real estate footprint, and its sales have been in decline. Last year, the company also contended with a messy struggle to oust its founder and chief executive, Dov Charney. The company is trying to restructure with the backing of its creditors who would put up new capital. The company says the filing will not affect its retail operation, but it did not say whether it would eventually close stores.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/06/19/323548153/american-apparel-ousts-its-controversial-founder-dov-charney\" target=\"_blank\" rel=\"noopener\">Two-Way reported last year\u003c/a>, the board of American Apparel voted to replace Charney in the wake of allegations against him. As we reported at the time, the company did not provide details of the complaints, but Charney had been the target of lawsuits alleging sexual misconduct.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.usatoday.com/story/money/2015/10/05/american-apparel-files-chapter-11-bankruptcy/73365964/\" target=\"_blank\" rel=\"noopener\">USA Today reports\u003c/a> that since his removal as CEO, Charney has sued American Apparel. The publication also reports the company has not held up well in the face of other competitors vying for young consumers.\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel, which flirted with bankruptcy as early as 2011, has about 8,500 employees at six factories and 230 stores in the U.S. and 17 countries. The company famously bet its business model on clothing made in the U.S.\u003c/p>\n\u003cp>“The company said in a court filing that it plans to shed unprofitable stores, though it did not identify how many.\u003c/p>\n\u003cp>“American Apparel has slumped in competition with agile retailers such as H&M and Forever 21 that have appealed to Millennial consumers with cheaper, more fashionable products.”\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=American+Apparel%2C+Best+Known+For+Racy+Ads%2C+Files+For+Chapter+11+Bankruptcy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Historic Art, Luxury Apartments Battle Over Berlin's Famous Wall",
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"content": "\u003cp>When the Berlin Wall fell in November 1989, Kani Alavi was a young artist living in an apartment overlooking the border between East and West Berlin. He remembers seeing East Berliners streaming through “like a wave of water,” he said through an interpreter. “Some were joyful, some were doubtful, some were afraid they might not [have the chance to] cross again.”\u003c/p>\n\u003cp>Alavi painted that moment: a flowing river of faces he calls “Es geschah im November,” or “It happened in November.”\u003c/p>\n\u003cp>Today, tourists can see that painting, alongside more than 100 others, covering a nearly mile-long stretch of the original cement Berlin Wall. It’s called the East Side Gallery.\u003c/p>\n\u003cp>Alavi and a group of artists created it in 1990, soon after the wall fell. They wanted to preserve part of history, and felt it was symbolic to paint on the East side — which was blank during the East-West division, since East German soldiers patrolled the area dubbed the “death strip.”\u003c/p>\n\u003cfigure id=\"attachment_10995680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1180x885.jpg\" alt=\"Kani Alavi stands before his painting It Happened in November, part of the open-air East Side Gallery built on fragments of the old Berlin Wall. He's fighting proposed development that would overshadow, relocate or remove segments of the gallery. "The fight to keep this wall intact, to preserve it, has become [my] life," he says.\" width=\"640\" height=\"480\" class=\"size-large wp-image-10995680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kani Alavi stands before his painting It Happened in November, part of the open-air East Side Gallery built on fragments of the old Berlin Wall. He’s fighting proposed development that would overshadow, relocate or remove segments of the gallery. “The fight to keep this wall intact, to preserve it, has become [my] life,” he says. \u003ccite>(Irene Noguchi for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, it’s covered in colorful paintings, including one depicting the famous “kiss” between former Soviet head Leonid Brezhnev and East German leader Erich Honecker. The open-air gallery gets an estimated 800,000 visitors each year, including graffiti artists and vandals who scribble across the colorful paintings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for Alavi, the wall’s biggest threat isn’t vandalism. It’s developers.\u003c/p>\n\u003cp>Alavi and his supporters have spent the past few years fighting developers from building alongside the gallery wall. While he has taken some to court and won, one developer managed to get building permits off Alavi’s radar and recently constructed a luxury tower. The 14-story building with aquamarine windows overlooks the nearby Spree River, and as of this spring, had reportedly sold 80 percent of its units.\u003c/p>\n\u003cp>When construction started two years ago, 6,000 protesters showed up — including former \u003cem>Baywatch\u003c/em> actor David Hasselhoff, who happens to be a popular singer in Germany. (He sang “Looking for Freedom,” which he originally performed at the Berlin Wall in 1989 before a pro-reunification crowd.)\u003c/p>\n\u003cfigure id=\"attachment_10995681\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-934x1180.jpg\" alt=\"A luxury apartment building towers over the East Side Gallery, despite the objections of artists like Kani Alavi.\" width=\"640\" height=\"809\" class=\"size-large wp-image-10995681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-934x1180.jpg 934w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-400x506.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-475x600.jpg 475w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-1920x2427.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-1180x1491.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-960x1213.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A luxury apartment building towers over the East Side Gallery, despite the objections of artists like Kani Alavi. \u003ccite>(Irene Noguchi for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But 10 days later, construction workers removed a 6-meter portion of the wall under heavy police protection, so they could start building. A hotel was also granted a building permit right next to the luxury tower, though no construction date is set.\u003c/p>\n\u003cp>Standing in front of his painting on the wall, Kani says he hopes the East Side Gallery will one day become a UNESCO World Heritage site and be protected from further development. But the shiny new apartments tower behind him, and tourists strain to hear him above the rush of traffic.\u003c/p>\n\u003cp>It might seem like a losing battle (the Mercedes-Benz Arena sits right across the street, and already had part of the wall sliced out and relocated for an unobstructed view of the water). But Alavi feels it’s crucial to preserve the Berlin Wall so people remember the struggle for reunification, and how borders are treated as barriers — especially in light of Germany’s migrant crisis today.\u003c/p>\n\u003cp>German Chancellor Angela Merkel made the controversial announcement earlier this summer that the country would take in 800,000 refugees — far more than any European Union nation. The media photos of Syrians streaming across the border look eerily similar to Alavi’s own painting of East Berliners crossing the Berlin Wall.\u003c/p>\n\u003cp>“This painting has determined my future for 25 years,” says Alavi, who migrated from Iran himself in 1980. “The fight to keep this wall intact, to preserve it, has become [my] life.”\u003c/p>\n\u003cp>In 2011, Germany awarded him the prestigious Federal Cross of Merit for his efforts. Then in March 2014, he gave the South Korean president Park Geun-hye a tour of the East Side Gallery. She invited him to build a similar version along the DMZ border between North and South Korea, which he says will begin construction next year.\u003c/p>\n\u003cp>As Germany celebrates 25 years of reunification this Saturday, Alavi says, “We should get rid of psychological walls in our minds and our heads … to get rid of the physical walls around the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ironically, the man who was inspired by the fall of a wall is now determined to keep this one standing. It’s a physical reminder of the borders people once crossed, and the change that is possible. \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=Historic+Art%2C+Luxury+Apartments+Battle+Over+Berlin%27s+Famous+Wall&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Berlin Wall fell in November 1989, Kani Alavi was a young artist living in an apartment overlooking the border between East and West Berlin. He remembers seeing East Berliners streaming through “like a wave of water,” he said through an interpreter. “Some were joyful, some were doubtful, some were afraid they might not [have the chance to] cross again.”\u003c/p>\n\u003cp>Alavi painted that moment: a flowing river of faces he calls “Es geschah im November,” or “It happened in November.”\u003c/p>\n\u003cp>Today, tourists can see that painting, alongside more than 100 others, covering a nearly mile-long stretch of the original cement Berlin Wall. It’s called the East Side Gallery.\u003c/p>\n\u003cp>Alavi and a group of artists created it in 1990, soon after the wall fell. They wanted to preserve part of history, and felt it was symbolic to paint on the East side — which was blank during the East-West division, since East German soldiers patrolled the area dubbed the “death strip.”\u003c/p>\n\u003cfigure id=\"attachment_10995680\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1180x885.jpg\" alt=\"Kani Alavi stands before his painting It Happened in November, part of the open-air East Side Gallery built on fragments of the old Berlin Wall. He's fighting proposed development that would overshadow, relocate or remove segments of the gallery. "The fight to keep this wall intact, to preserve it, has become [my] life," he says.\" width=\"640\" height=\"480\" class=\"size-large wp-image-10995680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3850_custom-6a5436633ff0f437fb9d831a48ebe8ac6b63f2a3-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kani Alavi stands before his painting It Happened in November, part of the open-air East Side Gallery built on fragments of the old Berlin Wall. He’s fighting proposed development that would overshadow, relocate or remove segments of the gallery. “The fight to keep this wall intact, to preserve it, has become [my] life,” he says. \u003ccite>(Irene Noguchi for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, it’s covered in colorful paintings, including one depicting the famous “kiss” between former Soviet head Leonid Brezhnev and East German leader Erich Honecker. The open-air gallery gets an estimated 800,000 visitors each year, including graffiti artists and vandals who scribble across the colorful paintings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for Alavi, the wall’s biggest threat isn’t vandalism. It’s developers.\u003c/p>\n\u003cp>Alavi and his supporters have spent the past few years fighting developers from building alongside the gallery wall. While he has taken some to court and won, one developer managed to get building permits off Alavi’s radar and recently constructed a luxury tower. The 14-story building with aquamarine windows overlooks the nearby Spree River, and as of this spring, had reportedly sold 80 percent of its units.\u003c/p>\n\u003cp>When construction started two years ago, 6,000 protesters showed up — including former \u003cem>Baywatch\u003c/em> actor David Hasselhoff, who happens to be a popular singer in Germany. (He sang “Looking for Freedom,” which he originally performed at the Berlin Wall in 1989 before a pro-reunification crowd.)\u003c/p>\n\u003cfigure id=\"attachment_10995681\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-934x1180.jpg\" alt=\"A luxury apartment building towers over the East Side Gallery, despite the objections of artists like Kani Alavi.\" width=\"640\" height=\"809\" class=\"size-large wp-image-10995681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-934x1180.jpg 934w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-400x506.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-475x600.jpg 475w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-1920x2427.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-1180x1491.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/img_3839_custom-54d149728768884185182c90d04765d2f786edd0-960x1213.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A luxury apartment building towers over the East Side Gallery, despite the objections of artists like Kani Alavi. \u003ccite>(Irene Noguchi for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But 10 days later, construction workers removed a 6-meter portion of the wall under heavy police protection, so they could start building. A hotel was also granted a building permit right next to the luxury tower, though no construction date is set.\u003c/p>\n\u003cp>Standing in front of his painting on the wall, Kani says he hopes the East Side Gallery will one day become a UNESCO World Heritage site and be protected from further development. But the shiny new apartments tower behind him, and tourists strain to hear him above the rush of traffic.\u003c/p>\n\u003cp>It might seem like a losing battle (the Mercedes-Benz Arena sits right across the street, and already had part of the wall sliced out and relocated for an unobstructed view of the water). But Alavi feels it’s crucial to preserve the Berlin Wall so people remember the struggle for reunification, and how borders are treated as barriers — especially in light of Germany’s migrant crisis today.\u003c/p>\n\u003cp>German Chancellor Angela Merkel made the controversial announcement earlier this summer that the country would take in 800,000 refugees — far more than any European Union nation. The media photos of Syrians streaming across the border look eerily similar to Alavi’s own painting of East Berliners crossing the Berlin Wall.\u003c/p>\n\u003cp>“This painting has determined my future for 25 years,” says Alavi, who migrated from Iran himself in 1980. “The fight to keep this wall intact, to preserve it, has become [my] life.”\u003c/p>\n\u003cp>In 2011, Germany awarded him the prestigious Federal Cross of Merit for his efforts. Then in March 2014, he gave the South Korean president Park Geun-hye a tour of the East Side Gallery. She invited him to build a similar version along the DMZ border between North and South Korea, which he says will begin construction next year.\u003c/p>\n\u003cp>As Germany celebrates 25 years of reunification this Saturday, Alavi says, “We should get rid of psychological walls in our minds and our heads … to get rid of the physical walls around the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ironically, the man who was inspired by the fall of a wall is now determined to keep this one standing. It’s a physical reminder of the borders people once crossed, and the change that is possible. \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=Historic+Art%2C+Luxury+Apartments+Battle+Over+Berlin%27s+Famous+Wall&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Ridley Scott Finds An Optimistic Space In 'The Martian'",
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"content": "\u003cp>The filmmaker who did more than any other to bum us all out about space travel now wants us to feel inspired by it again.\u003c/p>\n\u003cp>That’s the rough arithmetic behind \u003cem>The Martian,\u003c/em> the feel-good (and real good), NASA-condoned, Damon-powered survival adventure flick from director Ridley Scott. More a visual stylist than an exponent of any particular worldview, Scott made the feminist road movie \u003cem>Thelma and Louise\u003c/em>, the Best Picture-winning swords-and-sandals epic \u003cem>Gladiator,\u003c/em> and about 20 other features\u003cem>. \u003c/em>But the two that’ll have their titles chiseled on his tombstone are still his second and third, \u003cem>Alien\u003c/em> and \u003cem>Blade Runner.\u003c/em> Set, respectively, in the 22nd century and, um, 2019, this influential pair shared a vision of the future that can be summed up in one word:\u003c/p>\n\u003cp>\u003cem>Worse.\u003c/em>\u003c/p>\n\u003cp>Released just a decade after Neil Armstrong’s great leap for mankind, \u003cem>Alien \u003c/em>imagined our manifest interplanetary destiny as utterly routine — a mercenary endeavor carried out by working stiffs who don’t especially like or trust one another, all on the payroll of a powerful corporation that doesn’t blink before sacrificing their lives. \u003cem>Crew Expendable,\u003c/em> the secret orders in the ship’s computer said.\u003c/p>\n\u003cp>\u003cem>The Martian\u003c/em> resoundingly rejects all that. Bright, thematically can-do, fast-paced almost to a fault, and fundamentally optimistic, \u003cem>The Martian\u003c/em> is science fiction of the infinitely more comforting \u003cem>Star Trek\u003c/em> strain. \u003cem>We will solve this daunting problem by working together, \u003c/em>it coos. When someone decodes a secret message in \u003cem>this\u003c/em> movie, it isn’t a death order. It’s a lifeline.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?t=2&v=ej3ioOneTy8\u003c/p>\n\u003cp>Adapted intact by geek-TV veteran Drew Goddard from computer programmer Andy Weir’s (initially) self-published novel, \u003cem>The Martian\u003c/em> avers that humanity’s interplanetary ambassadors — the few up there aboard the \u003cem>Hermes\u003c/em> and the many supporting them back here on Earth — will be the noblest, most inventive, most courageous of us. No wonder NASA loves this movie. But even adjusting for flattery, it’s an easy film to love — one so suspenseful and funny and just richly, consistently \u003cem>good,\u003c/em> you might get mad at it falling a few astronomical units short of great. If it gets a generation of seventh-graders fired up about science, I’ll happily swallow my nitpicks about overcaffeinated pacing and underdeveloped relationships, \u003cem>wah wah wah.\u003c/em>\u003c/p>\n\u003cp>For those who haven’t read Weir’s wildly clever and original book, it’s almost a spoiler to say there are no cowards or backstabbers or greedheads in \u003cem>The Martian, \u003c/em>and precious few tortured pragmatists. The story’s big and only bad is the hostile countryside of the Red Planet (played onscreen by Wadi Rum, Jordan, star of \u003cem>Lawrence of Arabia,\u003c/em> among others), where Mark Watney — the indefatigable botanist-astronaut played by Matt Damon — finds himself stranded after his crewmates leave him for dead. (It’s \u003cem>not their fault,\u003c/em> in the parlance of an old Matt Damon movie.) Stirred from his slumber by a low-oxygen alarm in his spacesuit, Watney binds his wounds (this is the second Ridley Scott joint in recent years to feature graphic stomach-stapling), and starts puzzling out how to keep himself from exploding, suffocating, freezing or starving until the next Mars expedition lands.\u003c/p>\n\u003cp>In four years.\u003c/p>\n\u003cp>In a spot thousands of barren kilometers away.\u003c/p>\n\u003cp>If the more craven among our species (hey, what are you looking at \u003cem>me\u003c/em> for?) might’ve liked to see Damon lean into the crushing isolation and hopelessness of Watney’s predicament just a \u003cem>little\u003c/em> harder — an existential reckoning also absent from Weir’s novel — it’s still enormously satisfying to watch him MacGyver his way out of one malice-free deathtrap, then another and another. And all he can do to celebrate another day of livin’ is maybe sprinkle some Vicodin on his half-a-potato dinner and raid a crewmate’s stash of ’70s TV shows and music — a running joke that gives the movie license to indulge in some on-the-nose-but-welcome song selections, notably David Bowie’s “Starman” and that one by Gloria Gaynor.\u003c/p>\n\u003cp>The film’s clean, airy look comes courtesy of the same production designer, cinematographer and editor with whom Scott collaborated on his prior, decidedly less scientific sci-fi, 2012’s \u003cem>Prometheus. \u003c/em>While he and Damon are both in fine form here, it’s ultimately Weir’s genius that their work preserves. He’s the guy who figured out how Watney might convert hydrazine (rocket fuel) into water, grow food, and even phone home — an SOS that spurs NASA to put everything aside and devote all its mighty human and material resources to Watney’s rescue. In space, no one can hear you scream, but here on Earth? Hey, guy: \u003cem>Everyone\u003c/em> is working around the clock and cheering and praying just for you.\u003c/p>\n\u003cp>Can it possibly be worth it? This interruption of a grander mission to save a single life? Watney, like his crewmates, is clearly prepared to sacrifice himself in the name of scientific progress. Jeff Daniels, as the administrator of NASA — a decisive leader, where other movies would’ve made him a careerist worm — is the only person who even dares to ask. This insoluble moral calculus got more play in Weir’s book. It’s de-emphasized in the movie, perhaps because This Very Question was already mulled in \u003cem>Saving Private Ryan,\u003c/em> where the just-one-life in question was … uh, Matt Damon’s.\u003c/p>\n\u003cp>That examination isn’t the only casualty of \u003cem>The Martian\u003c/em>‘s compression, even at a 140-minute run time. We barely get to know Watney’s crewmates, for example, though they become key to his salvation. Led by Jessica Chastain’s steely eyed Commander Lewis (who gets a possibly negotiated more direct hand in the finale than she had in the book), they’re all smart and loyal and kinda dull and suspiciously good-looking even after many months in space. Indeed, \u003cem>The Martian\u003c/em> is one of several current films that populates even its smallest roles with actors who are more than capable, and yet so famous it becomes distracting: Chiwetel Ejiofor! Kristen Wiig! Kate Mara! Sean Bean! Donald Glover! (\u003cem>Black Mass\u003c/em> and \u003cem>Everest\u003c/em> suffer from this same weird syndrome.)\u003c/p>\n\u003cp>But it’s clearly Damon’s show. If it never quite seems like he’s hurting as much as he oughtta be — even when we catch a rare, late glimpse of his wizened, malnourished body — the depth of my investment in Watney’s survival still caught me surprise. (So I cried a little. Is that what you want me to say?) This resonant emotional chord isn’t the product of a single, masterful scene, like Tom Hanks’ silent dissolution at the end of \u003cem>Captain Phillips; \u003c/em>instead, it’s the accrued effect of a team of talented and committed professionals working in harmony toward a shared and noble end.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There are worse ideas you could take away from a blockbuster.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The filmmaker who did more than any other to bum us all out about space travel now wants us to feel inspired by it again.\u003c/p>\n\u003cp>That’s the rough arithmetic behind \u003cem>The Martian,\u003c/em> the feel-good (and real good), NASA-condoned, Damon-powered survival adventure flick from director Ridley Scott. More a visual stylist than an exponent of any particular worldview, Scott made the feminist road movie \u003cem>Thelma and Louise\u003c/em>, the Best Picture-winning swords-and-sandals epic \u003cem>Gladiator,\u003c/em> and about 20 other features\u003cem>. \u003c/em>But the two that’ll have their titles chiseled on his tombstone are still his second and third, \u003cem>Alien\u003c/em> and \u003cem>Blade Runner.\u003c/em> Set, respectively, in the 22nd century and, um, 2019, this influential pair shared a vision of the future that can be summed up in one word:\u003c/p>\n\u003cp>\u003cem>Worse.\u003c/em>\u003c/p>\n\u003cp>Released just a decade after Neil Armstrong’s great leap for mankind, \u003cem>Alien \u003c/em>imagined our manifest interplanetary destiny as utterly routine — a mercenary endeavor carried out by working stiffs who don’t especially like or trust one another, all on the payroll of a powerful corporation that doesn’t blink before sacrificing their lives. \u003cem>Crew Expendable,\u003c/em> the secret orders in the ship’s computer said.\u003c/p>\n\u003cp>\u003cem>The Martian\u003c/em> resoundingly rejects all that. Bright, thematically can-do, fast-paced almost to a fault, and fundamentally optimistic, \u003cem>The Martian\u003c/em> is science fiction of the infinitely more comforting \u003cem>Star Trek\u003c/em> strain. \u003cem>We will solve this daunting problem by working together, \u003c/em>it coos. When someone decodes a secret message in \u003cem>this\u003c/em> movie, it isn’t a death order. It’s a lifeline.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ej3ioOneTy8'\n title='//www.youtube.com/embed/ej3ioOneTy8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Adapted intact by geek-TV veteran Drew Goddard from computer programmer Andy Weir’s (initially) self-published novel, \u003cem>The Martian\u003c/em> avers that humanity’s interplanetary ambassadors — the few up there aboard the \u003cem>Hermes\u003c/em> and the many supporting them back here on Earth — will be the noblest, most inventive, most courageous of us. No wonder NASA loves this movie. But even adjusting for flattery, it’s an easy film to love — one so suspenseful and funny and just richly, consistently \u003cem>good,\u003c/em> you might get mad at it falling a few astronomical units short of great. If it gets a generation of seventh-graders fired up about science, I’ll happily swallow my nitpicks about overcaffeinated pacing and underdeveloped relationships, \u003cem>wah wah wah.\u003c/em>\u003c/p>\n\u003cp>For those who haven’t read Weir’s wildly clever and original book, it’s almost a spoiler to say there are no cowards or backstabbers or greedheads in \u003cem>The Martian, \u003c/em>and precious few tortured pragmatists. The story’s big and only bad is the hostile countryside of the Red Planet (played onscreen by Wadi Rum, Jordan, star of \u003cem>Lawrence of Arabia,\u003c/em> among others), where Mark Watney — the indefatigable botanist-astronaut played by Matt Damon — finds himself stranded after his crewmates leave him for dead. (It’s \u003cem>not their fault,\u003c/em> in the parlance of an old Matt Damon movie.) Stirred from his slumber by a low-oxygen alarm in his spacesuit, Watney binds his wounds (this is the second Ridley Scott joint in recent years to feature graphic stomach-stapling), and starts puzzling out how to keep himself from exploding, suffocating, freezing or starving until the next Mars expedition lands.\u003c/p>\n\u003cp>In four years.\u003c/p>\n\u003cp>In a spot thousands of barren kilometers away.\u003c/p>\n\u003cp>If the more craven among our species (hey, what are you looking at \u003cem>me\u003c/em> for?) might’ve liked to see Damon lean into the crushing isolation and hopelessness of Watney’s predicament just a \u003cem>little\u003c/em> harder — an existential reckoning also absent from Weir’s novel — it’s still enormously satisfying to watch him MacGyver his way out of one malice-free deathtrap, then another and another. And all he can do to celebrate another day of livin’ is maybe sprinkle some Vicodin on his half-a-potato dinner and raid a crewmate’s stash of ’70s TV shows and music — a running joke that gives the movie license to indulge in some on-the-nose-but-welcome song selections, notably David Bowie’s “Starman” and that one by Gloria Gaynor.\u003c/p>\n\u003cp>The film’s clean, airy look comes courtesy of the same production designer, cinematographer and editor with whom Scott collaborated on his prior, decidedly less scientific sci-fi, 2012’s \u003cem>Prometheus. \u003c/em>While he and Damon are both in fine form here, it’s ultimately Weir’s genius that their work preserves. He’s the guy who figured out how Watney might convert hydrazine (rocket fuel) into water, grow food, and even phone home — an SOS that spurs NASA to put everything aside and devote all its mighty human and material resources to Watney’s rescue. In space, no one can hear you scream, but here on Earth? Hey, guy: \u003cem>Everyone\u003c/em> is working around the clock and cheering and praying just for you.\u003c/p>\n\u003cp>Can it possibly be worth it? This interruption of a grander mission to save a single life? Watney, like his crewmates, is clearly prepared to sacrifice himself in the name of scientific progress. Jeff Daniels, as the administrator of NASA — a decisive leader, where other movies would’ve made him a careerist worm — is the only person who even dares to ask. This insoluble moral calculus got more play in Weir’s book. It’s de-emphasized in the movie, perhaps because This Very Question was already mulled in \u003cem>Saving Private Ryan,\u003c/em> where the just-one-life in question was … uh, Matt Damon’s.\u003c/p>\n\u003cp>That examination isn’t the only casualty of \u003cem>The Martian\u003c/em>‘s compression, even at a 140-minute run time. We barely get to know Watney’s crewmates, for example, though they become key to his salvation. Led by Jessica Chastain’s steely eyed Commander Lewis (who gets a possibly negotiated more direct hand in the finale than she had in the book), they’re all smart and loyal and kinda dull and suspiciously good-looking even after many months in space. Indeed, \u003cem>The Martian\u003c/em> is one of several current films that populates even its smallest roles with actors who are more than capable, and yet so famous it becomes distracting: Chiwetel Ejiofor! Kristen Wiig! Kate Mara! Sean Bean! Donald Glover! (\u003cem>Black Mass\u003c/em> and \u003cem>Everest\u003c/em> suffer from this same weird syndrome.)\u003c/p>\n\u003cp>But it’s clearly Damon’s show. If it never quite seems like he’s hurting as much as he oughtta be — even when we catch a rare, late glimpse of his wizened, malnourished body — the depth of my investment in Watney’s survival still caught me surprise. (So I cried a little. Is that what you want me to say?) This resonant emotional chord isn’t the product of a single, masterful scene, like Tom Hanks’ silent dissolution at the end of \u003cem>Captain Phillips; \u003c/em>instead, it’s the accrued effect of a team of talented and committed professionals working in harmony toward a shared and noble end.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Henry Dumas Wrote About Black People Killed By Cops. Then He was Killed by a Cop",
"headTitle": "Henry Dumas Wrote About Black People Killed By Cops. Then He was Killed by a Cop | KQED",
"content": "\u003cp>“A young black man, Henry Dumas, went through a turnstile at a New York City subway station,” reads an invitation by Toni Morrison for a posthumous book-launch party she threw for Dumas in 1974, six years after he died. “A transit cop” — who was white — “shot him in the chest and killed him. Circumstances surrounding his death remain unclear. Before that happened, however, he had written some of the most beautiful, moving and profound poetry and fiction that I have ever in my life read.”\u003c/p>\n\u003cfigure id=\"attachment_10990148\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg\" alt=\"Henry Dumas, photographed in New York in the mid-1960s.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10990148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0.jpg 1497w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dumas, photographed in New York in the mid-1960s. \u003ccite>(Courtesy of Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the nearly 50 years since Henry Dumas was killed, not much more has come to light about what happened on the night of his death. No witnesses came forward to testify. Police records were lost in a bureaucratic shuffle. Harlem, where Dumas moved as a young man after growing up in rural Arkansas, had \u003ca href=\"https://www.baruch.cuny.edu/nycdata/disasters/riots-harlem_1964.html\">erupted\u003c/a> in large-scale protests over the police killings of black and brown men several times before the writer was killed. But Dumas’ death hardly made the news. With so little information to draw from, it’s as if the last pages of his life were torn out.\u003c/p>\n\u003cp>Dumas’ final scene echoed a theme he turned to again and again in his writing: violent confrontations between white men and black men. The work he left behind — short stories that range from hard realism to science fiction, an almost finished novel, volumes of poetry, and even a few accompaniments to the work of the mystical jazz legend Sun Ra — contains bitingly sharp depictions of racial tension in America that, in an almost unbelievably eerie way, speak to his own fate.\u003c/p>\n\u003cp>It is, of course, a fate that many black men and women had and would suffer under dubious circumstances — from \u003ca href=\"http://www.nydailynews.com/news/crime/harlem-riots-1943-echo-today-article-1.2216788\">Robert Bandy\u003c/a> in 1935, \u003ca href=\"http://www.vice.com/read/race-riots-then-and-now-501\">James Powell\u003c/a> in 1964, 10-year-old \u003ca href=\"http://www.nytimes.com/2015/04/17/nyregion/fired-at-queens-boy-fatal-1973-police-shot-still-reverberates.html\">Clifford Glover\u003c/a> in 1973, and \u003ca href=\"http://articles.chicagotribune.com/1999-09-12/news/9909120226_1_officers-lawyer-chicago-police-supt-joseph-roddy\">LaTanya Haggerty\u003c/a> in 1999 to the more recent deaths of Michael Brown, \u003ca href=\"http://www.charlotteobserver.com/news/local/crime/article15728675.html\">Janisha Fonville\u003c/a>, Eric Garner, \u003ca href=\"http://www.cleveland.com/metro/index.ssf/2015/01/tanisha_anderson_was_restraine.html\">Tanisha Anderson\u003c/a> and Freddie Gray, to name only a few.\u003c/p>\n\u003cp>“His work and, in fact, his death, investigated and illustrated the ways in which black lives were at best peripheral to most white people — especially those running and policing the country,” says James Smethurst, a University of Massachusetts, Amherst professor who has written extensively about 1960s and ’70s black writers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much of Dumas’ writing is considered to be a part of the \u003ca href=\"http://www.english.illinois.edu/maps/blackarts/historical.htm\">Black Arts Movement\u003c/a> — the artistic manifestation of the Black Power struggle of the 1960s — an effort that Smethurst believes has a lot of resonance with the Black Lives Matter movement. While interest in Dumas has increased somewhat in recent years, he says, “We still have a long way to go before he gets the sort of attention he deserves.”\u003c/p>\n\u003cp>\u003cstrong>‘The People Get Tired Of Dying’\u003c/strong>\u003c/p>\n\u003cp>One of the only known accounts of the night Dumas was killed comes from an obituary in \u003cem>The Amsterdam News,\u003c/em> a black-owned newspaper in New York City that was founded in 1909. “Police said Dumas and an unidentified man were scuffling in the subway when the officer walked up to them and attempted to stop the fracas,” the obit reads. “Police said Dumas, resentful at the interference, slashed the officer who shot and killed him.”\u003c/p>\n\u003cp>Without the benefit of photographic evidence or firsthand witnesses to accompany the official police report, it is impossible to know the full story of what happened that night. It’s also impossible to take in Dumas’ story without acknowledging that the \u003ca href=\"http://www.motherjones.com/politics/2015/07/samuel-dubose-cops-corroberating-unarmed-black-death\">track record of believability\u003c/a>, when it comes to official accounts of black deaths at the hands of law enforcement, \u003ca href=\"http://kxan.com/2014/08/22/family-of-woman-shot-killed-by-bastrop-county-sheriffs-deputy-seeks-damages/\">isn’t a clean one\u003c/a>.\u003c/p>\n\u003cp>Dumas wrote stories that echo cases like that of Tamir Rice, a 12-year-old boy in Cleveland who was killed \u003ca href=\"http://www.bbc.com/news/world-us-canada-30220700\">seconds after\u003c/a> a police vehicle pulled up to where he was playing. “When a Negro boy is shot and killed by policemen who do not check the situation before pulling their guns, the people get angry. It is a simple law of nature. … The people get tired of dying,” says one of Dumas’ characters in a short story called “Riot or Revolt.”\u003c/p>\n\u003cp>Published most recently in a 2003 collection of Dumas’ work called \u003ca href=\"http://www.amazon.com/Echo-Tree-Collected-Fiction-Movement/dp/1566891493\">Echo Tree\u003c/a>, that story follows a young black man named Harold through the aftermath of violent public protest across Harlem:\u003c/p>\n\u003cblockquote>\n\u003cp>“The police barricades squatted on the sidewalk surrounding each place where mobs had struck.\u003c/p>\n\u003cp>“Harold stood on the ramp in the middle of Seventh Avenue and 125th Street and surveyed the area which the night before had swarmed with police and angry Harlemites. A youth had been slain by the police in Brooklyn.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_10990159\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/national-bookstore-800x529.jpg\" alt=\"A view of the National Memorial African Bookstore in Harlem circa 1970.\" width=\"800\" height=\"529\" class=\"size-medium wp-image-10990159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the National Memorial African Bookstore in Harlem circa 1970. \u003ccite>(Jack Garofalo/Paris Match via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who have studied Dumas’ life and work believe the fictional LeMoor Brothers’ Bookstore in that story was modeled on the real National Memorial African Bookstore, which stood a short walk from the 135th Street subway station where Dumas was killed. Owned by Lewis Michaux, a bookseller and black civil rights leader who encouraged his neighbors to read the books he stocked on African history, culture and philosophy even if they couldn’t afford to buy them, the store \u003ca href=\"https://www.kirkusreviews.com/book-reviews/vaunda-micheaux-nelson/no-crystal-stair/\">attracted\u003c/a> figures like Malcolm X, Langston Hughes and Muhammad Ali.\u003c/p>\n\u003cp>Not unlike Dumas’ LeMoor, Michaux had a lot to say about black Americans’ struggle for power. “We’ve been neglected for three hundred years,” he\u003ca href=\"http://www.newyorker.com/magazine/1966/09/03/the-professor-4\"> told\u003c/a> a \u003cem>New Yorker\u003c/em> reporter in 1966. “As much as I hate to see what’s going to happen, I believe that when the Negro knocks this time and nobody open the door, he’s just going to knock it right down.”\u003c/p>\n\u003cp>In “Riot or Revolt,” city officials stop in to speak to the owners of LeMoor Brothers’ Bookstore, which had been left untouched by the looters who ravaged nearly every other store on the street. The officers want to know what made his shop so exceptional, but its owner, Micheval LeMoor, takes issue with the fact that city officials seemed to visit Harlem only when its frustrated residents reached a breaking point:\u003c/p>\n\u003cblockquote>\n\u003cp>“You want to come visit here and get the notions about things being better, while right now some disrespectful guardian of the citizens beats a black man’s head in. It doesn’t matter if he’s guilty or not anymore. Your honor, what you are facing is the full anger of a man who has been under attack for years. Unless you call off the attackers, be they merchants, disrespectful policemen, or the American majority, then the black minority is going to tear your house down.”\u003c/p>\n\u003c/blockquote>\n\u003cp>While “Riot or Revolt” may have been closely inspired by actual people if not actual events, other Dumas stories are imaginative forays into allegorical fables and otherworldly realms. Dumas’ vast range captivated many of his fellow writers, before and after his death. The poet and civil rights activist \u003ca href=\"http://www.poetryfoundation.org/bio/haki-madhubuti\">Haki R. Madhubati\u003c/a> called him “a poet of complex melodies,” and Amiri Baraka called him an “Afro-surreal expressionist” who delivered “a new blackness.”\u003c/p>\n\u003cfigure id=\"attachment_10990160\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-books-800x385.jpg\" alt=\"Three of the published works of Dumas.\" width=\"800\" height=\"385\" class=\"size-medium wp-image-10990160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books-400x193.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three of the published works of Dumas. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was impressed with his boldness of language and his boldness of breadth,” Maya Angelou said in a 1988 interview published in an issue of the \u003cem>Black American Literature Forum\u003c/em> dedicated entirely to Dumas’ work. “Dumas continued to set us up for the loneliness, aloneness, and desperation, sometimes even desolation. But he never leaves us there. With him as our guide, we’re always brought through to a better place.”\u003c/p>\n\u003cp>\u003cstrong>‘Part Invitation, Part Consolation’\u003c/strong>\u003c/p>\n\u003cp>By the time Dumas died, just a few of his poems and short stories had been published in small literary journals, geared toward a black audience. Writers and critics who knew him say he would have followed the uphill trajectory of his friends — including Robert Pinsky and Baraka — had he lived.\u003c/p>\n\u003cp>“I think he would’ve been a lot more famous in some respects if he had been able to live and write for 50 more years,” says Smethurst, the University of Massachusetts professor. “What if Toni Morrison had died after she wrote \u003cem>The Bluest Eye\u003c/em> and only had a few stories?”\u003c/p>\n\u003cp>In fact, Morrison played a role in inspiring what Smethurst calls the “cult” of Dumas. She first encountered Dumas in the form of a slim collection published posthumously by Southern Illinois University, where he taught an experimental program during the last year of his life. Then an editor at Random House and the author of \u003cem>The Bluest Eye\u003c/em> and \u003cem>Sula,\u003c/em> Morrison was struck by the circumstances of Dumas’ death and wanted to publish more of his writing.\u003c/p>\n\u003cp>Random House had recently committed itself to publishing more minority writers. Through her position there, Morrison would shepherd through the work of several of the era’s most notable black writers and activists, from Toni Cade Bambara and Gayle Jones to Angela Davis and Huey P. Newton.\u003c/p>\n\u003cp>But she knew that generating attention for Dumas, a writer who was not only practically unknown but also deceased, would not be easy. To create hype for the collections she wanted to release — a book of poetry titled \u003cem>Play Ebony Play Ivory\u003c/em> and a short story collection called \u003cem>Ark of Bones\u003c/em> — Morrison organized a release event with a glamorous guest list comprising the most renowned black writers of the time.\u003c/p>\n\u003cp>“He was thirty-three years old when he was killed,” Morrison wrote in the announcement for the party, a note that was \u003ca href=\"http://www.nytimes.com/2015/04/12/magazine/the-radical-vision-of-toni-morrison.html&assetType=nyt_now?&assetType=nyt_now\">described\u003c/a> as “part invitation, part consolation” in a recent \u003cem>New York Times\u003c/em> profile of Morrison. “But in those thirty-three years he had completed work the quality and quantity of which are almost never achieved in several lifetimes.”\u003c/p>\n\u003cp>\u003cstrong>‘Creative Writing Slave’\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990162\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-teen.jpg\" alt=\"Dumas, when he was a high school student in New York.\" width=\"400\" height=\"498\" class=\"size-full wp-image-10990162\">\u003cfigcaption class=\"wp-caption-text\">Dumas, when he was a high school student in New York. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1934, Dumas was born to Appliance Porter, a 19-year-old housekeeper in Sweet Home, Ark., a small town just outside Little Rock. His father, Henry Dumas Sr., or “Big Henry” as he was called, was largely absent from the life of his son, and his mother worked long hours. With his parents often away, Dumas spent much of his time in the fields where his aunts and uncles picked cotton, milked cows and shared stories.\u003c/p>\n\u003cp>While his cousins were busy playing sports, Dumas’ family recalled to Dumas biographer Jeffrey B. Leak, he preferred to spend his time examining insects or developing skits in which he played all the roles. When Dumas was 10, he and his family followed the course taken by thousands of other black families during the first part of the 20th century by \u003ca href=\"http://www.nytimes.com/2010/09/05/books/review/Oshinsky-t.html?pagewanted=all&_r=0\">moving north\u003c/a>. Dumas brought with him to Harlem an intellectual curiosity that impressed his teachers at his integrated Manhattan high school.\u003c/p>\n\u003cp>It may have been there that Dumas’ individual struggles became part of a more complex struggle: one in which black people searched for belonging in spaces where they were neither warmly welcomed nor explicitly barred. It’s unclear when he began to take up writing seriously, but his move to a more racially diverse environment may have had something to do with it. Beneath his senior photo in the 1953 High School of Commerce yearbook someone — perhaps even Dumas himself — chose to inscribe this description of him: “Creative writing slave.”\u003c/p>\n\u003cp>After a brief stint at the City University of New York that ended with what Leak notes might have been “a crisis of confidence,” Dumas joined the U.S. Air Force within a year of his high school graduation. Tours of Saudi Arabia and Mexico deepened his interest in sketching worlds that blurred black-and-white interpretations of race.\u003c/p>\n\u003cp>At the age of 21, Dumas returned to the U.S., in 1955, and married Loretta Ponton, a beautiful young secretary he had met by chance on a snowy evening on the street in New York just before enlisting. The daughter of a Baptist deacon, Loretta held strong Christian values and a traditional sense of familial responsibility. While Dumas shared her beliefs during the early years of their marriage, he would veer from them in coming years.\u003c/p>\n\u003cp>One of just a few black students at Rutgers University, where Dumas studied from 1958 to 1965 and where the couple’s two sons were born, Dumas’ commitment to his writing, curiosities about the Nation of Islam, engagement with the civil rights movement, plus alcohol and drug use began to drive a wedge between him and Loretta.\u003c/p>\n\u003cp>He also had several affairs with white women. Lois Wright (nee Silber), with whom he had an affair that lasted three years, recalled in a letter to Dumas’ friend and fellow poet Jay Wright (whom she would later marry) that the two could only venture out to select spots in New York; the jazz clubs Dumas frequented weren’t welcoming to Wright, and she resented Dumas’ friends for referring to her as “the white chick.”\u003c/p>\n\u003cp>“For Dumas, crossing racial divides represented possibility and opportunity for both himself as a black man, but also from an imaginative standpoint,” Leak, whose biography of Dumas, \u003ca href=\"http://www.amazon.com/Visible-Man-Life-Henry-Dumas/dp/0820328707\">Visible Man\u003c/a>, came out last year, said in an interview. “I think he thought that if you can cross boundaries in the social realm, then you can cross other boundaries in the literary realm. In both spaces, he found it to be even more complicated than he had anticipated.”\u003c/p>\n\u003cp>Dumas explores those complexities in “Will The Circle Be Unbroken?,” a short story in which three white musicians and critics want to enter a black jazz club, arguing they should be let in because they know a lot about the genre. The black patrons finally agree to let them in, but warn that use of an ancient, rare horn may be too intense for their “uninitiated” ears. The music “vibrated the freedom of freedom” for its black listeners, but when the set ends, consternation rises when the three white people are found dead. They had been slain by music that wasn’t meant for them.\u003c/p>\n\u003cp>For many, the story offers a look at some of the central questions of the civil rights movement: What did it mean to be black? How could black identity adapt to an integrated world? What racial boundaries should remain unbroken?\u003c/p>\n\u003cp>In an essay on the story for a 1988 issue of the \u003cem>Black American Literary Forum\u003c/em> dedicated to Dumas’ work, an acquaintance of Dumas’ put it this way: “Black people had a feeling of always being on stage for white folks.” Dumas’ story on the jazz club held that the work of black artists should be guarded and protected, a notion that still resonates in a world where it’s been said many times that \u003ca href=\"http://www.buzzfeed.com/emaoconnor/rue-just-perfectly-defined-cultural-appropriation\">black cultural products are valued while black lives are not\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jazz And Honey\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-wedding.jpg\" alt=\"Dumas and his wife, Loretta Dumas (Ponton), on their wedding day.\" width=\"400\" height=\"488\" class=\"size-full wp-image-10990163\">\u003cfigcaption class=\"wp-caption-text\">Dumas and his wife, Loretta Dumas (Ponton), on their wedding day. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On no one, perhaps, has Dumas made a greater impression than Eugene Redmond. An \u003ca href=\"http://eugenebredmond.com/home/\">accomplished poet\u003c/a> in his own right, Redmond has spent the past four decades editing and promoting the work of Dumas, even though the two men knew one another for only just under a year. Redmond met Dumas when the older writer came to teach English at an experimental college at the University of Southern Illinois in Redmond’s hometown of East St. Louis in 1967. “We bonded quickly,” Redmond told me in a phone interview from the house of Loretta, Dumas’ widow.\u003c/p>\n\u003cp>The 77-year-old has served for decades as the literary executor of Dumas’ estate and was staying with Loretta for an annual commemoration of Dumas’ life and work that he helps organize every year on the anniversary of the shooting. Bringing together Dumas’ friends and family over poetry readings and jazz performances, Redmond, a Pushcart Prize recipient and the author of 25 books of poetry, has carried the torch for Dumas alongside his own teaching and writing career.\u003c/p>\n\u003cp>“Every time I stepped into a classroom after I met him, I had a turntable,” said Redmond, who said he picked up on Dumas’ tradition of playing music 15 minutes before each of his classes began. “Every class that I taught, I published the students in a spiral-bound or saddle-stitched booklet. I got that from him.” Redmond fondly recalls eating raw honey and listening to jazz with Dumas, to whom he attributes his love of some of the era’s greatest musicians, from Miles Davis to John Coltrane. “At the time,” Redmond said, “he seemed to be at the farthest most forward point of what black expression, black culture, and black people were all about.”\u003c/p>\n\u003cp>In his day-to-day life, Dumas insisted on making space for himself — and forcing others to acknowledge his right to exist. “He would even walk around East St. Louis and other places, and ask, ‘Do you see me? Feel my arm. I’m here, ain’t I?'” said Leak, who conducted many interviews with those close to Dumas for his book. “His point was: We’re not invisible. The idea is a direct corollary to Black Lives Matter, the idea that flesh and blood do matter, and we’re going to insist on being seen and being heard.”\u003c/p>\n\u003cp>Redmond hopes the Black Lives Matter movement will help introduce Dumas to a whole new audience and help bolster the foundation that the movement rests upon. “You gotta have someplace to come from before you know where you’re going,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Beenish Ahmed covers international affairs for ThinkProgress. She’s also the founder of \u003c/em>\u003ca href=\"http://www.thealignist.com/\">THE ALIGNIST\u003c/a>,\u003cem> a new media venture aimed at bringing literature into conversation with current events. Follow her on \u003c/em>\u003ca href=\"https://twitter.com/beenishfahmed\">Twitter\u003c/a>. \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=Henry+Dumas+Wrote+About+Black+People+Killed+By+Cops.+Then+He+Was+Killed+By+A+Cop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“A young black man, Henry Dumas, went through a turnstile at a New York City subway station,” reads an invitation by Toni Morrison for a posthumous book-launch party she threw for Dumas in 1974, six years after he died. “A transit cop” — who was white — “shot him in the chest and killed him. Circumstances surrounding his death remain unclear. Before that happened, however, he had written some of the most beautiful, moving and profound poetry and fiction that I have ever in my life read.”\u003c/p>\n\u003cfigure id=\"attachment_10990148\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg\" alt=\"Henry Dumas, photographed in New York in the mid-1960s.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10990148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0.jpg 1497w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dumas, photographed in New York in the mid-1960s. \u003ccite>(Courtesy of Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the nearly 50 years since Henry Dumas was killed, not much more has come to light about what happened on the night of his death. No witnesses came forward to testify. Police records were lost in a bureaucratic shuffle. Harlem, where Dumas moved as a young man after growing up in rural Arkansas, had \u003ca href=\"https://www.baruch.cuny.edu/nycdata/disasters/riots-harlem_1964.html\">erupted\u003c/a> in large-scale protests over the police killings of black and brown men several times before the writer was killed. But Dumas’ death hardly made the news. With so little information to draw from, it’s as if the last pages of his life were torn out.\u003c/p>\n\u003cp>Dumas’ final scene echoed a theme he turned to again and again in his writing: violent confrontations between white men and black men. The work he left behind — short stories that range from hard realism to science fiction, an almost finished novel, volumes of poetry, and even a few accompaniments to the work of the mystical jazz legend Sun Ra — contains bitingly sharp depictions of racial tension in America that, in an almost unbelievably eerie way, speak to his own fate.\u003c/p>\n\u003cp>It is, of course, a fate that many black men and women had and would suffer under dubious circumstances — from \u003ca href=\"http://www.nydailynews.com/news/crime/harlem-riots-1943-echo-today-article-1.2216788\">Robert Bandy\u003c/a> in 1935, \u003ca href=\"http://www.vice.com/read/race-riots-then-and-now-501\">James Powell\u003c/a> in 1964, 10-year-old \u003ca href=\"http://www.nytimes.com/2015/04/17/nyregion/fired-at-queens-boy-fatal-1973-police-shot-still-reverberates.html\">Clifford Glover\u003c/a> in 1973, and \u003ca href=\"http://articles.chicagotribune.com/1999-09-12/news/9909120226_1_officers-lawyer-chicago-police-supt-joseph-roddy\">LaTanya Haggerty\u003c/a> in 1999 to the more recent deaths of Michael Brown, \u003ca href=\"http://www.charlotteobserver.com/news/local/crime/article15728675.html\">Janisha Fonville\u003c/a>, Eric Garner, \u003ca href=\"http://www.cleveland.com/metro/index.ssf/2015/01/tanisha_anderson_was_restraine.html\">Tanisha Anderson\u003c/a> and Freddie Gray, to name only a few.\u003c/p>\n\u003cp>“His work and, in fact, his death, investigated and illustrated the ways in which black lives were at best peripheral to most white people — especially those running and policing the country,” says James Smethurst, a University of Massachusetts, Amherst professor who has written extensively about 1960s and ’70s black writers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of Dumas’ writing is considered to be a part of the \u003ca href=\"http://www.english.illinois.edu/maps/blackarts/historical.htm\">Black Arts Movement\u003c/a> — the artistic manifestation of the Black Power struggle of the 1960s — an effort that Smethurst believes has a lot of resonance with the Black Lives Matter movement. While interest in Dumas has increased somewhat in recent years, he says, “We still have a long way to go before he gets the sort of attention he deserves.”\u003c/p>\n\u003cp>\u003cstrong>‘The People Get Tired Of Dying’\u003c/strong>\u003c/p>\n\u003cp>One of the only known accounts of the night Dumas was killed comes from an obituary in \u003cem>The Amsterdam News,\u003c/em> a black-owned newspaper in New York City that was founded in 1909. “Police said Dumas and an unidentified man were scuffling in the subway when the officer walked up to them and attempted to stop the fracas,” the obit reads. “Police said Dumas, resentful at the interference, slashed the officer who shot and killed him.”\u003c/p>\n\u003cp>Without the benefit of photographic evidence or firsthand witnesses to accompany the official police report, it is impossible to know the full story of what happened that night. It’s also impossible to take in Dumas’ story without acknowledging that the \u003ca href=\"http://www.motherjones.com/politics/2015/07/samuel-dubose-cops-corroberating-unarmed-black-death\">track record of believability\u003c/a>, when it comes to official accounts of black deaths at the hands of law enforcement, \u003ca href=\"http://kxan.com/2014/08/22/family-of-woman-shot-killed-by-bastrop-county-sheriffs-deputy-seeks-damages/\">isn’t a clean one\u003c/a>.\u003c/p>\n\u003cp>Dumas wrote stories that echo cases like that of Tamir Rice, a 12-year-old boy in Cleveland who was killed \u003ca href=\"http://www.bbc.com/news/world-us-canada-30220700\">seconds after\u003c/a> a police vehicle pulled up to where he was playing. “When a Negro boy is shot and killed by policemen who do not check the situation before pulling their guns, the people get angry. It is a simple law of nature. … The people get tired of dying,” says one of Dumas’ characters in a short story called “Riot or Revolt.”\u003c/p>\n\u003cp>Published most recently in a 2003 collection of Dumas’ work called \u003ca href=\"http://www.amazon.com/Echo-Tree-Collected-Fiction-Movement/dp/1566891493\">Echo Tree\u003c/a>, that story follows a young black man named Harold through the aftermath of violent public protest across Harlem:\u003c/p>\n\u003cblockquote>\n\u003cp>“The police barricades squatted on the sidewalk surrounding each place where mobs had struck.\u003c/p>\n\u003cp>“Harold stood on the ramp in the middle of Seventh Avenue and 125th Street and surveyed the area which the night before had swarmed with police and angry Harlemites. A youth had been slain by the police in Brooklyn.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_10990159\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/national-bookstore-800x529.jpg\" alt=\"A view of the National Memorial African Bookstore in Harlem circa 1970.\" width=\"800\" height=\"529\" class=\"size-medium wp-image-10990159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the National Memorial African Bookstore in Harlem circa 1970. \u003ccite>(Jack Garofalo/Paris Match via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who have studied Dumas’ life and work believe the fictional LeMoor Brothers’ Bookstore in that story was modeled on the real National Memorial African Bookstore, which stood a short walk from the 135th Street subway station where Dumas was killed. Owned by Lewis Michaux, a bookseller and black civil rights leader who encouraged his neighbors to read the books he stocked on African history, culture and philosophy even if they couldn’t afford to buy them, the store \u003ca href=\"https://www.kirkusreviews.com/book-reviews/vaunda-micheaux-nelson/no-crystal-stair/\">attracted\u003c/a> figures like Malcolm X, Langston Hughes and Muhammad Ali.\u003c/p>\n\u003cp>Not unlike Dumas’ LeMoor, Michaux had a lot to say about black Americans’ struggle for power. “We’ve been neglected for three hundred years,” he\u003ca href=\"http://www.newyorker.com/magazine/1966/09/03/the-professor-4\"> told\u003c/a> a \u003cem>New Yorker\u003c/em> reporter in 1966. “As much as I hate to see what’s going to happen, I believe that when the Negro knocks this time and nobody open the door, he’s just going to knock it right down.”\u003c/p>\n\u003cp>In “Riot or Revolt,” city officials stop in to speak to the owners of LeMoor Brothers’ Bookstore, which had been left untouched by the looters who ravaged nearly every other store on the street. The officers want to know what made his shop so exceptional, but its owner, Micheval LeMoor, takes issue with the fact that city officials seemed to visit Harlem only when its frustrated residents reached a breaking point:\u003c/p>\n\u003cblockquote>\n\u003cp>“You want to come visit here and get the notions about things being better, while right now some disrespectful guardian of the citizens beats a black man’s head in. It doesn’t matter if he’s guilty or not anymore. Your honor, what you are facing is the full anger of a man who has been under attack for years. Unless you call off the attackers, be they merchants, disrespectful policemen, or the American majority, then the black minority is going to tear your house down.”\u003c/p>\n\u003c/blockquote>\n\u003cp>While “Riot or Revolt” may have been closely inspired by actual people if not actual events, other Dumas stories are imaginative forays into allegorical fables and otherworldly realms. Dumas’ vast range captivated many of his fellow writers, before and after his death. The poet and civil rights activist \u003ca href=\"http://www.poetryfoundation.org/bio/haki-madhubuti\">Haki R. Madhubati\u003c/a> called him “a poet of complex melodies,” and Amiri Baraka called him an “Afro-surreal expressionist” who delivered “a new blackness.”\u003c/p>\n\u003cfigure id=\"attachment_10990160\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-books-800x385.jpg\" alt=\"Three of the published works of Dumas.\" width=\"800\" height=\"385\" class=\"size-medium wp-image-10990160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books-400x193.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three of the published works of Dumas. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was impressed with his boldness of language and his boldness of breadth,” Maya Angelou said in a 1988 interview published in an issue of the \u003cem>Black American Literature Forum\u003c/em> dedicated entirely to Dumas’ work. “Dumas continued to set us up for the loneliness, aloneness, and desperation, sometimes even desolation. But he never leaves us there. With him as our guide, we’re always brought through to a better place.”\u003c/p>\n\u003cp>\u003cstrong>‘Part Invitation, Part Consolation’\u003c/strong>\u003c/p>\n\u003cp>By the time Dumas died, just a few of his poems and short stories had been published in small literary journals, geared toward a black audience. Writers and critics who knew him say he would have followed the uphill trajectory of his friends — including Robert Pinsky and Baraka — had he lived.\u003c/p>\n\u003cp>“I think he would’ve been a lot more famous in some respects if he had been able to live and write for 50 more years,” says Smethurst, the University of Massachusetts professor. “What if Toni Morrison had died after she wrote \u003cem>The Bluest Eye\u003c/em> and only had a few stories?”\u003c/p>\n\u003cp>In fact, Morrison played a role in inspiring what Smethurst calls the “cult” of Dumas. She first encountered Dumas in the form of a slim collection published posthumously by Southern Illinois University, where he taught an experimental program during the last year of his life. Then an editor at Random House and the author of \u003cem>The Bluest Eye\u003c/em> and \u003cem>Sula,\u003c/em> Morrison was struck by the circumstances of Dumas’ death and wanted to publish more of his writing.\u003c/p>\n\u003cp>Random House had recently committed itself to publishing more minority writers. Through her position there, Morrison would shepherd through the work of several of the era’s most notable black writers and activists, from Toni Cade Bambara and Gayle Jones to Angela Davis and Huey P. Newton.\u003c/p>\n\u003cp>But she knew that generating attention for Dumas, a writer who was not only practically unknown but also deceased, would not be easy. To create hype for the collections she wanted to release — a book of poetry titled \u003cem>Play Ebony Play Ivory\u003c/em> and a short story collection called \u003cem>Ark of Bones\u003c/em> — Morrison organized a release event with a glamorous guest list comprising the most renowned black writers of the time.\u003c/p>\n\u003cp>“He was thirty-three years old when he was killed,” Morrison wrote in the announcement for the party, a note that was \u003ca href=\"http://www.nytimes.com/2015/04/12/magazine/the-radical-vision-of-toni-morrison.html&assetType=nyt_now?&assetType=nyt_now\">described\u003c/a> as “part invitation, part consolation” in a recent \u003cem>New York Times\u003c/em> profile of Morrison. “But in those thirty-three years he had completed work the quality and quantity of which are almost never achieved in several lifetimes.”\u003c/p>\n\u003cp>\u003cstrong>‘Creative Writing Slave’\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990162\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-teen.jpg\" alt=\"Dumas, when he was a high school student in New York.\" width=\"400\" height=\"498\" class=\"size-full wp-image-10990162\">\u003cfigcaption class=\"wp-caption-text\">Dumas, when he was a high school student in New York. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1934, Dumas was born to Appliance Porter, a 19-year-old housekeeper in Sweet Home, Ark., a small town just outside Little Rock. His father, Henry Dumas Sr., or “Big Henry” as he was called, was largely absent from the life of his son, and his mother worked long hours. With his parents often away, Dumas spent much of his time in the fields where his aunts and uncles picked cotton, milked cows and shared stories.\u003c/p>\n\u003cp>While his cousins were busy playing sports, Dumas’ family recalled to Dumas biographer Jeffrey B. Leak, he preferred to spend his time examining insects or developing skits in which he played all the roles. When Dumas was 10, he and his family followed the course taken by thousands of other black families during the first part of the 20th century by \u003ca href=\"http://www.nytimes.com/2010/09/05/books/review/Oshinsky-t.html?pagewanted=all&_r=0\">moving north\u003c/a>. Dumas brought with him to Harlem an intellectual curiosity that impressed his teachers at his integrated Manhattan high school.\u003c/p>\n\u003cp>It may have been there that Dumas’ individual struggles became part of a more complex struggle: one in which black people searched for belonging in spaces where they were neither warmly welcomed nor explicitly barred. It’s unclear when he began to take up writing seriously, but his move to a more racially diverse environment may have had something to do with it. Beneath his senior photo in the 1953 High School of Commerce yearbook someone — perhaps even Dumas himself — chose to inscribe this description of him: “Creative writing slave.”\u003c/p>\n\u003cp>After a brief stint at the City University of New York that ended with what Leak notes might have been “a crisis of confidence,” Dumas joined the U.S. Air Force within a year of his high school graduation. Tours of Saudi Arabia and Mexico deepened his interest in sketching worlds that blurred black-and-white interpretations of race.\u003c/p>\n\u003cp>At the age of 21, Dumas returned to the U.S., in 1955, and married Loretta Ponton, a beautiful young secretary he had met by chance on a snowy evening on the street in New York just before enlisting. The daughter of a Baptist deacon, Loretta held strong Christian values and a traditional sense of familial responsibility. While Dumas shared her beliefs during the early years of their marriage, he would veer from them in coming years.\u003c/p>\n\u003cp>One of just a few black students at Rutgers University, where Dumas studied from 1958 to 1965 and where the couple’s two sons were born, Dumas’ commitment to his writing, curiosities about the Nation of Islam, engagement with the civil rights movement, plus alcohol and drug use began to drive a wedge between him and Loretta.\u003c/p>\n\u003cp>He also had several affairs with white women. Lois Wright (nee Silber), with whom he had an affair that lasted three years, recalled in a letter to Dumas’ friend and fellow poet Jay Wright (whom she would later marry) that the two could only venture out to select spots in New York; the jazz clubs Dumas frequented weren’t welcoming to Wright, and she resented Dumas’ friends for referring to her as “the white chick.”\u003c/p>\n\u003cp>“For Dumas, crossing racial divides represented possibility and opportunity for both himself as a black man, but also from an imaginative standpoint,” Leak, whose biography of Dumas, \u003ca href=\"http://www.amazon.com/Visible-Man-Life-Henry-Dumas/dp/0820328707\">Visible Man\u003c/a>, came out last year, said in an interview. “I think he thought that if you can cross boundaries in the social realm, then you can cross other boundaries in the literary realm. In both spaces, he found it to be even more complicated than he had anticipated.”\u003c/p>\n\u003cp>Dumas explores those complexities in “Will The Circle Be Unbroken?,” a short story in which three white musicians and critics want to enter a black jazz club, arguing they should be let in because they know a lot about the genre. The black patrons finally agree to let them in, but warn that use of an ancient, rare horn may be too intense for their “uninitiated” ears. The music “vibrated the freedom of freedom” for its black listeners, but when the set ends, consternation rises when the three white people are found dead. They had been slain by music that wasn’t meant for them.\u003c/p>\n\u003cp>For many, the story offers a look at some of the central questions of the civil rights movement: What did it mean to be black? How could black identity adapt to an integrated world? What racial boundaries should remain unbroken?\u003c/p>\n\u003cp>In an essay on the story for a 1988 issue of the \u003cem>Black American Literary Forum\u003c/em> dedicated to Dumas’ work, an acquaintance of Dumas’ put it this way: “Black people had a feeling of always being on stage for white folks.” Dumas’ story on the jazz club held that the work of black artists should be guarded and protected, a notion that still resonates in a world where it’s been said many times that \u003ca href=\"http://www.buzzfeed.com/emaoconnor/rue-just-perfectly-defined-cultural-appropriation\">black cultural products are valued while black lives are not\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jazz And Honey\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-wedding.jpg\" alt=\"Dumas and his wife, Loretta Dumas (Ponton), on their wedding day.\" width=\"400\" height=\"488\" class=\"size-full wp-image-10990163\">\u003cfigcaption class=\"wp-caption-text\">Dumas and his wife, Loretta Dumas (Ponton), on their wedding day. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On no one, perhaps, has Dumas made a greater impression than Eugene Redmond. An \u003ca href=\"http://eugenebredmond.com/home/\">accomplished poet\u003c/a> in his own right, Redmond has spent the past four decades editing and promoting the work of Dumas, even though the two men knew one another for only just under a year. Redmond met Dumas when the older writer came to teach English at an experimental college at the University of Southern Illinois in Redmond’s hometown of East St. Louis in 1967. “We bonded quickly,” Redmond told me in a phone interview from the house of Loretta, Dumas’ widow.\u003c/p>\n\u003cp>The 77-year-old has served for decades as the literary executor of Dumas’ estate and was staying with Loretta for an annual commemoration of Dumas’ life and work that he helps organize every year on the anniversary of the shooting. Bringing together Dumas’ friends and family over poetry readings and jazz performances, Redmond, a Pushcart Prize recipient and the author of 25 books of poetry, has carried the torch for Dumas alongside his own teaching and writing career.\u003c/p>\n\u003cp>“Every time I stepped into a classroom after I met him, I had a turntable,” said Redmond, who said he picked up on Dumas’ tradition of playing music 15 minutes before each of his classes began. “Every class that I taught, I published the students in a spiral-bound or saddle-stitched booklet. I got that from him.” Redmond fondly recalls eating raw honey and listening to jazz with Dumas, to whom he attributes his love of some of the era’s greatest musicians, from Miles Davis to John Coltrane. “At the time,” Redmond said, “he seemed to be at the farthest most forward point of what black expression, black culture, and black people were all about.”\u003c/p>\n\u003cp>In his day-to-day life, Dumas insisted on making space for himself — and forcing others to acknowledge his right to exist. “He would even walk around East St. Louis and other places, and ask, ‘Do you see me? Feel my arm. I’m here, ain’t I?'” said Leak, who conducted many interviews with those close to Dumas for his book. “His point was: We’re not invisible. The idea is a direct corollary to Black Lives Matter, the idea that flesh and blood do matter, and we’re going to insist on being seen and being heard.”\u003c/p>\n\u003cp>Redmond hopes the Black Lives Matter movement will help introduce Dumas to a whole new audience and help bolster the foundation that the movement rests upon. “You gotta have someplace to come from before you know where you’re going,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Beenish Ahmed covers international affairs for ThinkProgress. She’s also the founder of \u003c/em>\u003ca href=\"http://www.thealignist.com/\">THE ALIGNIST\u003c/a>,\u003cem> a new media venture aimed at bringing literature into conversation with current events. Follow her on \u003c/em>\u003ca href=\"https://twitter.com/beenishfahmed\">Twitter\u003c/a>. \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=Henry+Dumas+Wrote+About+Black+People+Killed+By+Cops.+Then+He+Was+Killed+By+A+Cop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "No Vanity Project: At Art Center, Baryshnikov Tells Artists, 'You're the Boss'",
"headTitle": "No Vanity Project: At Art Center, Baryshnikov Tells Artists, ‘You’re the Boss’ | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/442523821/444092393\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>When Mikhail Baryshnikov says, “I’m really afraid to get bored with myself,” he means it.\u003c/p>\n\u003cp>As one of the greatest ballet dancers in history, he’s captivated audiences around the world. He was also the artistic director of American Ballet Theatre, has danced to his own \u003ca href=\"https://www.youtube.com/watch?v=tw3AtnMg1xo\" target=\"_blank\" rel=\"noopener\">heartbeat\u003c/a>, had a run as Carrie Bradshaw’s part-time lover on HBO’s \u003cem>Sex and the City, \u003c/em>and so much more. (His list of credits and awards is long and eclectic.)\u003c/p>\n\u003cp>Today, at 67, Baryshnikov is still creating art of all kinds around the world. And on Monday, a gala in New York celebrated the 10th anniversary of the \u003ca href=\"http://bacnyc.org/\" target=\"_blank\" rel=\"noopener\">Baryshnikov Arts Center\u003c/a>, a space he created to give artists the freedom to explore and take risks.\u003c/p>\n\u003cp>\u003cstrong>Creating An Artist Nirvana\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10984750\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-800x533.jpg\" alt=\"Dancers from the Dance Heginbotham company rehearse at the Baryshnikov Arts Center in July.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10984750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers from the Dance Heginbotham company rehearse at the Baryshnikov Arts Center in July. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With such an exceptional, international career, you’d think the sign in front of his arts center would have “Baryshnikov” in lights, but actually you can barely see it. “Misha didn’t want this place to be called the Baryshnikov Arts Center,” says Georgiana Pickett, the center’s executive director. “He wanted it to be more global, and some wise people told him, ‘That’s not a good idea. Let’s put your name on it.’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baryshnikov’s idea was to build a place where artists from different disciplines would come together. He had no interest in it being dance-only.\u003c/p>\n\u003cp>“Another dance company? Really, we are packed,” he says, referring to the numerous dance companies that call New York home. If he was going to create something for artists, at the top of his list was space, light and privacy — elements, he says, that are so important to the creative process. “Art-making is not a factory, with a few exceptions, of course — you know, like Jeff Koons or Andy Warhol. It’s a very slow and very fragile process. It took me 25, 30 years to really understand what actually it takes.”\u003c/p>\n\u003cp>Baryshnikov put up $1 million of his own money to build the center. With help from a small group of donors, he bought a portion of a six-story building in New York’s Hell’s Kitchen neighborhood. Today, after extensive renovations, the center has two state-of-the-art theaters and four studios.\u003c/p>\n\u003cp>For the artists lucky enough to get a residency, it’s nirvana.\u003c/p>\n\u003cp>\u003cstrong>‘In The Middle Of Possibility’\u003c/strong>\u003c/p>\n\u003cp>Vocalist and songwriter \u003ca href=\"http://www.somimusic.com/\" target=\"_blank\" rel=\"noopener\">Somi\u003c/a> is rehearsing in a light-filled studio that overlooks the Hudson River. “This is such a glorious space because you’ve got these high windows and you’re surrounded by the city,” she says. “And being in the middle of New York, right, it’s like you’re in the middle of possibility.”\u003c/p>\n\u003cfigure id=\"attachment_10984833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist-800x533.jpg\" alt=\"Vocalist Somi and guitarist Liberty Ellman practice at the Baryshnikov Arts Center.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10984833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vocalist Somi and guitarist Liberty Ellman practice at the Baryshnikov Arts Center. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But “possibility” in the middle of New York is wildly expensive, and most artists can’t afford to live in the city. Executive Director Georgiana Pickett says, “It’s one of the reasons we exist … because New York is experiencing a hemorrhaging of its cultural capital. You know, people are leaving. They can’t do it anymore.”\u003c/p>\n\u003cp>Baryshnikov is more sanguine. “It’s no secret that in ’70s and ’80s, New York City [was a] friendlier city for younger people, and more affordable,” he says. “And it’s tougher and tougher.”\u003c/p>\n\u003cp>But he believes it’s still a dynamic and inspirational place to be an artist: “I really believe that, still, the magnet is right here — and not just in Manhattan, but around New York City. And still artists around the world [look] at us with a kind of envy that we are here. They want to be here at least for a few weeks at a time to practice their art.”\u003c/p>\n\u003cp>There are also deeply personal reasons Baryshnikov chose to create something permanent in New York. When he defected from the Soviet Union in 1974, New York became home. He says the Baryshnikov Arts Center is “a kind of civic duty.”\u003c/p>\n\u003cp>Downstairs in the center’s Jerome Robbins Theater, choreographer John Heginbotham is rehearsing a piece with his \u003ca href=\"http://www.danceheginbotham.org/\">new dance company\u003c/a>. (He met Baryshnikov when he was a dancer with the Mark Morris Dance Group.) Heginbotham is stuck on a part. “I don’t know. I don’t know. I don’t know,” he tells his dancers, shaking his head. When Baryshnikov stops by, he can’t resist asking him for help.\u003c/p>\n\u003cfigure id=\"attachment_10984835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/dancing.jpg\" alt=\"Top: Choreographer John Heginbotham watches his dancers rehearse at the Baryshnikov Arts Center. Bottom left: Dancers in the Stephen Petronio Company rehearse (from front to back: Jaqlin Medlock, Gino Grenek, Emily Stone and Joshua Tuason). Bottom right: Choreographer Stephen Petronio demonstrates an idea to his dancers\" width=\"800\" height=\"798\" class=\"size-full wp-image-10984835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-602x600.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Top: Choreographer John Heginbotham watches his dancers rehearse at the Baryshnikov Arts Center. Bottom left: Dancers in the Stephen Petronio Company rehearse (from front to back: Jaqlin Medlock, Gino Grenek, Emily Stone and Joshua Tuason). Bottom right: Choreographer Stephen Petronio demonstrates an idea to his dancers \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Misha?” he says.\u003c/p>\n\u003cp>“You’re the boss,” Baryshnikov replies.\u003c/p>\n\u003cp>Heginbotham says this creative laboratory is really a gift from Baryshnikov to other artists: “He could’ve just been a great ballet dancer, but he is such a curious and investigative person that he has taken that and put it into creating work and helping other people create work. He betters himself all the time and he encourages us to do that too.”\u003c/p>\n\u003cp>\u003cstrong>Building Something That Will Last\u003c/strong>\u003c/p>\n\u003cp>The nonprofit center generates income by renting space, fundraising and selling tickets to performances in its two theaters. Many big donors who’ve supported Baryshnikov throughout his career have contributed generously to the center’s ambitious goals.\u003c/p>\n\u003cp>Rebecca Thomas, a consultant to arts nonprofits, says there’s a “spotty” history of arts organizations that are closely linked to one person: Martha Graham’s and Alvin Ailey’s companies both struggled to adapt after their deaths. According to Thomas, “When we oftentimes see challenges is when that particular leader moves on for whatever reason, because sometimes the donors and the board members do too.”\u003c/p>\n\u003cfigure id=\"attachment_10984837\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Baryshnikov.jpg\" alt=\"Mikhail Baryshnikov says he created his Baryshnikov Arts Center as a kind of thank-you to New York, the city that became his home after he defected from the Soviet Union in 1974.\" width=\"800\" height=\"374\" class=\"size-full wp-image-10984837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Baryshnikov.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Baryshnikov-400x187.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikhail Baryshnikov says he created his Baryshnikov Arts Center as a kind of thank-you to New York, the city that became his home after he defected from the Soviet Union in 1974. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Georgiana Pickett and the rest of the Baryshnikov Arts Center staff think about that all the time. “We are trying to build something here that’s going to last without Misha,” she says. “You know, it is his vision and it is his legacy, and that \u003cem>is\u003c/em> the right word. But he’s not going to live forever. None of us are. And so we’re trying to build something here that’s going to last.”\u003c/p>\n\u003cp>\u003cstrong>‘It’s Nice To Go Back … But I’d Rather Look Forward’\u003c/strong>\u003c/p>\n\u003cp>At 67, Baryshnikov is still plenty active. He just made a \u003ca href=\"https://vimeo.com/118830140\">stylish ad\u003c/a> for the clothing company Rag & Bone, turning and curving his body in a kind of duet with street dancer Lil Buck, and he’s touring a \u003ca href=\"http://www.festivaldispoleto.com/2015/Teatro.asp?id_progetto=245&lang=eng\">solo theater piece\u003c/a> based on the writings of Russian dancer Vaslav Nijinsky.\u003c/p>\n\u003cp>He admits he’s always been restless for new challenges. “[The] unknown, it’s always much more intriguing and appealing. … Like [a] new dish in a restaurant which you never taste or a new music composition, a new film and a new book,” he says. “It’s so much more interesting than [going] back to … square one. … Sometimes it’s nice to go back, you know, but I’d rather look forward.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Maybe Mikhail Baryshnikov was right about not wanting the center he founded 10 years ago to bear his name. As he puts it, what happens \u003cem>inside\u003c/em> the studio — that “fragile” art-making process — is much more important. \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=No+Vanity+Project%3A+At+Art+Center%2C+Baryshnikov+Tells+Artists%2C+%27You%27re+The+Boss%27&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/442523821/444092393\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>When Mikhail Baryshnikov says, “I’m really afraid to get bored with myself,” he means it.\u003c/p>\n\u003cp>As one of the greatest ballet dancers in history, he’s captivated audiences around the world. He was also the artistic director of American Ballet Theatre, has danced to his own \u003ca href=\"https://www.youtube.com/watch?v=tw3AtnMg1xo\" target=\"_blank\" rel=\"noopener\">heartbeat\u003c/a>, had a run as Carrie Bradshaw’s part-time lover on HBO’s \u003cem>Sex and the City, \u003c/em>and so much more. (His list of credits and awards is long and eclectic.)\u003c/p>\n\u003cp>Today, at 67, Baryshnikov is still creating art of all kinds around the world. And on Monday, a gala in New York celebrated the 10th anniversary of the \u003ca href=\"http://bacnyc.org/\" target=\"_blank\" rel=\"noopener\">Baryshnikov Arts Center\u003c/a>, a space he created to give artists the freedom to explore and take risks.\u003c/p>\n\u003cp>\u003cstrong>Creating An Artist Nirvana\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10984750\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-800x533.jpg\" alt=\"Dancers from the Dance Heginbotham company rehearse at the Baryshnikov Arts Center in July.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10984750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/baryshnikovartscenter0993_custom-cf79aaf21c62f68acc6f27098e93eb50e7f0ab6b-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers from the Dance Heginbotham company rehearse at the Baryshnikov Arts Center in July. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With such an exceptional, international career, you’d think the sign in front of his arts center would have “Baryshnikov” in lights, but actually you can barely see it. “Misha didn’t want this place to be called the Baryshnikov Arts Center,” says Georgiana Pickett, the center’s executive director. “He wanted it to be more global, and some wise people told him, ‘That’s not a good idea. Let’s put your name on it.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baryshnikov’s idea was to build a place where artists from different disciplines would come together. He had no interest in it being dance-only.\u003c/p>\n\u003cp>“Another dance company? Really, we are packed,” he says, referring to the numerous dance companies that call New York home. If he was going to create something for artists, at the top of his list was space, light and privacy — elements, he says, that are so important to the creative process. “Art-making is not a factory, with a few exceptions, of course — you know, like Jeff Koons or Andy Warhol. It’s a very slow and very fragile process. It took me 25, 30 years to really understand what actually it takes.”\u003c/p>\n\u003cp>Baryshnikov put up $1 million of his own money to build the center. With help from a small group of donors, he bought a portion of a six-story building in New York’s Hell’s Kitchen neighborhood. Today, after extensive renovations, the center has two state-of-the-art theaters and four studios.\u003c/p>\n\u003cp>For the artists lucky enough to get a residency, it’s nirvana.\u003c/p>\n\u003cp>\u003cstrong>‘In The Middle Of Possibility’\u003c/strong>\u003c/p>\n\u003cp>Vocalist and songwriter \u003ca href=\"http://www.somimusic.com/\" target=\"_blank\" rel=\"noopener\">Somi\u003c/a> is rehearsing in a light-filled studio that overlooks the Hudson River. “This is such a glorious space because you’ve got these high windows and you’re surrounded by the city,” she says. “And being in the middle of New York, right, it’s like you’re in the middle of possibility.”\u003c/p>\n\u003cfigure id=\"attachment_10984833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist-800x533.jpg\" alt=\"Vocalist Somi and guitarist Liberty Ellman practice at the Baryshnikov Arts Center.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10984833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Somi-and-guitarist-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vocalist Somi and guitarist Liberty Ellman practice at the Baryshnikov Arts Center. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But “possibility” in the middle of New York is wildly expensive, and most artists can’t afford to live in the city. Executive Director Georgiana Pickett says, “It’s one of the reasons we exist … because New York is experiencing a hemorrhaging of its cultural capital. You know, people are leaving. They can’t do it anymore.”\u003c/p>\n\u003cp>Baryshnikov is more sanguine. “It’s no secret that in ’70s and ’80s, New York City [was a] friendlier city for younger people, and more affordable,” he says. “And it’s tougher and tougher.”\u003c/p>\n\u003cp>But he believes it’s still a dynamic and inspirational place to be an artist: “I really believe that, still, the magnet is right here — and not just in Manhattan, but around New York City. And still artists around the world [look] at us with a kind of envy that we are here. They want to be here at least for a few weeks at a time to practice their art.”\u003c/p>\n\u003cp>There are also deeply personal reasons Baryshnikov chose to create something permanent in New York. When he defected from the Soviet Union in 1974, New York became home. He says the Baryshnikov Arts Center is “a kind of civic duty.”\u003c/p>\n\u003cp>Downstairs in the center’s Jerome Robbins Theater, choreographer John Heginbotham is rehearsing a piece with his \u003ca href=\"http://www.danceheginbotham.org/\">new dance company\u003c/a>. (He met Baryshnikov when he was a dancer with the Mark Morris Dance Group.) Heginbotham is stuck on a part. “I don’t know. I don’t know. I don’t know,” he tells his dancers, shaking his head. When Baryshnikov stops by, he can’t resist asking him for help.\u003c/p>\n\u003cfigure id=\"attachment_10984835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/dancing.jpg\" alt=\"Top: Choreographer John Heginbotham watches his dancers rehearse at the Baryshnikov Arts Center. Bottom left: Dancers in the Stephen Petronio Company rehearse (from front to back: Jaqlin Medlock, Gino Grenek, Emily Stone and Joshua Tuason). Bottom right: Choreographer Stephen Petronio demonstrates an idea to his dancers\" width=\"800\" height=\"798\" class=\"size-full wp-image-10984835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-400x399.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-602x600.jpg 602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/dancing-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Top: Choreographer John Heginbotham watches his dancers rehearse at the Baryshnikov Arts Center. Bottom left: Dancers in the Stephen Petronio Company rehearse (from front to back: Jaqlin Medlock, Gino Grenek, Emily Stone and Joshua Tuason). Bottom right: Choreographer Stephen Petronio demonstrates an idea to his dancers \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Misha?” he says.\u003c/p>\n\u003cp>“You’re the boss,” Baryshnikov replies.\u003c/p>\n\u003cp>Heginbotham says this creative laboratory is really a gift from Baryshnikov to other artists: “He could’ve just been a great ballet dancer, but he is such a curious and investigative person that he has taken that and put it into creating work and helping other people create work. He betters himself all the time and he encourages us to do that too.”\u003c/p>\n\u003cp>\u003cstrong>Building Something That Will Last\u003c/strong>\u003c/p>\n\u003cp>The nonprofit center generates income by renting space, fundraising and selling tickets to performances in its two theaters. Many big donors who’ve supported Baryshnikov throughout his career have contributed generously to the center’s ambitious goals.\u003c/p>\n\u003cp>Rebecca Thomas, a consultant to arts nonprofits, says there’s a “spotty” history of arts organizations that are closely linked to one person: Martha Graham’s and Alvin Ailey’s companies both struggled to adapt after their deaths. According to Thomas, “When we oftentimes see challenges is when that particular leader moves on for whatever reason, because sometimes the donors and the board members do too.”\u003c/p>\n\u003cfigure id=\"attachment_10984837\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Baryshnikov.jpg\" alt=\"Mikhail Baryshnikov says he created his Baryshnikov Arts Center as a kind of thank-you to New York, the city that became his home after he defected from the Soviet Union in 1974.\" width=\"800\" height=\"374\" class=\"size-full wp-image-10984837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Baryshnikov.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Baryshnikov-400x187.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikhail Baryshnikov says he created his Baryshnikov Arts Center as a kind of thank-you to New York, the city that became his home after he defected from the Soviet Union in 1974. \u003ccite>(Bryan Derballa for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Georgiana Pickett and the rest of the Baryshnikov Arts Center staff think about that all the time. “We are trying to build something here that’s going to last without Misha,” she says. “You know, it is his vision and it is his legacy, and that \u003cem>is\u003c/em> the right word. But he’s not going to live forever. None of us are. And so we’re trying to build something here that’s going to last.”\u003c/p>\n\u003cp>\u003cstrong>‘It’s Nice To Go Back … But I’d Rather Look Forward’\u003c/strong>\u003c/p>\n\u003cp>At 67, Baryshnikov is still plenty active. He just made a \u003ca href=\"https://vimeo.com/118830140\">stylish ad\u003c/a> for the clothing company Rag & Bone, turning and curving his body in a kind of duet with street dancer Lil Buck, and he’s touring a \u003ca href=\"http://www.festivaldispoleto.com/2015/Teatro.asp?id_progetto=245&lang=eng\">solo theater piece\u003c/a> based on the writings of Russian dancer Vaslav Nijinsky.\u003c/p>\n\u003cp>He admits he’s always been restless for new challenges. “[The] unknown, it’s always much more intriguing and appealing. … Like [a] new dish in a restaurant which you never taste or a new music composition, a new film and a new book,” he says. “It’s so much more interesting than [going] back to … square one. … Sometimes it’s nice to go back, you know, but I’d rather look forward.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe Mikhail Baryshnikov was right about not wanting the center he founded 10 years ago to bear his name. As he puts it, what happens \u003cem>inside\u003c/em> the studio — that “fragile” art-making process — is much more important. \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=No+Vanity+Project%3A+At+Art+Center%2C+Baryshnikov+Tells+Artists%2C+%27You%27re+The+Boss%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Banksy's 'Dismaland' to be Dismantled And Sent To House Migrants In France",
"headTitle": "Banksy’s ‘Dismaland’ to be Dismantled And Sent To House Migrants In France | KQED",
"content": "\u003cp>After five weeks, Banksy’s “bemusement park” art exhibit, Dismaland, is closing permanently. What’s more, the anonymous artist \u003ca href=\"http://dismaland.co.uk/\" target=\"_blank\" rel=\"noopener\">announced on Dismaland’s website\u003c/a> that the structures and material from the park will be sent to a refugee camp in France.\u003c/p>\n\u003cp>The short announcement read, “All the timber and fixtures from Dismaland are being sent to the ‘jungle’ refugee camp near Calais to build shelters. No online tickets will be available.”\u003c/p>\n\u003cp>Some 5,000 displaced people are camped out in and around the French port there, NPR’s Leila Fadel reports from London.\u003c/p>\n\u003cp>Here’s more from Leila:\u003c/p>\n\u003cblockquote>\n\u003cp>“The park was billed as the U.K.’s most disappointing tourist attraction, and it was built purposely gloomy. Banksy, the anonymous English graffiti artist, said it was a family attraction that acknowledges inequality and impending catastrophe. \u003c/p>\n\u003cp>“But tonight it closes its doors. … It sold out every day it was open and some 150,000 people visited in the five-week run.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After an initial \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">online-ticketing snafu\u003c/a>, the park in Weston-super-Mare, England, was a huge success, bringing 20 million euros to the seaside town, \u003ca href=\"http://www.bbc.com/news/uk-england-bristol-34364808\" target=\"_blank\" rel=\"noopener\">according to the BBC\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Featuring work from more than 50 artists from around the world, the exhibit’s installations included a dead Cinderella and a grim reaper in a bumper car. \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">Banksy called the dark theme park\u003c/a> a “festival of art, amusements and entry-level anarchism.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">As we previously reported for the Two-Way\u003c/a>, the show was characterized by the subversive work for which Banksy is known. Other exhibits showed “a woman on a bench being attacked by seagulls, a killer whale emerging from a toilet to jump though a hoop, and an oil caliphate-themed mini golf course.”\u003c/p>\n\u003cblockquote>\n\u003cp>“In the \u003ca href=\"http://www.juxtapoz.com/current/october-2015-banksy-s-dismaland-exclusive-interview\" target=\"_blank\" rel=\"noopener\">October issue of Juxtapoz\u003c/a>, Banksy writes that the atmosphere of the park is that of a ‘neglected prison yard.’ It’s a ‘deadly serious attempt to assemble a show that takes stock of its generation,’ he writes.\u003c/p>\n\u003cp>“Set in a former pool yard compound, he says, the show is ‘scrappy, incoherent and self-obsessed, so maybe we’re halfway there.’\u003c/p>\n\u003cp>“While the name Dismaland is parodied from Disneyland, Banksy says the show isn’t meant to target Disney. He even banned anything Mickey-related from the website. What the show is supposed to be is an ‘art show for the 99 percent who would rather not be at an art show.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The park also pointed to Europe’s migrant crisis, with an installation showing a boat packed with migrants floating on a pond. Now, with park materials going to the refugee camp, the art will provide more concrete aid.\u003c/p>\n\u003cblockquote>\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=Banksy%27s+%27Dismaland%27+To+Be+Dismantled+And+Sent+To+House+Migrants+In+France&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After five weeks, Banksy’s “bemusement park” art exhibit, Dismaland, is closing permanently. What’s more, the anonymous artist \u003ca href=\"http://dismaland.co.uk/\" target=\"_blank\" rel=\"noopener\">announced on Dismaland’s website\u003c/a> that the structures and material from the park will be sent to a refugee camp in France.\u003c/p>\n\u003cp>The short announcement read, “All the timber and fixtures from Dismaland are being sent to the ‘jungle’ refugee camp near Calais to build shelters. No online tickets will be available.”\u003c/p>\n\u003cp>Some 5,000 displaced people are camped out in and around the French port there, NPR’s Leila Fadel reports from London.\u003c/p>\n\u003cp>Here’s more from Leila:\u003c/p>\n\u003cblockquote>\n\u003cp>“The park was billed as the U.K.’s most disappointing tourist attraction, and it was built purposely gloomy. Banksy, the anonymous English graffiti artist, said it was a family attraction that acknowledges inequality and impending catastrophe. \u003c/p>\n\u003cp>“But tonight it closes its doors. … It sold out every day it was open and some 150,000 people visited in the five-week run.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After an initial \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">online-ticketing snafu\u003c/a>, the park in Weston-super-Mare, England, was a huge success, bringing 20 million euros to the seaside town, \u003ca href=\"http://www.bbc.com/news/uk-england-bristol-34364808\" target=\"_blank\" rel=\"noopener\">according to the BBC\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Featuring work from more than 50 artists from around the world, the exhibit’s installations included a dead Cinderella and a grim reaper in a bumper car. \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">Banksy called the dark theme park\u003c/a> a “festival of art, amusements and entry-level anarchism.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/21/433476889/banksys-dismaland-living-up-to-its-name-with-ticket-debacle\" target=\"_blank\" rel=\"noopener\">As we previously reported for the Two-Way\u003c/a>, the show was characterized by the subversive work for which Banksy is known. Other exhibits showed “a woman on a bench being attacked by seagulls, a killer whale emerging from a toilet to jump though a hoop, and an oil caliphate-themed mini golf course.”\u003c/p>\n\u003cblockquote>\n\u003cp>“In the \u003ca href=\"http://www.juxtapoz.com/current/october-2015-banksy-s-dismaland-exclusive-interview\" target=\"_blank\" rel=\"noopener\">October issue of Juxtapoz\u003c/a>, Banksy writes that the atmosphere of the park is that of a ‘neglected prison yard.’ It’s a ‘deadly serious attempt to assemble a show that takes stock of its generation,’ he writes.\u003c/p>\n\u003cp>“Set in a former pool yard compound, he says, the show is ‘scrappy, incoherent and self-obsessed, so maybe we’re halfway there.’\u003c/p>\n\u003cp>“While the name Dismaland is parodied from Disneyland, Banksy says the show isn’t meant to target Disney. He even banned anything Mickey-related from the website. What the show is supposed to be is an ‘art show for the 99 percent who would rather not be at an art show.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The park also pointed to Europe’s migrant crisis, with an installation showing a boat packed with migrants floating on a pond. Now, with park materials going to the refugee camp, the art will provide more concrete aid.\u003c/p>\n\u003cblockquote>\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=Banksy%27s+%27Dismaland%27+To+Be+Dismantled+And+Sent+To+House+Migrants+In+France&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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