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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wes Craven, the legendary horror director behind the \u003cem>A Nightmare on Elm Street \u003c/em>and \u003cem>Scream \u003c/em>franchises, has died at 76.\u003c/p>\n\u003cp>His verified Twitter account \u003ca href=\"https://twitter.com/wescraven\" target=\"_blank\" rel=\"noopener\">posted about his death\u003c/a> Sunday evening. The Associated Press reports that he had brain cancer and died in his Los Angeles home, according to a statement from his family.\u003c/p>\n\u003cp>Craven’s early life didn’t presage a career in horror films. He was raised in a fundamentalist Baptist household, and went to a Christian college — one where, he \u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-wes-craven-retirement-plan-20100218-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times in 2010\u003c/a>, “you would be expelled if you were caught in a movie theater.”\u003c/p>\n\u003cp>Before his career as a horror movie maestro, Craven had a life in academia — he earned a master’s degree in philosophy and writing from Johns Hopkins University, and worked as an English professor. He also directed pornography before making his mark on the slasher genre.\u003c/p>\n\u003cp>In the ’70s and early ’80s, Craven directed \u003cem>Last House on the Left,\u003c/em> which quickly established his horror bona fides, followed by films including \u003cem>The Hills Have Eyes \u003c/em>and \u003cem>Swamp Thing. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, in 1984, he released \u003cem>A Nightmare On Elm Street — \u003c/em>starring a 21-year-old unknown named Johnny Depp.\u003c/p>\n\u003cp>With the release, the AP notes, Craven “was credited with reinventing the teen horror genre” — not to mention starting an enormously successful series.\u003c/p>\n\u003cp>The famously prolific director went on to launch the popular \u003cem>Scream \u003c/em>franchise in the ’90s. Like much of his work, the \u003cem>Scream \u003c/em>movies mixed slasher gore with wry humor. He departed from the horror genre to direct \u003cem>Music of the Heart, \u003c/em>a drama starring Meryl Streep, which was nominated for two Oscars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Most recently, he served as executive producer for \u003cem>The Girl in the Photographs, \u003c/em>which is debuting at the \u003ca href=\"http://tiff.net/festivals/festival15/midnightmadness/the-girl-in-the-photographs\" target=\"_blank\" rel=\"noopener\">Toronto Film Festival next month\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=Wes+Craven%2C+Master+Horror+Movie+Director%2C+Dies+At+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oliver Sacks, the famed neurologist and best-selling author of books such as \u003cem>The Man Who Mistook His Wife for a Hat\u003c/em>, died of cancer Sunday in New York City at the age of 82, a long-time friend and colleague has confirmed.\u003c/p>\n\u003cp>The London-born academic’s 1973 memoir\u003cem> Awakenings\u003c/em>, about his efforts to use the drug L-Dopa to bring patients who survived the 1917-1928 encephalitis epidemic out of their persistent catatonic state, was turned into a 1990 Hollywood film starring Robin Williams and Robert De Niro. He was the author of a dozen other books.\u003c/p>\n\u003cp>A friend and colleague, Orrin Devinsky, who is a professor of neurology at New York University, where Sacks worked for many years, emailed NPR to confirm the death.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/08/31/science/oliver-sacks-dies-at-82-neurologist-and-author-explored-the-brains-quirks.html?_r=0\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a medical doctor and a writer, Dr. Sacks achieved a level of popular renown rare among scientists. More than a million copies of his books are in print in the United States, his work was adapted for film and stage, and he received about 10,000 letters a year. (‘I invariably reply to people under 10, over 90 or in prison,’ he once said.)\u003c/p>\n\u003cp>“Dr. Sacks variously described his books and essays as case histories, pathographies, clinical tales or ‘neurological novels.’ His subjects included Madeleine J., a blind woman who perceived her hands only as useless ‘lumps of dough’; Jimmie G., a submarine radio operator whose amnesia stranded him for more than three decades in 1945; and Dr. P. — the man who mistook his wife for a hat — whose brain lost the ability to decipher what his eyes were seeing.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Author Lisa Appignanesi, writing in \u003ca href=\"http://www.theguardian.com/books/2015/aug/30/oliver-sacks-dies-aged-82-eminent-neurologist-author-awakenings\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> earlier this year, said of Sacks that he could transform his subjects into grand characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For all their lacks and losses, or what the medics call ‘deficits’, Sacks’s subjects have a capacious 19th-century humanity,” Appignanesi wrote. “No mere objects of hasty clinical notes, or articles in professional journals, his ‘patients’ are transformed by his interest, sympathetic gaze and ability to convey optimism in tragedy into grand characters who can transcend their conditions. They emerge as the very types of our neuroscientific age.”\u003c/p>\n\u003cp>In his later life, Sacks began studying hallucinations, partly inspired by his youthful experimentation with LSD. He wrote a book and conducted lectures on the subject. In an interview with Terry Gross, host of \u003ca href=\"http://www.npr.org/2013/06/21/193925787/oliver-sacks-exploring-how-hallucinations-happen\" target=\"_blank\" rel=\"noopener\">NPR’s Fresh Air\u003c/a>, in 2012, Sacks said:\u003c/p>\n\u003cp>“I was fascinated that one could have such perceptual changes, and also that they went with a certain feeling of significance, an almost numinous feeling. I’m strongly atheist by disposition, but nonetheless when this happened, I couldn’t help thinking, ‘That must be what the hand of God is like.’ ”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed-ssl.ted.com/talks/oliver_sacks_what_hallucination_reveals_about_our_minds.html\" width=\"560\" height=\"315\" frameborder=\"0\" scrolling=\"no\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacks did a TED Talk on the subject in 2009:\u003c/p>\n\u003cp>In an Op-Ed that appeared in the \u003cem>Times\u003c/em> in February, Sacks announced that what had started out as a melanoma in his eye had spread to his liver and that he didn’t have long to live.\u003c/p>\n\u003cp>“It is up to me now to choose how to live out the months that remain to me. I have to live in the richest, deepest, most productive way I can,” he wrote.\u003c/p>\n\u003cp>“I have been lucky enough to live past 80, and the 15 years allotted to me beyond Hume’s three score and five have been equally rich in work and love,” Sacks wrote. “In that time, I have published five books and completed an autobiography (rather longer than Hume’s few pages) to be published this spring; I have several other books nearly finished.”\u003c/p>\n\u003cp>And, in an opinion piece published in the \u003ca href=\"http://www.nytimes.com/2015/08/16/opinion/sunday/oliver-sacks-sabbath.html?smid=tw-nytimes\" target=\"_blank\" rel=\"noopener\">Times\u003c/a> earlier this month, Sacks wrote:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[N]ow, weak, short of breath, my once-firm muscles melted away by cancer, I find my thoughts, increasingly, not on the supernatural or spiritual, but on what is meant by living a good and worthwhile life — achieving a sense of peace within oneself. I find my thoughts drifting to the Sabbath, the day of rest, the seventh day of the week, and perhaps the seventh day of one’s life as well, when one can feel that one’s work is done, and one may, in good conscience, rest.” \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=Oliver+Sacks%2C+Renowned+Neurologist+And+Author%2C+Dies+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oliver Sacks, the famed neurologist and best-selling author of books such as \u003cem>The Man Who Mistook His Wife for a Hat\u003c/em>, died of cancer Sunday in New York City at the age of 82, a long-time friend and colleague has confirmed.\u003c/p>\n\u003cp>The London-born academic’s 1973 memoir\u003cem> Awakenings\u003c/em>, about his efforts to use the drug L-Dopa to bring patients who survived the 1917-1928 encephalitis epidemic out of their persistent catatonic state, was turned into a 1990 Hollywood film starring Robin Williams and Robert De Niro. He was the author of a dozen other books.\u003c/p>\n\u003cp>A friend and colleague, Orrin Devinsky, who is a professor of neurology at New York University, where Sacks worked for many years, emailed NPR to confirm the death.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/08/31/science/oliver-sacks-dies-at-82-neurologist-and-author-explored-the-brains-quirks.html?_r=0\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a medical doctor and a writer, Dr. Sacks achieved a level of popular renown rare among scientists. More than a million copies of his books are in print in the United States, his work was adapted for film and stage, and he received about 10,000 letters a year. (‘I invariably reply to people under 10, over 90 or in prison,’ he once said.)\u003c/p>\n\u003cp>“Dr. Sacks variously described his books and essays as case histories, pathographies, clinical tales or ‘neurological novels.’ His subjects included Madeleine J., a blind woman who perceived her hands only as useless ‘lumps of dough’; Jimmie G., a submarine radio operator whose amnesia stranded him for more than three decades in 1945; and Dr. P. — the man who mistook his wife for a hat — whose brain lost the ability to decipher what his eyes were seeing.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Author Lisa Appignanesi, writing in \u003ca href=\"http://www.theguardian.com/books/2015/aug/30/oliver-sacks-dies-aged-82-eminent-neurologist-author-awakenings\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> earlier this year, said of Sacks that he could transform his subjects into grand characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For all their lacks and losses, or what the medics call ‘deficits’, Sacks’s subjects have a capacious 19th-century humanity,” Appignanesi wrote. “No mere objects of hasty clinical notes, or articles in professional journals, his ‘patients’ are transformed by his interest, sympathetic gaze and ability to convey optimism in tragedy into grand characters who can transcend their conditions. They emerge as the very types of our neuroscientific age.”\u003c/p>\n\u003cp>In his later life, Sacks began studying hallucinations, partly inspired by his youthful experimentation with LSD. He wrote a book and conducted lectures on the subject. In an interview with Terry Gross, host of \u003ca href=\"http://www.npr.org/2013/06/21/193925787/oliver-sacks-exploring-how-hallucinations-happen\" target=\"_blank\" rel=\"noopener\">NPR’s Fresh Air\u003c/a>, in 2012, Sacks said:\u003c/p>\n\u003cp>“I was fascinated that one could have such perceptual changes, and also that they went with a certain feeling of significance, an almost numinous feeling. I’m strongly atheist by disposition, but nonetheless when this happened, I couldn’t help thinking, ‘That must be what the hand of God is like.’ ”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed-ssl.ted.com/talks/oliver_sacks_what_hallucination_reveals_about_our_minds.html\" width=\"560\" height=\"315\" frameborder=\"0\" scrolling=\"no\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacks did a TED Talk on the subject in 2009:\u003c/p>\n\u003cp>In an Op-Ed that appeared in the \u003cem>Times\u003c/em> in February, Sacks announced that what had started out as a melanoma in his eye had spread to his liver and that he didn’t have long to live.\u003c/p>\n\u003cp>“It is up to me now to choose how to live out the months that remain to me. I have to live in the richest, deepest, most productive way I can,” he wrote.\u003c/p>\n\u003cp>“I have been lucky enough to live past 80, and the 15 years allotted to me beyond Hume’s three score and five have been equally rich in work and love,” Sacks wrote. “In that time, I have published five books and completed an autobiography (rather longer than Hume’s few pages) to be published this spring; I have several other books nearly finished.”\u003c/p>\n\u003cp>And, in an opinion piece published in the \u003ca href=\"http://www.nytimes.com/2015/08/16/opinion/sunday/oliver-sacks-sabbath.html?smid=tw-nytimes\" target=\"_blank\" rel=\"noopener\">Times\u003c/a> earlier this month, Sacks wrote:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[N]ow, weak, short of breath, my once-firm muscles melted away by cancer, I find my thoughts, increasingly, not on the supernatural or spiritual, but on what is meant by living a good and worthwhile life — achieving a sense of peace within oneself. I find my thoughts drifting to the Sabbath, the day of rest, the seventh day of the week, and perhaps the seventh day of one’s life as well, when one can feel that one’s work is done, and one may, in good conscience, rest.” \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=Oliver+Sacks%2C+Renowned+Neurologist+And+Author%2C+Dies+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Generation Y Satire Meets Screwball Comedy In 'Mistress America'",
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"content": "\u003cp>Brooke is a New York spin-class instructor who plans to open a restaurant that will also be a hair salon and a community center, and furthermore has an idea for a TV show called \u003cem>Mistress America\u003c/em>. This sort of aspirational multi-tasking is also characteristic of the movie that shares the name of the imaginary TV program: It’s a contemporary Gen-Y satire, a throwback screwball comedy, and a notebook of random jottings by writer-director Noah Baumbach and writer-star Greta Gerwig, all stuffed into 84 minutes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6z8MCW16uZY\u003c/p>\n\u003cp>Gerwig, of course, plays Brooke, who is in some ways similar to the character she and Baumbach created for their previous collaboration, \u003cem>Frances Ha\u003c/em>. But Brooke is not this film’s central character. It’s Tracy (Lola Kirke), a Barnard freshman who’s quickly adopted and then abandoned by Brooke.\u003c/p>\n\u003cp>The college student also has goals. She wants to be a writer, but her first submission to the college literary society is ignored. In Brooke, Tracy sees the material for a fictional breakthrough. So she begins a short story, also titled \u003cem>Mistress America\u003c/em>. This text is written overnight, and becomes an issue between the two sisters-to-be almost immediately. None of the movie’s developments is given a moment to breathe.\u003c/p>\n\u003cp>That quickness is a hindrance to \u003cem>Mistress America\u003c/em>, in which relationships develop and decay at a pace that rivals Gerwig’s speedy delivery of the overly theatrical lines. The movie’s stilted centerpiece is a ’30s-Hollywood-style roundelay at a Connecticut mansion where Brooke has traveled to make a desperate financial pitch for her zeitgeist-defining eatery. She’s accompanied by Tracy and two of her classmates, and ultimately the crowd grows to eight chattering actors — including a cameo by soundtrack co-composer Dean Wareham, who also had a small part in Baumbach’s \u003cem>While We’re Young\u003c/em> earlier this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baumbach and Gerwig don’t go all Preston Sturges all the time, however. The movie also features passages of mumblecore-non-sequitur dialogue, a synth-rock score (by Wareham and Britta Phillips) that could be flirting with a copyright-infringement lawsuit from New Order and a poster for Claude Chabrol’s \u003cem>Les Biches\u003c/em>, recalling \u003cem>Frances Ha’s\u003c/em> French new wave homages.\u003c/p>\n\u003cp>The script does smartly throw Tracy and Brooke together. The former’s mother and the latter’s father are about to marry and make the young women stepsisters. Brooke is perhaps a decade older, affording her the big-sisterly authority to dispense advice. Given her overbearing personality, though, Brooke would take surely the same role even if she had just a few weeks on Tracy.\u003c/p>\n\u003cp>Some tiny episodes are telling. Brooke instructs Tracy to buy some pasta, and it turns out that the 18-year-old naif is lost in the supermarket. But other asides, such as a Faulkner-discussing book group whose members are all pregnant, are haphazard or pointless.\u003c/p>\n\u003cp>Baumbach and Gerwig actually rely on a psychic to keep the story moving, and — in an absurdly timely touch — make Brooke’s dreams subject to Greece’s economic crisis. There’s even a reference to female genital mutilation. In both details and tone, \u003cem>Mistress America\u003c/em> is a jumble.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In her small role in the recent \u003cem>Eden\u003c/em>, Gerwig was distractingly actorly in an otherwise naturalistic movie. While that seemed possibly the result of having an English-language part in a film that was mostly in French, she’s just as artificial here. Perhaps that quality should guide her and Baumbach’s next undertaking. They could forgo their taste for mocking today’s mores and commit to a screwball-comedy era period piece, Gerwig might seem more natural than she does in \u003cem>Mistress America.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brooke is a New York spin-class instructor who plans to open a restaurant that will also be a hair salon and a community center, and furthermore has an idea for a TV show called \u003cem>Mistress America\u003c/em>. This sort of aspirational multi-tasking is also characteristic of the movie that shares the name of the imaginary TV program: It’s a contemporary Gen-Y satire, a throwback screwball comedy, and a notebook of random jottings by writer-director Noah Baumbach and writer-star Greta Gerwig, all stuffed into 84 minutes.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6z8MCW16uZY'\n title='//www.youtube.com/embed/6z8MCW16uZY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gerwig, of course, plays Brooke, who is in some ways similar to the character she and Baumbach created for their previous collaboration, \u003cem>Frances Ha\u003c/em>. But Brooke is not this film’s central character. It’s Tracy (Lola Kirke), a Barnard freshman who’s quickly adopted and then abandoned by Brooke.\u003c/p>\n\u003cp>The college student also has goals. She wants to be a writer, but her first submission to the college literary society is ignored. In Brooke, Tracy sees the material for a fictional breakthrough. So she begins a short story, also titled \u003cem>Mistress America\u003c/em>. This text is written overnight, and becomes an issue between the two sisters-to-be almost immediately. None of the movie’s developments is given a moment to breathe.\u003c/p>\n\u003cp>That quickness is a hindrance to \u003cem>Mistress America\u003c/em>, in which relationships develop and decay at a pace that rivals Gerwig’s speedy delivery of the overly theatrical lines. The movie’s stilted centerpiece is a ’30s-Hollywood-style roundelay at a Connecticut mansion where Brooke has traveled to make a desperate financial pitch for her zeitgeist-defining eatery. She’s accompanied by Tracy and two of her classmates, and ultimately the crowd grows to eight chattering actors — including a cameo by soundtrack co-composer Dean Wareham, who also had a small part in Baumbach’s \u003cem>While We’re Young\u003c/em> earlier this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baumbach and Gerwig don’t go all Preston Sturges all the time, however. The movie also features passages of mumblecore-non-sequitur dialogue, a synth-rock score (by Wareham and Britta Phillips) that could be flirting with a copyright-infringement lawsuit from New Order and a poster for Claude Chabrol’s \u003cem>Les Biches\u003c/em>, recalling \u003cem>Frances Ha’s\u003c/em> French new wave homages.\u003c/p>\n\u003cp>The script does smartly throw Tracy and Brooke together. The former’s mother and the latter’s father are about to marry and make the young women stepsisters. Brooke is perhaps a decade older, affording her the big-sisterly authority to dispense advice. Given her overbearing personality, though, Brooke would take surely the same role even if she had just a few weeks on Tracy.\u003c/p>\n\u003cp>Some tiny episodes are telling. Brooke instructs Tracy to buy some pasta, and it turns out that the 18-year-old naif is lost in the supermarket. But other asides, such as a Faulkner-discussing book group whose members are all pregnant, are haphazard or pointless.\u003c/p>\n\u003cp>Baumbach and Gerwig actually rely on a psychic to keep the story moving, and — in an absurdly timely touch — make Brooke’s dreams subject to Greece’s economic crisis. There’s even a reference to female genital mutilation. In both details and tone, \u003cem>Mistress America\u003c/em> is a jumble.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In her small role in the recent \u003cem>Eden\u003c/em>, Gerwig was distractingly actorly in an otherwise naturalistic movie. While that seemed possibly the result of having an English-language part in a film that was mostly in French, she’s just as artificial here. Perhaps that quality should guide her and Baumbach’s next undertaking. They could forgo their taste for mocking today’s mores and commit to a screwball-comedy era period piece, Gerwig might seem more natural than she does in \u003cem>Mistress America.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Photographer Tony Gleaton died last Friday at the age of 67 after struggling with a particularly aggressive cancer for 18 months. He was working, signing prints, talking to museums (several have his work in their collections, including the Brooklyn Museum, the Field Museum of Natural History in Chicago, Harvard’s Peabody Museum of Natural History, and the Schomburg Center for Research in Black Culture in Harlem) and checking in with his friends right up to the last day. I admired his work, but also treasured his friendship.\u003c/p>\n\u003cp>For many years, Tony often showed up on my Los Angeles doorstep with a huge sack of dirty laundry slung over his shoulder and a box of contact sheets under one arm.\u003c/p>\n\u003cp>“Here,” he’d say, placing the box in my hands, and walking through the door. “Look at these. I’m gonna do some laundry, okay?”\u003c/p>\n\u003cp>While the laundry — several loads of it — would go through its cycles, Tony would tell my husband and me about his latest travels. In the late ’80s and through the mid-’90s, he spent a lot of time deep in the Costa Chica, a remote part of Mexico that’s about a three-hour drive south of Acapulco on the Pacific coast. The Costa Chica is a string of villages populated by descendants of slaves brought here by the Spanish in the 1500s through the 1700s. Tony liked to say “it’s hard to find, hard to get to and hard to live in.”\u003c/p>\n\u003cp>While he was there, he often stayed with the village priest, and slept on the floor. Villagers would hear \u003cem>el gigante\u003c/em> was back — Tony was about 6 foot 4 inches tall and weighed well over 300 pounds — and would shyly come with greetings and provisions from their own scant stock. “You eat a lot of rice and beans down there, and you’re glad to have them,” he explained.\u003c/p>\n\u003cfigure id=\"attachment_10915127\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg\" alt=\"Photographer Tony Gleaton.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-10915127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Tony Gleaton. \u003ccite>(Bruce Talamon/Courtesy of Lisa M. Gleaton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For several years he was a regular sight in the villages, amiably greeting residents with his fluent, American-inflected Spanish. They would pass him and smile as they watched their neighbors sit for portraits. A white-haired \u003cem>abuela\u003c/em> sits in a wooden chair in the doorway of her adobe, her arm protectively around one grandchild as another leans against her. A mahogany-skinned boy pauses spearfishing to be captured on film. A barber and his young client stare curiously into the camera. Three sisters bunch together on the steps, laughing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the poverty of Tony’s subjects, these are black and white photographs of tremendous grace and formality, much like court photographs of contemporary European royalty. And that is what Tony intended. His subjects tend to be people who are usually invisible to the rest of society, and who are outside of the mainstream aesthetic. He saw his work as a way to correct that marginalization, at least for a moment: beautiful portraits of beautiful people, taken with respect.\u003c/p>\n\u003cp>In the beginning, he got a lot of pushback. “\u003cem>Why\u003c/em> do you want to take our picture?” the villagers would ask, warily. “We have no money to pay you.”\u003c/p>\n\u003cp>When Tony would explain that he was documenting the African Diaspora around the world, and that they and he were both part of it, the conversation often became even harder.\u003c/p>\n\u003cp>“You want to take pictures of black people?” they’d ask.\u003c/p>\n\u003cp>“Yes, like you and me … ” he’d begin\u003c/p>\n\u003cp>“Well,” they’d respond, looking at his fair skin, light hair and blue-green eyes. “You’re not black. And we’re \u003cem>certainly\u003c/em> not black. So you need to do that somewhere else.”\u003c/p>\n\u003cp>Eventually he learned to refine his approach and tell the villagers he wanted people in the States to see how beautiful people in the villages were. “I just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.”\u003c/p>\n\u003cp>There is still stigma to acknowledging blackness in many parts of Mexico, and Tony’s work raised the profile of Latinos with what is sometimes called “the Third Root” — Spanish, Indian, African — in Latino culture. His work eventually expanded across the Americas to form an exhibit called \u003cem>Tengo Casi 500 Años (I Have Almost 500 Years) — Africa’s Legacy in Mexico\u003c/em> that explores the African presence in the Americas. He’s also chronicled black, Indian and Mexican cowboy culture, as well as life in American Samoa and the Mississippi Delta.\u003c/p>\n\u003cp>A native of Detroit, Tony moved with his policeman father and schoolteacher mother and his older brother to Los Angeles when he was 11 years old. After high school, he joined the Marines, and served as a field radio operator in Vietnam for three years. Vietnam is also where he first picked up a camera.\u003c/p>\n\u003cp>When Tony returned to Los Angeles, he enrolled at UCLA under the GI bill, but left soon after, determined to work as a fashion photographer. He lived a hand-to-mouth existence in New York as a photographer’s assistant, then as a photographer. But he eventually tired of that life and worked his way back across the country, in an oil field and on ranches, and at rodeos where the cowboys were black and Mexican and Native American. The Mexican cowboys told him about the hidden villages of the Costa Chica, and photographing the residents there became his best-known work.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nI just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.\u003cbr>\n\u003ccite>Photographer Tony Gleaton\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>But it was physically grueling and after about 15 years, Tony stopped. (“60 ain’t 35, kid.”) Instead, he began a series of landscapes. He took beautiful images of striking, isolated parts of the country that have historical significance to people of color in the U.S.: western trails that black pioneers had blazed, views of coasts first walked by native peoples, and wide-open fields that had once been settlements established by freed slaves.\u003c/p>\n\u003cp>They are luminous photographs with a haunting quality that keeps the viewer gazing at them much longer than they’d probably intended. Tony got those shots by sleeping in his car, sometimes parked by the side of the road, other times in the parking lot of a Wal-Mart or a cheap hotel. He traveled on a shoestring; money only mattered to him as fuel for his work. When his cameras weren’t on a trip, they were frequently in a trusted pawn shop, collateral for a loan—so he could fund his travels.\u003c/p>\n\u003cp>During his sojourns, the laundromat was not on the itinerary. Hence, his visits to out house soon after he finally arrived home. “Hey,” he’d say cheerfully, “I’m gonna smell a lot better when I leave here than I did when I came. By the way—do I have time to take a shower before dinner? And what are we having, anyway?”\u003c/p>\n\u003cp>It didn’t matter. It was always good to have him at the table, teasing and talking about the latest project. Dinner will be much quieter and less interesting from now on.\u003c/p>\n\u003cp>Tony’s wife Lisa was at his side when he died. In addition to Lisa, he’s survived by his stepson, Michael Jelinsky. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10915125,10915124,10915123,10915120,10915121,10915122\"]\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=Tony+Gleaton%3A+Photographing+The+African+Story+Across+The+Americas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photographer Tony Gleaton died last Friday at the age of 67 after struggling with a particularly aggressive cancer for 18 months. He was working, signing prints, talking to museums (several have his work in their collections, including the Brooklyn Museum, the Field Museum of Natural History in Chicago, Harvard’s Peabody Museum of Natural History, and the Schomburg Center for Research in Black Culture in Harlem) and checking in with his friends right up to the last day. I admired his work, but also treasured his friendship.\u003c/p>\n\u003cp>For many years, Tony often showed up on my Los Angeles doorstep with a huge sack of dirty laundry slung over his shoulder and a box of contact sheets under one arm.\u003c/p>\n\u003cp>“Here,” he’d say, placing the box in my hands, and walking through the door. “Look at these. I’m gonna do some laundry, okay?”\u003c/p>\n\u003cp>While the laundry — several loads of it — would go through its cycles, Tony would tell my husband and me about his latest travels. In the late ’80s and through the mid-’90s, he spent a lot of time deep in the Costa Chica, a remote part of Mexico that’s about a three-hour drive south of Acapulco on the Pacific coast. The Costa Chica is a string of villages populated by descendants of slaves brought here by the Spanish in the 1500s through the 1700s. Tony liked to say “it’s hard to find, hard to get to and hard to live in.”\u003c/p>\n\u003cp>While he was there, he often stayed with the village priest, and slept on the floor. Villagers would hear \u003cem>el gigante\u003c/em> was back — Tony was about 6 foot 4 inches tall and weighed well over 300 pounds — and would shyly come with greetings and provisions from their own scant stock. “You eat a lot of rice and beans down there, and you’re glad to have them,” he explained.\u003c/p>\n\u003cfigure id=\"attachment_10915127\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg\" alt=\"Photographer Tony Gleaton.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-10915127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Tony Gleaton. \u003ccite>(Bruce Talamon/Courtesy of Lisa M. Gleaton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For several years he was a regular sight in the villages, amiably greeting residents with his fluent, American-inflected Spanish. They would pass him and smile as they watched their neighbors sit for portraits. A white-haired \u003cem>abuela\u003c/em> sits in a wooden chair in the doorway of her adobe, her arm protectively around one grandchild as another leans against her. A mahogany-skinned boy pauses spearfishing to be captured on film. A barber and his young client stare curiously into the camera. Three sisters bunch together on the steps, laughing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the poverty of Tony’s subjects, these are black and white photographs of tremendous grace and formality, much like court photographs of contemporary European royalty. And that is what Tony intended. His subjects tend to be people who are usually invisible to the rest of society, and who are outside of the mainstream aesthetic. He saw his work as a way to correct that marginalization, at least for a moment: beautiful portraits of beautiful people, taken with respect.\u003c/p>\n\u003cp>In the beginning, he got a lot of pushback. “\u003cem>Why\u003c/em> do you want to take our picture?” the villagers would ask, warily. “We have no money to pay you.”\u003c/p>\n\u003cp>When Tony would explain that he was documenting the African Diaspora around the world, and that they and he were both part of it, the conversation often became even harder.\u003c/p>\n\u003cp>“You want to take pictures of black people?” they’d ask.\u003c/p>\n\u003cp>“Yes, like you and me … ” he’d begin\u003c/p>\n\u003cp>“Well,” they’d respond, looking at his fair skin, light hair and blue-green eyes. “You’re not black. And we’re \u003cem>certainly\u003c/em> not black. So you need to do that somewhere else.”\u003c/p>\n\u003cp>Eventually he learned to refine his approach and tell the villagers he wanted people in the States to see how beautiful people in the villages were. “I just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.”\u003c/p>\n\u003cp>There is still stigma to acknowledging blackness in many parts of Mexico, and Tony’s work raised the profile of Latinos with what is sometimes called “the Third Root” — Spanish, Indian, African — in Latino culture. His work eventually expanded across the Americas to form an exhibit called \u003cem>Tengo Casi 500 Años (I Have Almost 500 Years) — Africa’s Legacy in Mexico\u003c/em> that explores the African presence in the Americas. He’s also chronicled black, Indian and Mexican cowboy culture, as well as life in American Samoa and the Mississippi Delta.\u003c/p>\n\u003cp>A native of Detroit, Tony moved with his policeman father and schoolteacher mother and his older brother to Los Angeles when he was 11 years old. After high school, he joined the Marines, and served as a field radio operator in Vietnam for three years. Vietnam is also where he first picked up a camera.\u003c/p>\n\u003cp>When Tony returned to Los Angeles, he enrolled at UCLA under the GI bill, but left soon after, determined to work as a fashion photographer. He lived a hand-to-mouth existence in New York as a photographer’s assistant, then as a photographer. But he eventually tired of that life and worked his way back across the country, in an oil field and on ranches, and at rodeos where the cowboys were black and Mexican and Native American. The Mexican cowboys told him about the hidden villages of the Costa Chica, and photographing the residents there became his best-known work.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nI just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.\u003cbr>\n\u003ccite>Photographer Tony Gleaton\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>But it was physically grueling and after about 15 years, Tony stopped. (“60 ain’t 35, kid.”) Instead, he began a series of landscapes. He took beautiful images of striking, isolated parts of the country that have historical significance to people of color in the U.S.: western trails that black pioneers had blazed, views of coasts first walked by native peoples, and wide-open fields that had once been settlements established by freed slaves.\u003c/p>\n\u003cp>They are luminous photographs with a haunting quality that keeps the viewer gazing at them much longer than they’d probably intended. Tony got those shots by sleeping in his car, sometimes parked by the side of the road, other times in the parking lot of a Wal-Mart or a cheap hotel. He traveled on a shoestring; money only mattered to him as fuel for his work. When his cameras weren’t on a trip, they were frequently in a trusted pawn shop, collateral for a loan—so he could fund his travels.\u003c/p>\n\u003cp>During his sojourns, the laundromat was not on the itinerary. Hence, his visits to out house soon after he finally arrived home. “Hey,” he’d say cheerfully, “I’m gonna smell a lot better when I leave here than I did when I came. By the way—do I have time to take a shower before dinner? And what are we having, anyway?”\u003c/p>\n\u003cp>It didn’t matter. It was always good to have him at the table, teasing and talking about the latest project. Dinner will be much quieter and less interesting from now on.\u003c/p>\n\u003cp>Tony’s wife Lisa was at his side when he died. In addition to Lisa, he’s survived by his stepson, Michael Jelinsky. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A beautiful ballerina and a handsome prince are at the heart of the world’s most famous ballets. \u003cem>Sleeping Beauty. Swan Lake. The Nutcracker, \u003c/em>of course.\u003c/p>\n\u003cp>And at training grounds for future dancers, plenty of girls hope to someday wear the prima ballerina’s tutu.\u003c/p>\n\u003cp>But it’s become a challenge to find the boys who will one day form the other half of the \u003cem>pas de deux\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>‘Cooties And Stuff’\u003c/strong>\u003c/p>\n\u003cp>Canyon Concert Ballet in Fort Collins, Colo., is a sea of pink tutus and giggling little girls with their hair pulled into tight buns atop their heads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a single boy: Eight-year-old Finn Miller Vaughan, who danced in his first Nutcracker when he was 3 years old.\u003c/p>\n\u003cp>He says it can be kind of fun to be the only boy, but …\u003c/p>\n\u003cp>“Sometimes there’s a downside, ’cause the girls kind of tease you sometimes,” he says. “They say I have cooties and stuff, but I know that isn’t true.”\u003c/p>\n\u003cp>He also knows that the stigmas often attached to boys who take ballet aren’t true either.\u003c/p>\n\u003cp>“Usually they think of girls only taking ballet, like wearing dresses and stuff,” he says. “They always think that it’s weird and it’s not that cool.”\u003c/p>\n\u003cp>Canyon’s artistic director Daniel Simmons heard that a lot.\u003c/p>\n\u003cp>“I was from Texas — Southern Texas. Nobody dances in Texas,” he says. “Because in Southern Texas, you either were on the football team and you got to do everything or if you didn’t play football, you didn’t do anything.”\u003c/p>\n\u003cp>\u003cstrong>Sweetening The Deal For Male Dancers\u003c/strong>\u003c/p>\n\u003cp>Simmons has spent almost 60 years dancing. Looking back, he says he was lucky. Once he walked through the door of his first ballet studio, everyone made it easier.\u003c/p>\n\u003cp>“They gave me my shoes, they gave me my tights. They gave me everything I needed. I never bought anything,” he says. “And university is the same way.\u003c/p>\n\u003cp>“Some of the boys go through four years of college not paying a cent,” he says.\u003c/p>\n\u003cp>Every program needs more boys, says Valerie Madonia, director of the Colorado Ballet Academy — whether it’s the famed Joffrey ballet school in New York, or a hometown dance studio.\u003c/p>\n\u003cp>“Programs fight to get boys to come to their programs and offer them incredible financial packages, just to come to their summer workshops,” Madonia says.\u003c/p>\n\u003cp>“They might get full tuition. In many places, they get housing. Sometimes they even provide transportation, a stipend, a living expense.”\u003c/p>\n\u003cp>The programs know you can’t have a \u003cem>Nutcracker\u003c/em> without a Nutcracker prince.\u003c/p>\n\u003cfigure id=\"attachment_10912184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ballet4-edit_slide-d1fd64459af6c122dad9e4b87ee2f0e4bb973b36-800x533.jpg\" alt=\"Ballet master John Gardner (right) leads an all-boys class at the Colorado Ballet in Denver.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10912184\">\u003cfigcaption class=\"wp-caption-text\">Ballet master John Gardner (right) leads an all-boys class at the Colorado Ballet in Denver. \u003ccite>(Stacy Nick/KUNC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tougher Than Sports\u003c/strong>\u003c/p>\n\u003cp>Even the Colorado Ballet Academy’s intensive class this summer has fewer than a dozen boys participating — and 165 girls.\u003c/p>\n\u003cp>“The teachers have to be very creative, using one partner for maybe 7 girls,” Madonia says.\u003c/p>\n\u003cp>They also try to make the boys feel a little more boyish.\u003c/p>\n\u003cp>Before the plies, there’s a boys-only class that begins with push-ups, says ballet master John Gardner.\u003c/p>\n\u003cp>“You’re going to find out in your training in ballet — if you’ve done sports before — that ballet’s a lot more difficult,” he says.\u003c/p>\n\u003cp>That’s something 15-year-old Patrick Koenigs, who plays soccer \u003cem>and\u003c/em> does ballet, can relate to. He says he’s loved to dance since he was a little boy.\u003c/p>\n\u003cp>“My sister took dance classes when she was little and after class she would always come home and kind of teach me the moves,” he says. “I would always get excited for her to come home and kind of teach me what she had learned … I think that’s when I kind of fell in love with dance.”\u003c/p>\n\u003cp>\u003cstrong>Playing Catch-Up\u003c/strong>\u003c/p>\n\u003cp>Koenigs stands out in the class — he’s almost 6 feet tall, with a shock of red hair. But he only decided to commit to ballet three years ago. To make up for lost time, he’s training six days a week over the summer.\u003c/p>\n\u003cp>“Most girls start around like, 6 or 7, whereas most boys start at around 11,” Koenigs says. “And so it’s always hard because you have to do this catch-up.”\u003c/p>\n\u003cp>Not for Finn Miller Vaughan. He’s sure his opportunities are limitless.\u003c/p>\n\u003cp>“I’m hoping that I’ll get big parts as a boy when I’m older,” he says. “There’s a lot of girls who take ballet. But the boys, there’s only like 5 or 6, so all of them get a part.\u003c/p>\n\u003cp>“So that’s an advantage of being a boy,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But first, male dancers have to get past the teasing and walk through the ballet school door. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 KUNC-FM. To see more, visit \u003ca href=\"http://kunc.org\">http://kunc.org\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ballet+Programs+Look+For+More+Boys+To+Step+Up+To+The+Barre&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "It takes two to dance a \u003cem>pas de deux\u003c/em>, but demand for the male half of the \u003cem>duex\u003c/em> far outstrips supply. Many schools and ballet programs offer special classes and steep discounts to male students.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A beautiful ballerina and a handsome prince are at the heart of the world’s most famous ballets. \u003cem>Sleeping Beauty. Swan Lake. The Nutcracker, \u003c/em>of course.\u003c/p>\n\u003cp>And at training grounds for future dancers, plenty of girls hope to someday wear the prima ballerina’s tutu.\u003c/p>\n\u003cp>But it’s become a challenge to find the boys who will one day form the other half of the \u003cem>pas de deux\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>‘Cooties And Stuff’\u003c/strong>\u003c/p>\n\u003cp>Canyon Concert Ballet in Fort Collins, Colo., is a sea of pink tutus and giggling little girls with their hair pulled into tight buns atop their heads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a single boy: Eight-year-old Finn Miller Vaughan, who danced in his first Nutcracker when he was 3 years old.\u003c/p>\n\u003cp>He says it can be kind of fun to be the only boy, but …\u003c/p>\n\u003cp>“Sometimes there’s a downside, ’cause the girls kind of tease you sometimes,” he says. “They say I have cooties and stuff, but I know that isn’t true.”\u003c/p>\n\u003cp>He also knows that the stigmas often attached to boys who take ballet aren’t true either.\u003c/p>\n\u003cp>“Usually they think of girls only taking ballet, like wearing dresses and stuff,” he says. “They always think that it’s weird and it’s not that cool.”\u003c/p>\n\u003cp>Canyon’s artistic director Daniel Simmons heard that a lot.\u003c/p>\n\u003cp>“I was from Texas — Southern Texas. Nobody dances in Texas,” he says. “Because in Southern Texas, you either were on the football team and you got to do everything or if you didn’t play football, you didn’t do anything.”\u003c/p>\n\u003cp>\u003cstrong>Sweetening The Deal For Male Dancers\u003c/strong>\u003c/p>\n\u003cp>Simmons has spent almost 60 years dancing. Looking back, he says he was lucky. Once he walked through the door of his first ballet studio, everyone made it easier.\u003c/p>\n\u003cp>“They gave me my shoes, they gave me my tights. They gave me everything I needed. I never bought anything,” he says. “And university is the same way.\u003c/p>\n\u003cp>“Some of the boys go through four years of college not paying a cent,” he says.\u003c/p>\n\u003cp>Every program needs more boys, says Valerie Madonia, director of the Colorado Ballet Academy — whether it’s the famed Joffrey ballet school in New York, or a hometown dance studio.\u003c/p>\n\u003cp>“Programs fight to get boys to come to their programs and offer them incredible financial packages, just to come to their summer workshops,” Madonia says.\u003c/p>\n\u003cp>“They might get full tuition. In many places, they get housing. Sometimes they even provide transportation, a stipend, a living expense.”\u003c/p>\n\u003cp>The programs know you can’t have a \u003cem>Nutcracker\u003c/em> without a Nutcracker prince.\u003c/p>\n\u003cfigure id=\"attachment_10912184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/ballet4-edit_slide-d1fd64459af6c122dad9e4b87ee2f0e4bb973b36-800x533.jpg\" alt=\"Ballet master John Gardner (right) leads an all-boys class at the Colorado Ballet in Denver.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10912184\">\u003cfigcaption class=\"wp-caption-text\">Ballet master John Gardner (right) leads an all-boys class at the Colorado Ballet in Denver. \u003ccite>(Stacy Nick/KUNC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tougher Than Sports\u003c/strong>\u003c/p>\n\u003cp>Even the Colorado Ballet Academy’s intensive class this summer has fewer than a dozen boys participating — and 165 girls.\u003c/p>\n\u003cp>“The teachers have to be very creative, using one partner for maybe 7 girls,” Madonia says.\u003c/p>\n\u003cp>They also try to make the boys feel a little more boyish.\u003c/p>\n\u003cp>Before the plies, there’s a boys-only class that begins with push-ups, says ballet master John Gardner.\u003c/p>\n\u003cp>“You’re going to find out in your training in ballet — if you’ve done sports before — that ballet’s a lot more difficult,” he says.\u003c/p>\n\u003cp>That’s something 15-year-old Patrick Koenigs, who plays soccer \u003cem>and\u003c/em> does ballet, can relate to. He says he’s loved to dance since he was a little boy.\u003c/p>\n\u003cp>“My sister took dance classes when she was little and after class she would always come home and kind of teach me the moves,” he says. “I would always get excited for her to come home and kind of teach me what she had learned … I think that’s when I kind of fell in love with dance.”\u003c/p>\n\u003cp>\u003cstrong>Playing Catch-Up\u003c/strong>\u003c/p>\n\u003cp>Koenigs stands out in the class — he’s almost 6 feet tall, with a shock of red hair. But he only decided to commit to ballet three years ago. To make up for lost time, he’s training six days a week over the summer.\u003c/p>\n\u003cp>“Most girls start around like, 6 or 7, whereas most boys start at around 11,” Koenigs says. “And so it’s always hard because you have to do this catch-up.”\u003c/p>\n\u003cp>Not for Finn Miller Vaughan. 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"content": "\u003cp>Midway through Peter Bogdanovich’s enjoyably giddy romantic comedy, a smitten Manhattan playwright (Will Forte) treats a pretty young woman (British actress Imogen Poots) to a lesson in ancient history, when “women were treated like chattel” but “prostitutes were sacred.” You’ll have to see the movie to learn whether the scribe knows that he’s talking to an aspiring actress who moonlights as a lady of the night. And \u003cem>She’s Funny That Way\u003c/em> is worth a look even if you flinch at the prospect of spending more time around older dudes frothing over golden-hearted hookers with middle-school vocal pitch. For one thing, the call girl in question, Izzy, is played by Poots with charm and brio marred only by a Brooklyn accent that’s cooked within an inch of its life. For another, Izzy, who goes by Glo when working, holds the narrative reins. This is her story, and though I can’t defend the worn-out concept — from call girl to movie star with help from sugar dad — she gets to tell it her way. Look and learn, Woody.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qp4gomOKJnY\u003c/p>\n\u003cp>Not that Owen Wilson’s Arnold, freshly arrived from Los Angeles to direct the playwright’s latest effort, is much more than a leerier modification of his addled screenwriter in Allen’s \u003cem>Midnight in Paris\u003c/em>. We’re supposed to find Arnold adorable even though he orders up Glo like pizza for a pre-rehearsal tryst in his hotel room while fielding calls from his family back home. Toggling naughty boy with jolly uncle, Arnold offers Glo $30,000 to follow her bliss. It seems Bogdanovich himself, \u003ca href=\"http://creativescreenwriting.com/shes-funny-that-way-peter-bogdanovich/\" target=\"_blank\" rel=\"noopener\">he says\u003c/a>, did something like this, and depending on where you stand on the jaded scale, Arnold is either an unreconstructed cad or a sincere fellow afflicted with the usual Biblical sins. Turns out he has spread his largesse around other credulous damsels — all of which comes to light when Izzy auditions for a plum role opposite Arnold’s wife Delta (the excellent Kathryn Hahn) in the play.\u003c/p>\n\u003cp>The rest is the expected romp around a glammed-up Manhattan while the plot, mirroring the play, trips over Arnold’s prior conquests and picks up a well-oiled cast of sinners and sinned-against. Notable among them are Rhys Ifans as a leading man with the hots for Delta and Jennifer Aniston, wearing someone else’s hair and pleased as punch for the opportunity to play a nasty therapist with a knack for extravagantly spilling trade secrets where she shouldn’t.\u003c/p>\n\u003cp>Following his early success with \u003cem>The Last Picture Show\u003c/em> and \u003cem>What’s Up, Doc?\u003c/em>, Bogdanovitch has lurched through the very definition of a checkered career as an actor, Hollywood author and director, some of whose flops have matured into cult movies or critical darlings. Arriving almost 15 years after Bogdanovich’s unjustly ignored \u003cem>The Cat’s Meow\u003c/em>, \u003cem>She’s Funny That Way\u003c/em> is a trifle. But it’s a sweetly nostalgic trifle, especially if you’re fond of classic screwball complete with overlapping quippage delivered at breakneck speed. The dizzy script, which is none the worse for having kicked around for years, was written by Bogdanovich with his former wife Louise Stratten. A running joke about squirrels and nuts doesn’t have much traction, but it pays sweet homage to a favorite movie by the great Ernst Lubitsch. Bogdanovich has thrown in cameos for buddies and another ex, all of whom you’ll be pleased to see whether or not their presence is justified. A fond reference to \u003cem>Breakfast at Tiffany’s\u003c/em> feels similarly tossed off, but that’s part of the movie’s raffish charm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>She’s Funny That Way\u003c/em>comes across as put together with the oh-why-not abandon of a man with not much to lose and an abiding love of Golden Age comedy, whether there remains a market for it or not. What I like about the movie is its seasoned wisdom and kindness about the tragicomic asymmetry of love, or lust, or some combination of the two that, if we’re lucky, gets all of us into trouble at some point in our lives. Izzy may be an innocent who “believes in pink, and in kissing a lot,” and perhaps as a character she doesn’t add up to much more than the sum of male special pleading for the appeal of firm young flesh. But she knows how to look after herself with or without some guy decades her senior running interference, and she’s a good soul with a philosophy only a cynic could sneer at. Wherever you’re happy, she tells a hack interviewer played by Ileana Douglas, that’s your place. Like her, Bogdanovich has knocked about the world of ambition. Like her, too, he may have arrived at the conclusion that playing in his own sandbox is the tops.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Midway through Peter Bogdanovich’s enjoyably giddy romantic comedy, a smitten Manhattan playwright (Will Forte) treats a pretty young woman (British actress Imogen Poots) to a lesson in ancient history, when “women were treated like chattel” but “prostitutes were sacred.” You’ll have to see the movie to learn whether the scribe knows that he’s talking to an aspiring actress who moonlights as a lady of the night. And \u003cem>She’s Funny That Way\u003c/em> is worth a look even if you flinch at the prospect of spending more time around older dudes frothing over golden-hearted hookers with middle-school vocal pitch. For one thing, the call girl in question, Izzy, is played by Poots with charm and brio marred only by a Brooklyn accent that’s cooked within an inch of its life. For another, Izzy, who goes by Glo when working, holds the narrative reins. This is her story, and though I can’t defend the worn-out concept — from call girl to movie star with help from sugar dad — she gets to tell it her way. Look and learn, Woody.\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/Qp4gomOKJnY'\n title='//www.youtube.com/embed/Qp4gomOKJnY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not that Owen Wilson’s Arnold, freshly arrived from Los Angeles to direct the playwright’s latest effort, is much more than a leerier modification of his addled screenwriter in Allen’s \u003cem>Midnight in Paris\u003c/em>. We’re supposed to find Arnold adorable even though he orders up Glo like pizza for a pre-rehearsal tryst in his hotel room while fielding calls from his family back home. Toggling naughty boy with jolly uncle, Arnold offers Glo $30,000 to follow her bliss. It seems Bogdanovich himself, \u003ca href=\"http://creativescreenwriting.com/shes-funny-that-way-peter-bogdanovich/\" target=\"_blank\" rel=\"noopener\">he says\u003c/a>, did something like this, and depending on where you stand on the jaded scale, Arnold is either an unreconstructed cad or a sincere fellow afflicted with the usual Biblical sins. Turns out he has spread his largesse around other credulous damsels — all of which comes to light when Izzy auditions for a plum role opposite Arnold’s wife Delta (the excellent Kathryn Hahn) in the play.\u003c/p>\n\u003cp>The rest is the expected romp around a glammed-up Manhattan while the plot, mirroring the play, trips over Arnold’s prior conquests and picks up a well-oiled cast of sinners and sinned-against. Notable among them are Rhys Ifans as a leading man with the hots for Delta and Jennifer Aniston, wearing someone else’s hair and pleased as punch for the opportunity to play a nasty therapist with a knack for extravagantly spilling trade secrets where she shouldn’t.\u003c/p>\n\u003cp>Following his early success with \u003cem>The Last Picture Show\u003c/em> and \u003cem>What’s Up, Doc?\u003c/em>, Bogdanovitch has lurched through the very definition of a checkered career as an actor, Hollywood author and director, some of whose flops have matured into cult movies or critical darlings. Arriving almost 15 years after Bogdanovich’s unjustly ignored \u003cem>The Cat’s Meow\u003c/em>, \u003cem>She’s Funny That Way\u003c/em> is a trifle. But it’s a sweetly nostalgic trifle, especially if you’re fond of classic screwball complete with overlapping quippage delivered at breakneck speed. The dizzy script, which is none the worse for having kicked around for years, was written by Bogdanovich with his former wife Louise Stratten. A running joke about squirrels and nuts doesn’t have much traction, but it pays sweet homage to a favorite movie by the great Ernst Lubitsch. Bogdanovich has thrown in cameos for buddies and another ex, all of whom you’ll be pleased to see whether or not their presence is justified. A fond reference to \u003cem>Breakfast at Tiffany’s\u003c/em> feels similarly tossed off, but that’s part of the movie’s raffish charm.\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>\u003cem>She’s Funny That Way\u003c/em>comes across as put together with the oh-why-not abandon of a man with not much to lose and an abiding love of Golden Age comedy, whether there remains a market for it or not. What I like about the movie is its seasoned wisdom and kindness about the tragicomic asymmetry of love, or lust, or some combination of the two that, if we’re lucky, gets all of us into trouble at some point in our lives. Izzy may be an innocent who “believes in pink, and in kissing a lot,” and perhaps as a character she doesn’t add up to much more than the sum of male special pleading for the appeal of firm young flesh. But she knows how to look after herself with or without some guy decades her senior running interference, and she’s a good soul with a philosophy only a cynic could sneer at. Wherever you’re happy, she tells a hack interviewer played by Ileana Douglas, that’s your place. Like her, Bogdanovich has knocked about the world of ambition. Like her, too, he may have arrived at the conclusion that playing in his own sandbox is the tops.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The movie theater chain Regal Cinemas, which is run by Regal Entertainment Group, has announced that it is checking the bags of theatergoers.\u003c/p>\n\u003cp>In its \u003ca href=\"http://www.regmovies.com/Theatres/Admittance-Procedures\" target=\"_blank\" rel=\"noopener\">admittance procedures online\u003c/a>, Regal says that any bag or backpack is subject to inspection:\u003c/p>\n\u003cblockquote>\n\u003cp>“Security issues have become a daily part of our lives in America. Regal Entertainment Group wants our customers and staff to feel comfortable and safe when visiting or working in our theatres. … We acknowledge that this procedure can cause some inconvenience and that it is not without flaws, but hope these are minor in comparison to increased safety.”\u003c/p>\n\u003c/blockquote>\n\u003cp>NPR’s Andrew Limbong tells our Newscast unit that the change comes after two unrelated security incidents this summer in movie theaters in \u003ca href=\"npr.org/sections/thetwo-way/2015/07/24/425901057/two-teachers-hailed-as-heroes-in-louisiana-shooting?live=1\">Lafayette, La.\u003c/a>, and \u003ca href=\"npr.org/sections/thetwo-way/2015/08/05/429776299/attack-at-tennessee-movie-theater-leaves-three-injured-one-suspect-dead?live=1\" target=\"_blank\" rel=\"noopener\">Antioch, Tenn.\u003c/a>:\u003c/p>\n\u003cp>“There was a screening of \u003cem>Trainwreck\u003c/em> back in July where a man shot and killed two people before killing himself. And another incident earlier this month in Tennessee where a man attacked people in a theater with an ax and pepper spray.”\u003c/p>\n\u003cp>Regal, which says it owns more than 560 theaters across the U.S., notes that the new policy isn’t perfect. Its website states, “We acknowledge that this procedure can cause some inconvenience and that it is not without flaws, but hope these are minor in comparison to increased safety.” \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=Catching+A+Movie%3F+Regal+Cinemas+May+Be+Checking+Your+Bag&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“I can make you legit.”\u003c/p>\n\u003cp>That’s the promise Jerry Heller, a veteran rock manager, makes to Eric “Eazy-E” Wright in an early scene in \u003cem>Straight Outta Compton\u003c/em>, a mostly exhilarating biopic about L.A. hip-hop legends N.W.A. The phrase missing from the end of that first sentence is “…with the white people who hold all the power in the music industry.” It doesn’t need to be said. Even with talents as electric as Andre Young and O’Shea Jackson — future icons we’d come to know as Dr. Dre and Ice Cube, respectively — N.W.A. cannot cross over to the mainstream without getting past white gatekeepers. And if that means signing on with a backroom operator like Heller, the trade-off seems reasonable to five young men looking for a way out of the ghetto. They can renegotiate later.\u003c/p>\n\u003cp>Named after N.W.A.’s breakthrough album, the sprawling \u003cem>Straight Outta Compton\u003c/em> is about many things: A watershed moment in music history, past and present racial tensions connecting Rodney King’s L.A. to Michael Brown’s Ferguson, the power of “reality rap” to tell uncomfortable truths and incite controversy. But above all, the film celebrates the All-American values of hard work and entrepreneurship. It pays tribute to black artists who made \u003cem>themselves\u003c/em> legit, years after millions of album sales and sold-out arena shows failed to bring them real control of their careers. How do we know they’re legit now? Dr. Dre and Ice Cube produced this major-studio movie as a monument to their achievements.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-F5WcFPDzko\u003c/p>\n\u003cp>There’s no getting around the self-mythologizing aspect of a biopic produced by its subjects and the way it papers over less heroic facts about these men, like \u003ca href=\"http://gawker.com/remember-when-dr-dre-bashed-a-female-journalists-face-1721368450\">Dre’s assault on journalist Dee Barnes\u003c/a>. It would not be that cynical to call \u003cem>Straight Outta Compton\u003c/em> an act of brand extension or a gauche attempt by hip-hop royalty to shape their cultural legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Director F. Gary Gray, whose ties to Ice Cube go back to their 1995 comedy hit \u003cem>Friday\u003c/em>, starts with Eazy (Jason Mitchell) running drugs in Compton before taking his experience and business acumen into a more legitimate field. Looking for money to realize their musical ambitions, Dre (Corey Hawkins), a virtuosic club DJ, and Ice Cube (O’Shea Jackson, Jr., Cube’s real-life son), a ferocious lyricist and rapper, turn to Eazy for funding and get more than they bargained for. Along with two other members, MC Ren (Aldis Hodge) and DJ Yella (Neil Brown, Jr.), they find some success in launching the Ruthless Records label, but it isn’t until Eazy strikes a deal with Heller that N.W.A. can get the distribution and promotion necessary to propel them to crossover superstardom.\u003c/p>\n\u003cp>The recording of the \u003cem>Straight Outta Compton\u003c/em> album and the cross-country bacchanal that followed is by far the strongest section of the film. Gray and his exuberant young cast seize on the joys of creative collaboration and the purity of art as an end in itself, before larger cultural forces take hold and yank them in unwelcome directions. The tour crackles with thrilling volatility, with the highs of live shows and hotel-room orgies checked by the lows of media scolds and First Amendment conflicts over the rage-filled anthem “F–k The Police.” Even when they’re tossed into a paddy wagon in Detroit for allegedly instigating a riot, they’re able to see it all as a grand cross-country adventure.\u003c/p>\n\u003cp>Once the group splinters off into rival factions, due mainly to Eazy and Heller’s partnership freezing the others out, \u003cem>Straight Outta Compton\u003c/em> sags a little from a formlessness which plagues most artist biopics. In two-and-a-half hours, the film dutifully ticks off the musicians’ greatest moments: The founding of Death Row Records with the pathological Suge Knight (played by cigar-chomping fury by R. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I can make you legit.”\u003c/p>\n\u003cp>That’s the promise Jerry Heller, a veteran rock manager, makes to Eric “Eazy-E” Wright in an early scene in \u003cem>Straight Outta Compton\u003c/em>, a mostly exhilarating biopic about L.A. hip-hop legends N.W.A. The phrase missing from the end of that first sentence is “…with the white people who hold all the power in the music industry.” It doesn’t need to be said. Even with talents as electric as Andre Young and O’Shea Jackson — future icons we’d come to know as Dr. Dre and Ice Cube, respectively — N.W.A. cannot cross over to the mainstream without getting past white gatekeepers. And if that means signing on with a backroom operator like Heller, the trade-off seems reasonable to five young men looking for a way out of the ghetto. They can renegotiate later.\u003c/p>\n\u003cp>Named after N.W.A.’s breakthrough album, the sprawling \u003cem>Straight Outta Compton\u003c/em> is about many things: A watershed moment in music history, past and present racial tensions connecting Rodney King’s L.A. to Michael Brown’s Ferguson, the power of “reality rap” to tell uncomfortable truths and incite controversy. But above all, the film celebrates the All-American values of hard work and entrepreneurship. It pays tribute to black artists who made \u003cem>themselves\u003c/em> legit, years after millions of album sales and sold-out arena shows failed to bring them real control of their careers. How do we know they’re legit now? Dr. Dre and Ice Cube produced this major-studio movie as a monument to their achievements.\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/-F5WcFPDzko'\n title='//www.youtube.com/embed/-F5WcFPDzko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s no getting around the self-mythologizing aspect of a biopic produced by its subjects and the way it papers over less heroic facts about these men, like \u003ca href=\"http://gawker.com/remember-when-dr-dre-bashed-a-female-journalists-face-1721368450\">Dre’s assault on journalist Dee Barnes\u003c/a>. It would not be that cynical to call \u003cem>Straight Outta Compton\u003c/em> an act of brand extension or a gauche attempt by hip-hop royalty to shape their cultural legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Director F. Gary Gray, whose ties to Ice Cube go back to their 1995 comedy hit \u003cem>Friday\u003c/em>, starts with Eazy (Jason Mitchell) running drugs in Compton before taking his experience and business acumen into a more legitimate field. Looking for money to realize their musical ambitions, Dre (Corey Hawkins), a virtuosic club DJ, and Ice Cube (O’Shea Jackson, Jr., Cube’s real-life son), a ferocious lyricist and rapper, turn to Eazy for funding and get more than they bargained for. Along with two other members, MC Ren (Aldis Hodge) and DJ Yella (Neil Brown, Jr.), they find some success in launching the Ruthless Records label, but it isn’t until Eazy strikes a deal with Heller that N.W.A. can get the distribution and promotion necessary to propel them to crossover superstardom.\u003c/p>\n\u003cp>The recording of the \u003cem>Straight Outta Compton\u003c/em> album and the cross-country bacchanal that followed is by far the strongest section of the film. Gray and his exuberant young cast seize on the joys of creative collaboration and the purity of art as an end in itself, before larger cultural forces take hold and yank them in unwelcome directions. The tour crackles with thrilling volatility, with the highs of live shows and hotel-room orgies checked by the lows of media scolds and First Amendment conflicts over the rage-filled anthem “F–k The Police.” Even when they’re tossed into a paddy wagon in Detroit for allegedly instigating a riot, they’re able to see it all as a grand cross-country adventure.\u003c/p>\n\u003cp>Once the group splinters off into rival factions, due mainly to Eazy and Heller’s partnership freezing the others out, \u003cem>Straight Outta Compton\u003c/em> sags a little from a formlessness which plagues most artist biopics. In two-and-a-half hours, the film dutifully ticks off the musicians’ greatest moments: The founding of Death Row Records with the pathological Suge Knight (played by cigar-chomping fury by R. Marcos Taylor), the solo successes of Cube’s \u003cem>AmeriKKKa’s Most Wanted\u003c/em> and Dre’s \u003cem>The Chronic\u003c/em>, the “eureka” moment of Dre and Snoop Dogg stumbling on the keyboard riff for “Nuthin’ But a ‘G’ Thang.” As in life, getting back to N.W.A. proves difficult for the movie to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But if any film should be forgiven its excesses, it’s \u003cem>Straight Outta Compton\u003c/em>, which is about the clashes and camaraderie among men whose unruliness sparked a cultural moment that was beyond their ability — and their willingness — to contain. Their story is too big for a single movie, but Gray’s high-gloss abridgment latches on powerfully to their hard-won independence and self-actualization, suggesting that true freedom is more difficult to achieve than success. For the members of N.W.A., escaping the slums is easier than getting out of a contract.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the dozen or two regulars at The Salt Well in the San Fernando Valley, watching the house band is like stepping into a musical time machine, where everyone has aged but the song remains the same. By any standard, Ricki and the Flash rates as a better-than-average bar band, fronted by Ricki Randazzo—a stage name that now almost poignantly reflects a long-forgotten dream of rock superstardom. They perform serviceable covers of Tom Petty and U2, and, with some reluctance, bust out the occasional song from the last few years to get the handful of under-40 people in the crowd on the dance floor. The lead guitarist has a thing for Ricki, but it mostly manifests itself as banter on stage and a casual romp on lonely nights, so long as it doesn’t get serious. Playing at The Salt Well isn’t a springboard to anything, but the last stop on the tour, a pleasant venue for a band slipping into obsolescence.\u003c/p>\n\u003cp>Written by Diablo Cody and directed by Jonathan Demme, \u003cem>Ricki and the Flash\u003c/em> could be called \u003cem>Ragged Glory\u003c/em> if Neil Young, Demme’s friend and frequent collaborator, hadn’t already taken the title for himself. In front of fossilized barflies, Ricki can get away with her black-leather wardrobe, her side braids and raccoon eyeliner, and her assortment of regrettable tattoos and tacky costume jewelry. But in the harsh light of day, she’s just an odd-looking supermarket cashier named Linda Brummell, collecting $450 a week while a supervisor half her age asks her to smile more. As played by Meryl Streep, who can now add “play guitar” to the long list of things she can do as an actress, Ricki lives every day with the consequences of a choice she made long ago. She wanted to be a Chrissie Hynde. It didn’t work out for her.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x8PVK6Hky2A\u003c/p>\n\u003cp>The film \u003cem>Ricki and the Flash\u003c/em> looks like poor Linda Brummell inside a multiplex still humming with superhero movies, remakes, and remakes of superhero movies, but it also possesses her abundance of personality and soul. Against the machine-tooled blockbusters of summer, Demme’s film stands out for its modesty of scale and its abiding interest in the untidy business of being human. To put it in rock terms, Demme and Cody don’t care about putting on the perfect show; they care about putting on a \u003cem>great\u003c/em> show, which can accommodate some looseness in the set.\u003c/p>\n\u003cp>Shortly after establishing the sad parameters of Ricki’s life, which currently teeters on financial bankruptcy, the film whisks her away to Indianapolis, where her grown daughter, Julie (played by Streep’s own talented child, Mamie Gummer) is reeling from a sudden divorce. Since leaving her own husband Pete (Kevin Kline) to pursue her musical ambitions, Ricki has been a woefully inconsistent presence in the lives of Julie and her two sons, Adam (Nick Westrate) and Josh (Sebastian Stan), who have long since taken to calling Pete’s current wife (Audra McDonald) their mother. She looks out of place among the snobs in Pete’s gated community and she scarcely does better with Julie and her other children, who use the opportunity to hammer her for past and present wrongs. Meanwhile, back in California, her guitarist Greg (Rick Springfield) seeks the type of deep commitment that she’s been historically reluctant to give.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Ricki and the Flash\u003c/em> doesn’t behave like an ordinary musical drama, in that it’s willing to abandon the music for the entire second act (and then some) to allow Ricki to work out the tension with her family. Their grievances with her are absolutely legitimate, as are the reasons she’s become estranged from them: poverty, geographical distance, another woman assuming her role. Typical of many Demme films, there are no villains here, just the natural conflict between fundamentally decent people whose choices have put them at odds with one another.\u003c/p>\n\u003cp>Cody’s script has the funny, feminist kick expected of the writer behind \u003cem>Juno\u003c/em> and \u003cem>Young Adult\u003c/em>, but like Charlize Theron in \u003cem>Young Adult\u003c/em>, Ricki’s attempt to cling to her rebellious past carries a devastating cost. She’s both resilient for keeping the dream alive and a sad relic of another era, and Cody and Demme present her as the hot mess she is. Streep plays Ricki as lovably oblivious, but also wry and caring when the occasion calls for it, and earnest in her desire for some sliver of redemption.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ricki and the Flash \u003c/em>favors conventional dramatic payoffs, but at least they’re hard-won, with Ricki fighting her way through class differences, ugly family history, and humiliation to find her place. Demme’s humanity and optimism has been a hallmark of his work from \u003cem>Melvin and Howard\u003c/em> to \u003cem>Rachel Getting Married\u003c/em>. A warmth radiates through \u003cem>Ricki and the Flash \u003c/em>like a song sung true. A film that adores its characters this much is sure to be adored in kind.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the dozen or two regulars at The Salt Well in the San Fernando Valley, watching the house band is like stepping into a musical time machine, where everyone has aged but the song remains the same. By any standard, Ricki and the Flash rates as a better-than-average bar band, fronted by Ricki Randazzo—a stage name that now almost poignantly reflects a long-forgotten dream of rock superstardom. They perform serviceable covers of Tom Petty and U2, and, with some reluctance, bust out the occasional song from the last few years to get the handful of under-40 people in the crowd on the dance floor. The lead guitarist has a thing for Ricki, but it mostly manifests itself as banter on stage and a casual romp on lonely nights, so long as it doesn’t get serious. Playing at The Salt Well isn’t a springboard to anything, but the last stop on the tour, a pleasant venue for a band slipping into obsolescence.\u003c/p>\n\u003cp>Written by Diablo Cody and directed by Jonathan Demme, \u003cem>Ricki and the Flash\u003c/em> could be called \u003cem>Ragged Glory\u003c/em> if Neil Young, Demme’s friend and frequent collaborator, hadn’t already taken the title for himself. In front of fossilized barflies, Ricki can get away with her black-leather wardrobe, her side braids and raccoon eyeliner, and her assortment of regrettable tattoos and tacky costume jewelry. But in the harsh light of day, she’s just an odd-looking supermarket cashier named Linda Brummell, collecting $450 a week while a supervisor half her age asks her to smile more. As played by Meryl Streep, who can now add “play guitar” to the long list of things she can do as an actress, Ricki lives every day with the consequences of a choice she made long ago. She wanted to be a Chrissie Hynde. It didn’t work out for her.\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/x8PVK6Hky2A'\n title='//www.youtube.com/embed/x8PVK6Hky2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film \u003cem>Ricki and the Flash\u003c/em> looks like poor Linda Brummell inside a multiplex still humming with superhero movies, remakes, and remakes of superhero movies, but it also possesses her abundance of personality and soul. Against the machine-tooled blockbusters of summer, Demme’s film stands out for its modesty of scale and its abiding interest in the untidy business of being human. To put it in rock terms, Demme and Cody don’t care about putting on the perfect show; they care about putting on a \u003cem>great\u003c/em> show, which can accommodate some looseness in the set.\u003c/p>\n\u003cp>Shortly after establishing the sad parameters of Ricki’s life, which currently teeters on financial bankruptcy, the film whisks her away to Indianapolis, where her grown daughter, Julie (played by Streep’s own talented child, Mamie Gummer) is reeling from a sudden divorce. Since leaving her own husband Pete (Kevin Kline) to pursue her musical ambitions, Ricki has been a woefully inconsistent presence in the lives of Julie and her two sons, Adam (Nick Westrate) and Josh (Sebastian Stan), who have long since taken to calling Pete’s current wife (Audra McDonald) their mother. She looks out of place among the snobs in Pete’s gated community and she scarcely does better with Julie and her other children, who use the opportunity to hammer her for past and present wrongs. Meanwhile, back in California, her guitarist Greg (Rick Springfield) seeks the type of deep commitment that she’s been historically reluctant to give.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ricki and the Flash\u003c/em> doesn’t behave like an ordinary musical drama, in that it’s willing to abandon the music for the entire second act (and then some) to allow Ricki to work out the tension with her family. Their grievances with her are absolutely legitimate, as are the reasons she’s become estranged from them: poverty, geographical distance, another woman assuming her role. Typical of many Demme films, there are no villains here, just the natural conflict between fundamentally decent people whose choices have put them at odds with one another.\u003c/p>\n\u003cp>Cody’s script has the funny, feminist kick expected of the writer behind \u003cem>Juno\u003c/em> and \u003cem>Young Adult\u003c/em>, but like Charlize Theron in \u003cem>Young Adult\u003c/em>, Ricki’s attempt to cling to her rebellious past carries a devastating cost. She’s both resilient for keeping the dream alive and a sad relic of another era, and Cody and Demme present her as the hot mess she is. Streep plays Ricki as lovably oblivious, but also wry and caring when the occasion calls for it, and earnest in her desire for some sliver of redemption.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ricki and the Flash \u003c/em>favors conventional dramatic payoffs, but at least they’re hard-won, with Ricki fighting her way through class differences, ugly family history, and humiliation to find her place. Demme’s humanity and optimism has been a hallmark of his work from \u003cem>Melvin and Howard\u003c/em> to \u003cem>Rachel Getting Married\u003c/em>. A warmth radiates through \u003cem>Ricki and the Flash \u003c/em>like a song sung true. A film that adores its characters this much is sure to be adored in kind.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Reggie Watts, Man of Many Voices, Improvised His Way to Success",
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"content": "\u003cp>\u003cem>As part of a series called\u003c/em> \u003ca href=\"http://www.npr.org/series/274340198/my-big-break\" target=\"_blank\" rel=\"noopener\">My Big Break\u003c/a>\u003cem>, \u003c/em>All Things Considered\u003cem> is collecting stories of triumph, big and small. These are the moments when everything seems to click, and people leap forward into their careers\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Reggie Watts is a one-man show. He beatboxes, imitates and impersonates with incredible accuracy — and, equipped with just a keyboard, looping pedals and a microphone, he crafts one-of-a-kind musical pieces.\u003c/p>\n\u003cp>Watts calls his style of entertainment “disinformationist.” He disorients his audience, sometimes talking nonsense and switching seamlessly between accents — all improvised on the spot.\u003c/p>\n\u003cp>“When I get on stage, I really just like to listen to what’s happening in the moment,” Watts says. “And because I’ve been doing it long enough, I definitely have structures that I can lean on. I know that I can make a beat. And if I make a beat, then I can create a bass line. One thing inspires the next thing, I really just wait until I’m on stage to be inspired to do whatever it is I’m doing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BdHK_r9RXTc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watts says a couple of his childhood heroes helped him find his many voices. It all started back when he was a kid watching \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“I can remember Victor Borge being a guest on \u003cem>Sesame Street\u003c/em> and Victor Borge being this legendary musical comedian,” Watts says. “He was a virtuosic piano player and he would do these popping sounds with his mouth.”\u003c/p>\n\u003cp>Watts says he was transfixed to the television.\u003c/p>\n\u003cp>“I would see him perform — playing piano, a brainiac of a musician, but using it to an absurd scale,” he says.\u003c/p>\n\u003cp>Then there was the 1984 film \u003cem>Police Academy\u003c/em>, featuring Michael Winslow, the so-called “Man of 10,000 Sound Effects.”\u003c/p>\n\u003cp>“I heard the human voice as capable of imitating machines and other people’s voices and accents and also music — and that’s really where it all came from,” he says. “And I would practice incessantly, as I still do … It’s mostly just me walking around, making noises, oftentimes annoying other people.”\u003c/p>\n\u003cp>For Watts, he says his big break is all thanks to comedian Conan O’Brien.\u003c/p>\n\u003cp>He got an unexpected call from his manager, saying O’Brien wanted him to be the opening act for his 2010 \u003cem>Legally Prohibited From Being Funny on Television Tour. \u003c/em>\u003c/p>\n\u003cp>Watts says he was shocked that O’Brien knew who he was.\u003c/p>\n\u003cp>“I was just like, ‘What? Why?’ ” Watts says. “But I remember running into Conan for the first time, he came into my dressing room and he was like, the sweetest guy … Things changed from that point on.”\u003c/p>\n\u003cp>Watts is now the band leader of \u003cem>The Late, Late Show\u003c/em> \u003cem>with James Cordon\u003c/em> on CBS.\u003c/p>\n\u003cp>He’s mastered his craft of disinformationist entertainment. Yet he still thinks back to his childhood days, growing up as an only child and making up voices for his action figures to pass the time.\u003c/p>\n\u003cp>He says not that much has changed.\u003c/p>\n\u003cp>“It’s still me just screwing around, having a fun, super-imaginative time,” he says. “Really the only thing you have to do is just have a good time and engage with people and don’t be a jerk. That’s it.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=428415046&mediaId=428432071\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Reggie+Watts%2C+Man+Of+Many+Voices%2C+Improvised+His+Way+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of a series called\u003c/em> \u003ca href=\"http://www.npr.org/series/274340198/my-big-break\" target=\"_blank\" rel=\"noopener\">My Big Break\u003c/a>\u003cem>, \u003c/em>All Things Considered\u003cem> is collecting stories of triumph, big and small. These are the moments when everything seems to click, and people leap forward into their careers\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Reggie Watts is a one-man show. He beatboxes, imitates and impersonates with incredible accuracy — and, equipped with just a keyboard, looping pedals and a microphone, he crafts one-of-a-kind musical pieces.\u003c/p>\n\u003cp>Watts calls his style of entertainment “disinformationist.” He disorients his audience, sometimes talking nonsense and switching seamlessly between accents — all improvised on the spot.\u003c/p>\n\u003cp>“When I get on stage, I really just like to listen to what’s happening in the moment,” Watts says. “And because I’ve been doing it long enough, I definitely have structures that I can lean on. I know that I can make a beat. And if I make a beat, then I can create a bass line. One thing inspires the next thing, I really just wait until I’m on stage to be inspired to do whatever it is I’m doing.”\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/BdHK_r9RXTc'\n title='//www.youtube.com/embed/BdHK_r9RXTc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watts says a couple of his childhood heroes helped him find his many voices. It all started back when he was a kid watching \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“I can remember Victor Borge being a guest on \u003cem>Sesame Street\u003c/em> and Victor Borge being this legendary musical comedian,” Watts says. “He was a virtuosic piano player and he would do these popping sounds with his mouth.”\u003c/p>\n\u003cp>Watts says he was transfixed to the television.\u003c/p>\n\u003cp>“I would see him perform — playing piano, a brainiac of a musician, but using it to an absurd scale,” he says.\u003c/p>\n\u003cp>Then there was the 1984 film \u003cem>Police Academy\u003c/em>, featuring Michael Winslow, the so-called “Man of 10,000 Sound Effects.”\u003c/p>\n\u003cp>“I heard the human voice as capable of imitating machines and other people’s voices and accents and also music — and that’s really where it all came from,” he says. “And I would practice incessantly, as I still do … It’s mostly just me walking around, making noises, oftentimes annoying other people.”\u003c/p>\n\u003cp>For Watts, he says his big break is all thanks to comedian Conan O’Brien.\u003c/p>\n\u003cp>He got an unexpected call from his manager, saying O’Brien wanted him to be the opening act for his 2010 \u003cem>Legally Prohibited From Being Funny on Television Tour. \u003c/em>\u003c/p>\n\u003cp>Watts says he was shocked that O’Brien knew who he was.\u003c/p>\n\u003cp>“I was just like, ‘What? Why?’ ” Watts says. “But I remember running into Conan for the first time, he came into my dressing room and he was like, the sweetest guy … Things changed from that point on.”\u003c/p>\n\u003cp>Watts is now the band leader of \u003cem>The Late, Late Show\u003c/em> \u003cem>with James Cordon\u003c/em> on CBS.\u003c/p>\n\u003cp>He’s mastered his craft of disinformationist entertainment. Yet he still thinks back to his childhood days, growing up as an only child and making up voices for his action figures to pass the time.\u003c/p>\n\u003cp>He says not that much has changed.\u003c/p>\n\u003cp>“It’s still me just screwing around, having a fun, super-imaginative time,” he says. “Really the only thing you have to do is just have a good time and engage with people and don’t be a jerk. That’s it.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=428415046&mediaId=428432071\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Reggie+Watts%2C+Man+Of+Many+Voices%2C+Improvised+His+Way+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Late in a series of bruising televised debates on ABC tied to the momentous Republican and Democratic Conventions of 1968, Gore Vidal beamed one of his supercilious side-eyes at William F. Buckley Jr. and called him a “crypto-fascist.” Buckley bared his teeth, branded Vidal a “queer” and threatened to rearrange his face.\u003c/p>\n\u003cp>You may be wondering why upper-crust privilege failed to inhibit a couple of brilliant intellectuals from carrying on like 8-year-olds in the schoolyard. More likely, you’re unfazed because trading insults in public is commonplace these days. That, in part, is the point of \u003cem>Best of Enemies\u003c/em>, an ambitious documentary that frames the faceoff between these two massively entitled egos as a milestone in the intertwined histories of television, politics and culture. When their habitual repartee — a barbed counterpoint to the politely “balanced” musings of NBC’s nightly newscast, \u003cem>The Huntley-Brinkley Report \u003c/em>— tipped over into pure vitriol, filmmakers Morgan Neville and Robert Gordon argue, it set the stage for the media wars of today.\u003c/p>\n\u003cp>That may be a reach, if only because television punditry remains pretty anodyne in the 21st century, while few, if any of today’s radio shock jocks and Internet screamers can be compared to Buckley or Vidal. Genuine public intellectuals are an endangered species these days, and may indeed have become extinct with the recent death of Christopher Hitchens, who appears posthumously in the film as one of many amused and bemused witnesses to the Vidal-Buckley feud.\u003c/p>\n\u003cp>Equal parts brash entertainment and cultural alarm bell, \u003cem>Best of Enemies\u003c/em> bowls along smartly, with clips from the tapes spiced with intelligently snarky asides from friends and adversaries of the two men, and spliced with archival footage of the tumultuous times they addressed. Trailing badly in the ratings, ABC went out on a limb and paired up two pundits from opposite ends of the political spectrum, who could speak to the swelling conflicts of race, class and gender at home, and American imperialism abroad, without reducing them to pap.\u003c/p>\n\u003cp>As living-room wars go, theirs was without parallel. On the face of it the two men were as irreconcilably different as they could be. Buckley was a devout Catholic traditionalist who founded the modern conservative movement and palled around with Ronald Reagan. Vidal was an acclaimed writer of historical novels, a liberal and a champion of sexual freedom whose satirical novel, \u003cem>Myra Breckinridge\u003c/em>, was made into a magnificently terrible movie with Raquel Welch as a trans-gendered siren who visits mayhem on Hollywood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watching the two men square off, though, it seems likely that their intense competition escalated less from their differences than from what they shared. Both came from gilded families. Both spoke in complete, gold-plated paragraphs; both were given to apocalyptic pronouncements. Today they’d be avid Tweeters, but Buckley and Vidal also shared an erudite sense of history, a breadth of vision and the sense of a common culture that’s all but lost in today’s single-issue wars. Each in his way was a libertarian maverick unable to fit neatly into his party of affiliation. Both had tried and failed to win public office — only to succeed brilliantly in the brashly populist medium that gave them their bully pulpit.\u003c/p>\n\u003cp>“We gave them their money’s worth tonight,” whispered Vidal to a visibly shaken Buckley after eviscerating him in the war of words that brought their mutual antipathy to a head. It wasn’t just a show: as every witness in the film agrees, the two men — de facto sibling rivals — genuinely loathed one another.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The epic climax is fun to watch, but nothing good came of it. There was suit and countersuit, and years later, the otherwise irrepressible Buckley was reduced to silence when someone mentioned it. Was he humiliated because he lost, or because he felt he had disgraced himself? \u003cem>Best of Enemies\u003c/em> doesn’t try for a glib answer, but watching this enormously entertaining movie (Neville also made the wonderful back-up singer doc, \u003cem>20 Feet From Stardom\u003c/em>), I felt complicit in a spectacle, a gladiator fight that probably should never have gone public. \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=In+1968%2C+The+%27Best+Of+Enemies%27+Faced+Off+In+A+Brutal%2C+Televised+Feud&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Late in a series of bruising televised debates on ABC tied to the momentous Republican and Democratic Conventions of 1968, Gore Vidal beamed one of his supercilious side-eyes at William F. Buckley Jr. and called him a “crypto-fascist.” Buckley bared his teeth, branded Vidal a “queer” and threatened to rearrange his face.\u003c/p>\n\u003cp>You may be wondering why upper-crust privilege failed to inhibit a couple of brilliant intellectuals from carrying on like 8-year-olds in the schoolyard. More likely, you’re unfazed because trading insults in public is commonplace these days. That, in part, is the point of \u003cem>Best of Enemies\u003c/em>, an ambitious documentary that frames the faceoff between these two massively entitled egos as a milestone in the intertwined histories of television, politics and culture. When their habitual repartee — a barbed counterpoint to the politely “balanced” musings of NBC’s nightly newscast, \u003cem>The Huntley-Brinkley Report \u003c/em>— tipped over into pure vitriol, filmmakers Morgan Neville and Robert Gordon argue, it set the stage for the media wars of today.\u003c/p>\n\u003cp>That may be a reach, if only because television punditry remains pretty anodyne in the 21st century, while few, if any of today’s radio shock jocks and Internet screamers can be compared to Buckley or Vidal. Genuine public intellectuals are an endangered species these days, and may indeed have become extinct with the recent death of Christopher Hitchens, who appears posthumously in the film as one of many amused and bemused witnesses to the Vidal-Buckley feud.\u003c/p>\n\u003cp>Equal parts brash entertainment and cultural alarm bell, \u003cem>Best of Enemies\u003c/em> bowls along smartly, with clips from the tapes spiced with intelligently snarky asides from friends and adversaries of the two men, and spliced with archival footage of the tumultuous times they addressed. Trailing badly in the ratings, ABC went out on a limb and paired up two pundits from opposite ends of the political spectrum, who could speak to the swelling conflicts of race, class and gender at home, and American imperialism abroad, without reducing them to pap.\u003c/p>\n\u003cp>As living-room wars go, theirs was without parallel. On the face of it the two men were as irreconcilably different as they could be. Buckley was a devout Catholic traditionalist who founded the modern conservative movement and palled around with Ronald Reagan. Vidal was an acclaimed writer of historical novels, a liberal and a champion of sexual freedom whose satirical novel, \u003cem>Myra Breckinridge\u003c/em>, was made into a magnificently terrible movie with Raquel Welch as a trans-gendered siren who visits mayhem on Hollywood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watching the two men square off, though, it seems likely that their intense competition escalated less from their differences than from what they shared. Both came from gilded families. Both spoke in complete, gold-plated paragraphs; both were given to apocalyptic pronouncements. Today they’d be avid Tweeters, but Buckley and Vidal also shared an erudite sense of history, a breadth of vision and the sense of a common culture that’s all but lost in today’s single-issue wars. Each in his way was a libertarian maverick unable to fit neatly into his party of affiliation. Both had tried and failed to win public office — only to succeed brilliantly in the brashly populist medium that gave them their bully pulpit.\u003c/p>\n\u003cp>“We gave them their money’s worth tonight,” whispered Vidal to a visibly shaken Buckley after eviscerating him in the war of words that brought their mutual antipathy to a head. It wasn’t just a show: as every witness in the film agrees, the two men — de facto sibling rivals — genuinely loathed one another.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The epic climax is fun to watch, but nothing good came of it. There was suit and countersuit, and years later, the otherwise irrepressible Buckley was reduced to silence when someone mentioned it. Was he humiliated because he lost, or because he felt he had disgraced himself? \u003cem>Best of Enemies\u003c/em> doesn’t try for a glib answer, but watching this enormously entertaining movie (Neville also made the wonderful back-up singer doc, \u003cem>20 Feet From Stardom\u003c/em>), I felt complicit in a spectacle, a gladiator fight that probably should never have gone public. \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=In+1968%2C+The+%27Best+Of+Enemies%27+Faced+Off+In+A+Brutal%2C+Televised+Feud&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Almost three years ago, Joshua Oppenheimer unveiled \u003cem>The Act of Killing\u003c/em>, a startling documentary about the 1965-66 mass killings in Indonesia. Its audacious ploy was to encourage unrepentant murderers to re-enact their deeds in the form of scenes from action flicks, a tactic that was extremely well-received by Western critics.\u003c/p>\n\u003cp>The gimmick yielded some sequences that were cathartic, but others that were at best distracting. At times, the film trivialized a subject that Oppenheimer clearly took very seriously. Widespread acclaim for the documentary seemed to reflect its emphasis on something movie reviewers know well — movies — over the considerably more obscure subject of Indonesian history.\u003c/p>\n\u003cp>Of course, both Westerners and Indonesians have good reason to know little about the horrific episode broached by Oppenheimer’s films: It’s a taboo subject, one the Denmark-based American filmmaker is nearly alone in addressing. He does so much more effectively in \u003cem>The Look of Silence\u003c/em>, which uses members of a single family to represent the millions of victims and survivors.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HtAohrVK7qc\u003c/p>\n\u003cp>Obeying the strictures of cinema verite, the director generally avoids historical context. But he couldn’t resist the clip that opens \u003cem>The Look of Silence\u003c/em>: a 1967 TV news report in which an NBC correspondent exults in the “purge” of communists from Indonesia. He interviews a local man who says, with earnest absurdity, that some of the alleged communists actually asked to be killed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The nationwide murder spree did target members of the Indonesian Communist Party, but also labor unionists, ethnic Chinese, and people — whether Muslim or Hindu — who were considered irreligious. Among the victims was Ramli, extraordinary not for who he was, but because his killing was witnessed and his name and fate became widely known.\u003c/p>\n\u003cp>Oppenheimer and his Indonesian colleagues — many of them listed in the credits as “anonymous” — filmed Ramli’s executioners a decade ago, early in the process that led to the two films. Later, the director met Ramli’s brother, pseudonymously identified in the movie as Adi. The younger man had been born two years after Ramli’s death as a sort of substitute son for his parents, who are now over 100.\u003c/p>\n\u003cp>Adi is a middle-aged optician whose profession provides the movie with a ready-made metaphor. The camera observes Adi as he simultaneously evaluates people for glasses and asks them about the slaughter. He is quiet but determined, and phenomenally unafraid. “Joshua never asked questions this deep,” complains one former death-squad leader in response to Adi’s detailed interrogation.\u003c/p>\n\u003cp>\u003cem>The Look of Silence\u003c/em> is a subtler film than its predecessor, but the madness of the killers comes across, notably in their repeated admissions of drinking victims’ blood. “America taught us to hate communists,” explains one veteran of the grisly campaign, but once the slayings began they were guided as much by superstition and tribal conflict as by any claimed American involvement. A man blithely recalls how he brought a severed head to a Chinese-owned coffee shop to scare the proprietors. Such atavistic behavior has nothing to do with geopolitics.\u003c/p>\n\u003cp>The movie sticks closely to Adi and his parents. It even includes a scene of the family’s senile patriarch, confused and fearful, that was shot by Adi himself. But in searching for information about the brother he never knew, Adi opens the door to a much broader investigation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A former death-squad commander who became a prominent local politician warns that, if troublemakers don’t stop asking questions, another round of slayings will occur. The opposite of that prophecy seems more likely true: that only the challenges of brave people like Adi and uncompromising movies like \u003cem>The Look of Silence\u003c/em> can immunize Indonesia against another internecine slaughter.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost three years ago, Joshua Oppenheimer unveiled \u003cem>The Act of Killing\u003c/em>, a startling documentary about the 1965-66 mass killings in Indonesia. Its audacious ploy was to encourage unrepentant murderers to re-enact their deeds in the form of scenes from action flicks, a tactic that was extremely well-received by Western critics.\u003c/p>\n\u003cp>The gimmick yielded some sequences that were cathartic, but others that were at best distracting. At times, the film trivialized a subject that Oppenheimer clearly took very seriously. Widespread acclaim for the documentary seemed to reflect its emphasis on something movie reviewers know well — movies — over the considerably more obscure subject of Indonesian history.\u003c/p>\n\u003cp>Of course, both Westerners and Indonesians have good reason to know little about the horrific episode broached by Oppenheimer’s films: It’s a taboo subject, one the Denmark-based American filmmaker is nearly alone in addressing. He does so much more effectively in \u003cem>The Look of Silence\u003c/em>, which uses members of a single family to represent the millions of victims and survivors.\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/HtAohrVK7qc'\n title='//www.youtube.com/embed/HtAohrVK7qc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Obeying the strictures of cinema verite, the director generally avoids historical context. But he couldn’t resist the clip that opens \u003cem>The Look of Silence\u003c/em>: a 1967 TV news report in which an NBC correspondent exults in the “purge” of communists from Indonesia. He interviews a local man who says, with earnest absurdity, that some of the alleged communists actually asked to be killed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The nationwide murder spree did target members of the Indonesian Communist Party, but also labor unionists, ethnic Chinese, and people — whether Muslim or Hindu — who were considered irreligious. Among the victims was Ramli, extraordinary not for who he was, but because his killing was witnessed and his name and fate became widely known.\u003c/p>\n\u003cp>Oppenheimer and his Indonesian colleagues — many of them listed in the credits as “anonymous” — filmed Ramli’s executioners a decade ago, early in the process that led to the two films. Later, the director met Ramli’s brother, pseudonymously identified in the movie as Adi. The younger man had been born two years after Ramli’s death as a sort of substitute son for his parents, who are now over 100.\u003c/p>\n\u003cp>Adi is a middle-aged optician whose profession provides the movie with a ready-made metaphor. The camera observes Adi as he simultaneously evaluates people for glasses and asks them about the slaughter. He is quiet but determined, and phenomenally unafraid. “Joshua never asked questions this deep,” complains one former death-squad leader in response to Adi’s detailed interrogation.\u003c/p>\n\u003cp>\u003cem>The Look of Silence\u003c/em> is a subtler film than its predecessor, but the madness of the killers comes across, notably in their repeated admissions of drinking victims’ blood. “America taught us to hate communists,” explains one veteran of the grisly campaign, but once the slayings began they were guided as much by superstition and tribal conflict as by any claimed American involvement. A man blithely recalls how he brought a severed head to a Chinese-owned coffee shop to scare the proprietors. Such atavistic behavior has nothing to do with geopolitics.\u003c/p>\n\u003cp>The movie sticks closely to Adi and his parents. It even includes a scene of the family’s senile patriarch, confused and fearful, that was shot by Adi himself. But in searching for information about the brother he never knew, Adi opens the door to a much broader investigation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A former death-squad commander who became a prominent local politician warns that, if troublemakers don’t stop asking questions, another round of slayings will occur. The opposite of that prophecy seems more likely true: that only the challenges of brave people like Adi and uncompromising movies like \u003cem>The Look of Silence\u003c/em> can immunize Indonesia against another internecine slaughter.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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