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"content": "\u003cp>A lot of what — and who — has made us laugh over the past two generations can be traced back, one way or another, to \u003cem>National Lampoon\u003c/em>. John Hughes and Harold Ramis, the filmmakers, humorists like P.J. O’ Rourke, classic movies — \u003cem>Animal House\u003c/em>, \u003cem>Caddyshack\u003c/em> and \u003cem>National Lampoon’s Vacation\u003c/em>, not to mention John Belushi, Gilda Radner, and Christopher Guest.\u003c/p>\n\u003cp>From 1970 to 1998, the magazine that began as a spinoff from the \u003cem>Harvard Lampoon\u003c/em> became one of the first multi-media content providers — a phrase its founders would probably cringe to hear — creating books and magazines, radio, films, albums and stage shows distinguished by deliberate raunchiness and studied outrageousness.\u003c/p>\n\u003cp>Some of its founding talents are still active. But many burned out. Douglas Tirola is the director of \u003cem>Drunk Stoned Brilliant Dead\u003c/em>, a new film about the \u003cem>Lampoon\u003c/em> and its influence. He tells NPR’s Scott Simon that there was an honesty to the \u003cem>Lampoon\u003c/em>‘s shocking aesthetic. “In the ’70s, especially, when there were so many magazines … magazines were looking for attention, when someone’s running to the train or walking down the street, so the covers really had to stick out .. ‘Please buy this magazine,’ because that’s really what it’s all about.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/443492746/443691972\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On some of the \u003cem>Lampoon\u003c/em>‘s signature articles — the few we can mention here\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Volkswagen ad — in the early ’70s, there was apparently a Volkswagen ad that showed a Volkswagen Beetle bug floating in water. And this was an ad that looked very much like it, but the tagline said, “If Teddy Kennedy drove a Volkswagen, he would be President now,” referring to [the fatal bridge accident at] Chappaquiddick … the ad was saying because Volkswagens float, that nobody would’ve died.\u003c/p>\n\u003cp>They would go after anybody, and there was a danger in that, and there was an unpredictability about that. And when you open the Lampoon, on one page they’re killing Nixon, and on the next page they’re going after a sacred cow on the Left like Che Guevara. I think [that] made the whole experience more exciting.\u003c/p>\n\u003cp>\u003cstrong>On the legacy of the \u003cem>National Lampoon Radio Hour\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Pretty much everything in comedy at this point owes something to the \u003cem>Lampoon\u003c/em>, whether they realize it or not. I think they just broke down a lot of barriers in a mainstream way. It’s speaking to a national audience and there’s still a little residue of that today — I think some of it, people may be focused on the \u003cem>Animal House\u003c/em> aspect and just the idea of teenaged boys and college boys and nudity and sex and things like that in a way you hadn’t seen it before \u003cem>Animal House\u003c/em>, but I think there’s just something more, that they represent freedom. They represent a freedom that maybe we don’t even have as much as we wish we did today.\u003c/p>\n\u003cp>\u003cstrong>On whether the \u003cem>Lampoon\u003c/em>‘s multi-platform success was its undoing\u003c/strong>\u003c/p>\n\u003cp>To me, it was one of the last great untold stories about a group of people that unexpectedly came together, and when they did, something special happened. So I think what happened there is, it’s as if somebody had gone into this giant high-school cafeteria and taken the smartest person from each table — the alternative table, the theater table, the jock table, the student council table — and because of that, eventually those personalities started to rub up against each other … ambition and envy and jealousy starts to get in the way … and these were people that had big ambitions, and they were not cageable people, as one of the staff members says in our film.\u003c/p>\n\u003cp>\u003cstrong>On why the \u003cem>Lampoon\u003c/em> still makes us laugh\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It has both that lowbrow humor — you know, things that you associate now with their own work in \u003cem>Animal House\u003c/em>, or almost like the Marx Brothers — and then things where you feel like you possibly need a master’s degree to understand. But they didn’t shy away from either. \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=Quest+For+Fun%3A+Looking+Back+At+%27National+Lampoon%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of what — and who — has made us laugh over the past two generations can be traced back, one way or another, to \u003cem>National Lampoon\u003c/em>. John Hughes and Harold Ramis, the filmmakers, humorists like P.J. O’ Rourke, classic movies — \u003cem>Animal House\u003c/em>, \u003cem>Caddyshack\u003c/em> and \u003cem>National Lampoon’s Vacation\u003c/em>, not to mention John Belushi, Gilda Radner, and Christopher Guest.\u003c/p>\n\u003cp>From 1970 to 1998, the magazine that began as a spinoff from the \u003cem>Harvard Lampoon\u003c/em> became one of the first multi-media content providers — a phrase its founders would probably cringe to hear — creating books and magazines, radio, films, albums and stage shows distinguished by deliberate raunchiness and studied outrageousness.\u003c/p>\n\u003cp>Some of its founding talents are still active. But many burned out. Douglas Tirola is the director of \u003cem>Drunk Stoned Brilliant Dead\u003c/em>, a new film about the \u003cem>Lampoon\u003c/em> and its influence. He tells NPR’s Scott Simon that there was an honesty to the \u003cem>Lampoon\u003c/em>‘s shocking aesthetic. “In the ’70s, especially, when there were so many magazines … magazines were looking for attention, when someone’s running to the train or walking down the street, so the covers really had to stick out .. ‘Please buy this magazine,’ because that’s really what it’s all about.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/443492746/443691972\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On some of the \u003cem>Lampoon\u003c/em>‘s signature articles — the few we can mention here\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Volkswagen ad — in the early ’70s, there was apparently a Volkswagen ad that showed a Volkswagen Beetle bug floating in water. And this was an ad that looked very much like it, but the tagline said, “If Teddy Kennedy drove a Volkswagen, he would be President now,” referring to [the fatal bridge accident at] Chappaquiddick … the ad was saying because Volkswagens float, that nobody would’ve died.\u003c/p>\n\u003cp>They would go after anybody, and there was a danger in that, and there was an unpredictability about that. And when you open the Lampoon, on one page they’re killing Nixon, and on the next page they’re going after a sacred cow on the Left like Che Guevara. I think [that] made the whole experience more exciting.\u003c/p>\n\u003cp>\u003cstrong>On the legacy of the \u003cem>National Lampoon Radio Hour\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Pretty much everything in comedy at this point owes something to the \u003cem>Lampoon\u003c/em>, whether they realize it or not. I think they just broke down a lot of barriers in a mainstream way. It’s speaking to a national audience and there’s still a little residue of that today — I think some of it, people may be focused on the \u003cem>Animal House\u003c/em> aspect and just the idea of teenaged boys and college boys and nudity and sex and things like that in a way you hadn’t seen it before \u003cem>Animal House\u003c/em>, but I think there’s just something more, that they represent freedom. They represent a freedom that maybe we don’t even have as much as we wish we did today.\u003c/p>\n\u003cp>\u003cstrong>On whether the \u003cem>Lampoon\u003c/em>‘s multi-platform success was its undoing\u003c/strong>\u003c/p>\n\u003cp>To me, it was one of the last great untold stories about a group of people that unexpectedly came together, and when they did, something special happened. So I think what happened there is, it’s as if somebody had gone into this giant high-school cafeteria and taken the smartest person from each table — the alternative table, the theater table, the jock table, the student council table — and because of that, eventually those personalities started to rub up against each other … ambition and envy and jealousy starts to get in the way … and these were people that had big ambitions, and they were not cageable people, as one of the staff members says in our film.\u003c/p>\n\u003cp>\u003cstrong>On why the \u003cem>Lampoon\u003c/em> still makes us laugh\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It has both that lowbrow humor — you know, things that you associate now with their own work in \u003cem>Animal House\u003c/em>, or almost like the Marx Brothers — and then things where you feel like you possibly need a master’s degree to understand. But they didn’t shy away from either. \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=Quest+For+Fun%3A+Looking+Back+At+%27National+Lampoon%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Whether mummy or mommy, a creature whose face is cloaked in bandages is eerie. So it might seem reasonable for twins Lukas and Elias (Lukas and Elias Schwarz) to be distrustful when their mother (Susanne Wuest) returns from the hospital with a wrapped face. As \u003cem>Goodnight Mommy \u003c/em>soon reveals, however, very little about the physically identical brothers is reasonable.\u003c/p>\n\u003cp>The trauma that preceded the events of this austere yet gruesome thriller can be recounted in a single sentence, but writing that sentence would nullify the movie’s effect. With \u003cem>Goodnight Mommy\u003c/em>, summary soon wanders into spoiler territory.\u003c/p>\n\u003cp>Likewise, it would be improper to specify exactly what sort of story this is. The clues are there, and many viewers will solve the puzzle before the film divulges the answer, but the narrative ploy is well camouflaged. Like professional conjurers, writer-directors Veronika Franz and Severin Fiala are masters of diversion.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0kXpUaQpXMA\u003c/p>\n\u003cp>A few things can be disclosed without risk. The family lives in an agonizingly sparse modernist home in the Austrian countryside. Mom is a TV personality of some kind. Dad is literally out of the picture — photos of him have been removed from the house. The boys are very close, although one is the doer and the other the thinker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s summertime, so the kids spend a lot of time outside. They explore forests and cornfields, and sometimes one wears a mask in an uncanny echo of mom’s bandages. Also ominous is their descent into a cavern that turns out to be an ossuary, inhabited by one living creature.\u003c/p>\n\u003cp>Adults are rarely seen and, as might be expected, are mostly silly and ineffectual. The only one who tries to exercise any authority over the boys is their mother, but her manner has changed so much that Lukas and Elias doubt she’s the same woman she was before the surgery.\u003c/p>\n\u003cp>They decide to test her, in scenes that could be seen as allegorical of the way all adolescents investigate their growing power to defy their parents. The examinations escalate from disturbing to horrific, although they’re presented with a chilliness quite unlike the gleeful bloodlust of American slasher flicks.\u003c/p>\n\u003cp>“Shot on glorious 35mm,” as the movie’s final title boasts, \u003cem>Goodnight Mommy\u003c/em> is elegant and luminous. While the story conveys the anxiety of being unable to trust the most elemental of human bonds, the meticulous compositions contrast alienation and intimacy. Indeed, the filmmakers’ assured style ultimately upstages their slender if effective script.\u003c/p>\n\u003cp>Veronika Franz is the spouse of director Ulrich Seidl, who produced this movie, and co-wrote his \u003cem>Paradise\u003c/em> trilogy with him; Severin Fiala is Seidl’s nephew. Yet critics have compared \u003cem>Goodnight Mommy \u003c/em>less to Seidl’s work than to the films of Michael Haneke, another Austrian known for dispassionate gore.\u003c/p>\n\u003cp>The resemblance is superficial. The dread in Haneke’s movies is existential, reflecting his often overripe view of the fundamental injustice of all human life. Based on their debut feature, at least, Franz and Fiala don’t think in such grand terms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Goodnight Mommy\u003c/em> is simply a child’s what-if gone amok. “What if our mother isn’t our mother?” a boy asks, and the idle query is pushed to monstrous lengths. Like most such tales, this one is chilling but not profound.\u003c/p>\n\n",
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"content": "\u003cp>The man who made a mark in Baby Boom America as a cub reporter has died: Actor Jack Larson, who played a sidekick to Superman's alter ego Clark Kent at the fictional Daily Planet newspaper, was 87.\u003c/p>\n\u003cp>The actor and playwright died at his home in the Los Angeles community of Brentwood, according to \u003ca href=\"http://losangeles.cbslocal.com/2015/09/21/actor-playwright-jack-larson-dies-at-87/\">CBS Los Angeles\u003c/a>, \u003cem>Variety \u003c/em>and multiple news outlets. A cause of death was not mentioned.\u003c/p>\n\u003cp>Larson rose to prominence in the 1950s, when \"The Adventures of Superman\" sidetracked his dreams of being a stage actor on Broadway. The runaway success of that show, starring George Reeves, made it hard for Larson to find new work; he eventually found success in writing plays and librettos.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/09/21/arts/television/jack-larson-a-playwright-better-known-as-jimmy-olsen-in-superman-dies-at-87.html\">The New York Times\u003c/a> reports:\u003c/p>\n\u003cblockquote>\u003cp>\"Although Mr. Larson was pleased that Jimmy Olsen developed into a comic role, his fears of being typecast were realized. After a particularly upsetting encounter with the producer Mervyn LeRoy, he was advised by the actor Montgomery Clift, with whom Mr. Larson was having a romantic relationship, to stop putting himself in those casting situations. So Mr. Larson gave up acting and made a new career.\"\u003c/p>\u003c/blockquote>\n\u003cp>That new career saw Larson write librettos and plays, including \"The Candied House\" (1966) and \"Chuck\" (1968), as well as helping produce films such as \"Perfect\" (1985) and \"Bright Lights, Big City\" (1988). On both plays and films, he often collaborated with his longtime partner, James Bridges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In turning to writing, Larson was also returning to the thing that had first brought him to the world of theater, when his instructors at Pasadena Junior College encouraged him to write.\u003c/p>\n\u003cp>Born in Los Angeles in 1928, Larson grew up in the Los Angeles suburb of Montebello. His mother worked as a Western Union clerk, and his father drove a milk truck and bowled -- something he passed along to his son.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.supermanhomepage.com/tv/tv.php?topic=cast-crew/jack-larson\">Superman Homepage\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"While he did not enjoy school, Larson did like to bowl. By the age of 14, he had become the California state champion for his age group and was good enough to think that he would eventually turn professional. But, in the fall of 1945, Larson enrolled in the Pasadena Junior College (now known as Pasadena City College), an event that would drastically change his life. Larson said, 'My instructors discovered that I had a gift for writing and motivated me to write plays, and to be in plays as well.'\"\u003c/p>\u003c/blockquote>\n\u003cp>When he first started auditioning for parts in film studio projects, Larson later recounted, he lost out on one early job (portraying a kid on a bike) to a young woman who would go on to be a star.\u003c/p>\n\u003cp>\"Marilyn Monroe got that part. It was her first part,\" he said in an interview for David Poland's \"\u003ca href=\"https://www.youtube.com/watch?v=AA7n8Xszg08\">Oral History of Hollywood\u003c/a>\" series. With a laugh, he added, \"We wonder how she got it. But they changed it from a boy on a bicycle to a girl on a bicycle.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the 1990s, Larson appeared in episodes of \"Superboy\" and \"Lois and Clark: The New Adventures of Superman.\" In the latter, he portrayed an older version of Jimmy Olsen.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jack+Larson%2C+Jimmy+Olsen+From+%27Superman%27+TV+Shows%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cp>China’s Cultural Revolution was a period of political turmoil, launched by Mao Zedong in 1966, a dark decade that many in Chinese society would prefer to forget. So it says something that Zhang Yimou’s new drama \u003cem>Coming Home\u003c/em>, which is set during those years, has been a big success in China.\u003c/p>\n\u003cp>The film opens with a cold-war propaganda vignette — a military ballet, young Chinese girls dressed as soldiers pirouetting with prop guns. One of the dancers is the ambitious daughter of Lu Yanshi, a disgraced professor who, she will soon learn, has escaped from a “re-education” camp. Hoping to advance her ballet prospects, she informs on her parents — tells the police that her mother Feng Wanyu plans a secret rendezvous with Yanshi at the train station.\u003c/p>\n\u003cp>It is, however, a very crowded train station, where the only way a hidden Yanshi can find his wife is to come out into the open. Though certain he’ll be caught, he steps from the shadows, waves his arms and shouts his wife’s name.\u003c/p>\n\u003cp>Wanyu, standing high on a platform, sees him, and at that same moment, sees soldiers coming for him. So she screams at him to run — to run away. Instead, he runs toward his wife. And seeing that he’ll be caught, she runs toward him as soldiers close in on them both.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hoea7Cz3Hj0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In many films this scene would be the climactic finale. Here, it just sets up the real story — the “coming home” of the title, years later after the Cultural Revolution’s excesses have brought about its end. Yanshi, now declared rehabilitated, returns to his family, which should be a happy moment, but is instead a puzzlement.\u003c/p>\n\u003cp>That day at the train station, his wife suffered a head injury and has been left with an intense desire to see her husband again — and an utter inability to recognize him when she does. What she sees when Yanshi shows up is a man trying to take her beloved husband’s place.\u003c/p>\n\u003cp>“Nobody wants to see you,” she tells him. “Please leave.”\u003c/p>\n\u003cp>Staggered at being in the presence of the love of his life, but seemingly unseen by her, he can only mumble, “What’s happening?”\u003c/p>\n\u003cp>Now there are two ways to understand the rest of \u003cem>Coming Home\u003c/em>, a standoff in which he struggles to reawaken his wife’s memory, as she struggles to remain faithful to the husband she thinks she remembers. One is as a six-hankie weepie of the sort that, say, Nicholas Sparks churns out regularly. The other is as a broader social commentary about a time that required resilience and internal strength in China.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Director Zhang Yimou, who has said in interviews that the suffering and turmoil of the Cultural Revolution was a formative period for him, appears happy to have it both ways. He’s cast as the wife the actress who has been his muse in eight films: Gong Li. And as her eyes glisten with both pain and hope in a gray world of muted emotions, her amnesia comes to seem a sort of collective denial in \u003cem>Coming Home\u003c/em>: a survival strategy for those who can only soldier on after losses too painful to recall.\u003c/p>\n\n",
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"title": "New Film Asks: Were Steve Jobs' Flaws Uploaded To His Machines?",
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"content": "\u003cp>\u003cem>Steve Jobs: The Man in the Machine\u003c/em> hit theaters last week. Academy Award-winning director Alex Gibney’s documentary joins a growing list of biopics and biographies that have come out since \u003ca href=\"http://www.npr.org/2011/10/05/123826622/apple-visionary-steve-jobs-dies-at-56\" target=\"_blank\" rel=\"noopener\">Jobs’ death in 2011\u003c/a>. But, it adds a new perspective on the increasingly well-known facts of his life. Gibney’s thesis seems to be that Jobs’ flawed character was infused into the machines he made, leaving us perhaps a little more flawed if we use them.\u003c/p>\n\u003cp>The 2013 biopic starring Ashton Kutcher, the authorized \u003ca href=\"http://www.npr.org/2011/10/25/141653658/steve-jobs-a-computer-icon-on-life-death-and-apple\" target=\"_blank\" rel=\"noopener\">Walter Isaacson biography\u003c/a> and the more recent \u003cem>Becoming Steve Jobs: The Evolution of a Reckless Upstart into a Visionary Leader\u003c/em> all touch on how the Apple co-founder was often cruel in the pursuit of his vision to spark a personal computer revolution. But, they don’t question the good of what Jobs invented.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lzyq1t-SjcM\u003c/p>\n\u003cp>Gibney, fresh off his last documentary, \u003ca href=\"http://www.npr.org/2015/03/26/395579453/church-of-scientology-calls-new-hbo-documentary-bigoted\" target=\"_blank\" rel=\"noopener\">Going Clear\u003c/a> — a take-down of Scientology — now turns that critical lens on Steve Jobs and his products.\u003c/p>\n\u003cp>\u003ca href=\"http://www.magpictures.com/stevejobsthemaninthemachine/\" target=\"_blank\" rel=\"noopener\">The new documentary\u003c/a> opens on the day Jobs’ death is announced. We see mournful people all over the world placing flowers in front of Apple stores. There are clips from online video tributes. In one, a young man is weeping and he admits “it seems really ridiculous because I’ve never met the man.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enter Gibney’s voice as narrator: “Why did so many strangers weep for Steve Jobs?” It’s a question Gibney sets out to answer in his more than two-hour film that mixes archive footage, interviews with old colleagues, and even a never-before-seen video deposition of Jobs from March 2008, when he was being investigated for backdating stock options.\u003c/p>\n\u003cp>Many of the people interviewed for this documentary knew Jobs from his earliest days and had rightful gripes against him. Among them, Daniel Kottke, a college friend who traveled with Jobs to India and then went on to be part of the original founding Apple team. Even though Kottke worked intimately with Jobs to get Apple off the ground, Jobs notoriously refused to give him stock options when the company went public.\u003c/p>\n\u003cp>Gibney also interviewed Chrisann Brennan, Jobs’ former girlfriend who gave birth to his daughter Lisa out of wedlock. Jobs denied paternity for years. Gibney shares legal transcriptions in which, among other falsehoods, Jobs claimed he was sterile and couldn’t have a child. Only a court-ordered paternity test forced him to acknowledge his daughter.\u003c/p>\n\u003cp>Yet, Jobs once told his teacher, the Soto Zen priest Kobun Otogawa, that he was enlightened. Kobun says as proof a young Jobs brought him an early Apple computer board.\u003c/p>\n\u003cp>In \u003cem>Be Here Now\u003c/em>, a book that Brennan and Jobs loved, author Ram Dass talks about the problem of becoming enlightened while still being attached to ego. He calls it “the golden chain,” says Brennan. And Brennan believes this is what happened to Jobs. “He blew it,” she says.\u003c/p>\n\u003cp>“Steve Jobs blew it?” Gibney wonders how anyone could say that. The documentary acknowledges Jobs’ extraordinary successes. He was pushed out of Apple but went on to found Pixar. He returned to Apple and brought it back from the brink of bankruptcy and with one great success after another — the Mac, iPod, iPhone and iPad — he turned it into the most valuable company in the world.\u003c/p>\n\u003cp>But Gibney’s film ponders the cost of those products — not only on the people directly surrounding Jobs but on the world writ large. There’s news footage about the suicides at the Foxconn factories in China which helped build Apple products.\u003c/p>\n\u003cp>In an interview, Jobs is seen acknowledging the suicides are unacceptable and yet he’s also strangely dismissive. Jobs has to point out that the percentage of the U.S. population that commits suicide is higher than the percentage of Foxconn employees that do.\u003c/p>\n\u003cp>Apple factories also leave behind dangerous pollutants, and while Jobs was running the company he refused to meet with Chinese environmental activists.\u003c/p>\n\u003cp>Jon Rubinstein, an engineer who helped design the iPod and the Mac, tells Gibney that Jobs really did believe he was doing good for the world. But, Gibney brings in well-known skeptics to question just how much good Jobs has done.\u003c/p>\n\u003cp>Techno-utopian critic and MIT professor Sherry Turkle believes iPhones are isolating us from one another — “more of what I call the alone together phenomenon,” she says.\u003c/p>\n\u003cp>This film lacks interviews with the people who have been closest to Jobs in recent years and might have had a more positive perspective on him. We don’t hear from his wife Laurene or Tim Cook, the current CEO, and Jony Ive, the brilliant industrial designer whom Jobs called his “best friend.”\u003c/p>\n\u003cp>Apple Vice President Eddy Cue sent out a tweet calling the documentary “inaccurate” and “mean spirited.”\u003c/p>\n\u003cp>But many of the same people have also critiqued Walter Isaacson’s biography, which was authorized by Jobs himself. And Gibney makes a well-documented case.\u003c/p>\n\u003cp>\u003cem>Steve Jobs: The Man in the Machine\u003c/em> has a personal and poetic quality. Visually and structurally it sometimes feels more like an essay. Gibney ends it with questions that sound a little like a Zen koan. “Perhaps I should spend a moment… asking myself what in buying and using this product am I doing? What is the full nature of my transaction with the maker of this magical and intimate machine?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I doubt Gibney was thinking we should all throw our iPhones into the sea. But, his engaging documentary raises some questions we should all be asking ourselves as we move on to the next phase of the computer revolution. Among them: Do these objects shape our character in ways that are a little too much like the person who made them?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enter Gibney’s voice as narrator: “Why did so many strangers weep for Steve Jobs?” It’s a question Gibney sets out to answer in his more than two-hour film that mixes archive footage, interviews with old colleagues, and even a never-before-seen video deposition of Jobs from March 2008, when he was being investigated for backdating stock options.\u003c/p>\n\u003cp>Many of the people interviewed for this documentary knew Jobs from his earliest days and had rightful gripes against him. Among them, Daniel Kottke, a college friend who traveled with Jobs to India and then went on to be part of the original founding Apple team. Even though Kottke worked intimately with Jobs to get Apple off the ground, Jobs notoriously refused to give him stock options when the company went public.\u003c/p>\n\u003cp>Gibney also interviewed Chrisann Brennan, Jobs’ former girlfriend who gave birth to his daughter Lisa out of wedlock. Jobs denied paternity for years. Gibney shares legal transcriptions in which, among other falsehoods, Jobs claimed he was sterile and couldn’t have a child. Only a court-ordered paternity test forced him to acknowledge his daughter.\u003c/p>\n\u003cp>Yet, Jobs once told his teacher, the Soto Zen priest Kobun Otogawa, that he was enlightened. Kobun says as proof a young Jobs brought him an early Apple computer board.\u003c/p>\n\u003cp>In \u003cem>Be Here Now\u003c/em>, a book that Brennan and Jobs loved, author Ram Dass talks about the problem of becoming enlightened while still being attached to ego. He calls it “the golden chain,” says Brennan. And Brennan believes this is what happened to Jobs. “He blew it,” she says.\u003c/p>\n\u003cp>“Steve Jobs blew it?” Gibney wonders how anyone could say that. The documentary acknowledges Jobs’ extraordinary successes. He was pushed out of Apple but went on to found Pixar. He returned to Apple and brought it back from the brink of bankruptcy and with one great success after another — the Mac, iPod, iPhone and iPad — he turned it into the most valuable company in the world.\u003c/p>\n\u003cp>But Gibney’s film ponders the cost of those products — not only on the people directly surrounding Jobs but on the world writ large. There’s news footage about the suicides at the Foxconn factories in China which helped build Apple products.\u003c/p>\n\u003cp>In an interview, Jobs is seen acknowledging the suicides are unacceptable and yet he’s also strangely dismissive. Jobs has to point out that the percentage of the U.S. population that commits suicide is higher than the percentage of Foxconn employees that do.\u003c/p>\n\u003cp>Apple factories also leave behind dangerous pollutants, and while Jobs was running the company he refused to meet with Chinese environmental activists.\u003c/p>\n\u003cp>Jon Rubinstein, an engineer who helped design the iPod and the Mac, tells Gibney that Jobs really did believe he was doing good for the world. But, Gibney brings in well-known skeptics to question just how much good Jobs has done.\u003c/p>\n\u003cp>Techno-utopian critic and MIT professor Sherry Turkle believes iPhones are isolating us from one another — “more of what I call the alone together phenomenon,” she says.\u003c/p>\n\u003cp>This film lacks interviews with the people who have been closest to Jobs in recent years and might have had a more positive perspective on him. We don’t hear from his wife Laurene or Tim Cook, the current CEO, and Jony Ive, the brilliant industrial designer whom Jobs called his “best friend.”\u003c/p>\n\u003cp>Apple Vice President Eddy Cue sent out a tweet calling the documentary “inaccurate” and “mean spirited.”\u003c/p>\n\u003cp>But many of the same people have also critiqued Walter Isaacson’s biography, which was authorized by Jobs himself. And Gibney makes a well-documented case.\u003c/p>\n\u003cp>\u003cem>Steve Jobs: The Man in the Machine\u003c/em> has a personal and poetic quality. Visually and structurally it sometimes feels more like an essay. Gibney ends it with questions that sound a little like a Zen koan. “Perhaps I should spend a moment… asking myself what in buying and using this product am I doing? What is the full nature of my transaction with the maker of this magical and intimate machine?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I doubt Gibney was thinking we should all throw our iPhones into the sea. But, his engaging documentary raises some questions we should all be asking ourselves as we move on to the next phase of the computer revolution. Among them: Do these objects shape our character in ways that are a little too much like the person who made them?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you want to measure a society’s political health, two films from Latin America slyly suggest, look at how it treats the help. Sebastian Silva’s gleeful 2009 black comedy, \u003cem>The Maid\u003c/em>, drew on his own experience as the cosseted son of a well-to-do Chilean family propped up by its housekeeper. Brazilian filmmaker Anna Muylaert began writing her new film, \u003cem>The Second Mother\u003c/em>, two decades ago, when she hired a nanny to care for her first child. It’s a quieter, more ruminative comedy, but like Silva, Muylaert is as alive to the comic possibilities of liberal guilt as she is to the plight of the ill-paid maids who quietly run innumerable households all around the Americas.\u003c/p>\n\u003cp>The second mother in Muylaert’s film is Val (a very good Regina Casé), a middle-aged housekeeper who keeps everyone on track in the home of an affluent Sao Paulo family. She cooks, cleans and openly dotes on their son, Fabinho (Michel Joelsas), a spoiled wastrel who still runs to Val to get his hair stroked whenever he’s crossed. If Val is the help, her employers are the helpless. Clearing the table is beyond them, and their friends are no better: At a birthday party for her employer, Dona Barbara (Karine Teles), we follow Val as she goes around with a tray of appetizers, receiving not a word of thanks. A willing accomplice to this lopsided arrangement, Val fetches and carries without complaint, pausing only to grab bits of power here and there that serve only to keep her locked in place.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SOrbWcObwR4\u003c/p>\n\u003cp>Smugly playing the enlightened employer, Dona Barbara takes a fleeting interest in Val’s life only when it costs her nothing. She talks a good game, but to fully understand the warped political economy of this household, you have to follow the camera as it trails after Val like a faithful dog, lingering on the kitchen door that both connects and cordons off her domain with the family’s, or on the hallway that leads to the guest room, significantly more lavish than Val’s cramped quarters.\u003c/p>\n\u003cp>There, a Disruptive Force has set up operations that will trigger a rising tide of violations of the unwritten code that has made this well-oiled system of servitude work well past its sell-by date. Val’s estranged daughter, Jessica (Camila Mardila), has blown into town to take her entrance exam at a prestigious local university, where — to the family’s barely suppressed disbelief — she plans to study architecture. A cocksure beauty bearing a massive grudge against her mother, Jessica is also the distillation of a new generation of Brazilians unbound by the archaic hierarchies that hold her mother hostage. Aghast at Val’s collusion with her masters, she sets about breaking every rule in the house, while Val, appalled in her turn, strives unbidden to restore the status quo. In the ensuing chaos, the patriarch (Lourenco Mutarelli), a trust-fund baby with more money than sense, floors Jessica with a bizarre proposition that quickens the pace into farce, plunging the entire house into a crisis that will bring down its \u003cem>ancien regime\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There may or may not be metaphor at work here regarding Brazil’s relationship with its autocratic past. Either way, it’s hard to begrudge this warmhearted movie its crowd-pleasing ending, which bestows on every player the gift of a new beginning. One way or another, everyone gets out of jail, but no liberation is more gratifying than that of hard-working Val, who opens her eyes at last and takes her cue from a daughter pugnacious enough to insist on her own destiny.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you want to measure a society’s political health, two films from Latin America slyly suggest, look at how it treats the help. Sebastian Silva’s gleeful 2009 black comedy, \u003cem>The Maid\u003c/em>, drew on his own experience as the cosseted son of a well-to-do Chilean family propped up by its housekeeper. Brazilian filmmaker Anna Muylaert began writing her new film, \u003cem>The Second Mother\u003c/em>, two decades ago, when she hired a nanny to care for her first child. It’s a quieter, more ruminative comedy, but like Silva, Muylaert is as alive to the comic possibilities of liberal guilt as she is to the plight of the ill-paid maids who quietly run innumerable households all around the Americas.\u003c/p>\n\u003cp>The second mother in Muylaert’s film is Val (a very good Regina Casé), a middle-aged housekeeper who keeps everyone on track in the home of an affluent Sao Paulo family. She cooks, cleans and openly dotes on their son, Fabinho (Michel Joelsas), a spoiled wastrel who still runs to Val to get his hair stroked whenever he’s crossed. If Val is the help, her employers are the helpless. Clearing the table is beyond them, and their friends are no better: At a birthday party for her employer, Dona Barbara (Karine Teles), we follow Val as she goes around with a tray of appetizers, receiving not a word of thanks. A willing accomplice to this lopsided arrangement, Val fetches and carries without complaint, pausing only to grab bits of power here and there that serve only to keep her locked in place.\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/SOrbWcObwR4'\n title='//www.youtube.com/embed/SOrbWcObwR4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Smugly playing the enlightened employer, Dona Barbara takes a fleeting interest in Val’s life only when it costs her nothing. She talks a good game, but to fully understand the warped political economy of this household, you have to follow the camera as it trails after Val like a faithful dog, lingering on the kitchen door that both connects and cordons off her domain with the family’s, or on the hallway that leads to the guest room, significantly more lavish than Val’s cramped quarters.\u003c/p>\n\u003cp>There, a Disruptive Force has set up operations that will trigger a rising tide of violations of the unwritten code that has made this well-oiled system of servitude work well past its sell-by date. Val’s estranged daughter, Jessica (Camila Mardila), has blown into town to take her entrance exam at a prestigious local university, where — to the family’s barely suppressed disbelief — she plans to study architecture. A cocksure beauty bearing a massive grudge against her mother, Jessica is also the distillation of a new generation of Brazilians unbound by the archaic hierarchies that hold her mother hostage. Aghast at Val’s collusion with her masters, she sets about breaking every rule in the house, while Val, appalled in her turn, strives unbidden to restore the status quo. In the ensuing chaos, the patriarch (Lourenco Mutarelli), a trust-fund baby with more money than sense, floors Jessica with a bizarre proposition that quickens the pace into farce, plunging the entire house into a crisis that will bring down its \u003cem>ancien regime\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Actor Dean Jones, who starred in \u003cem>The Love Bug, That Darn Cat! \u003c/em>and other classic Walt Disney movies, has died at age 84. In addition to his film work, Jones played the role of Bobby in the original Broadway cast of Stephen Sondheim’s \u003cem>Company\u003c/em> in 1970.\u003c/p>\n\u003cp>Jones died in Los Angeles on Tuesday, according to his publicist, Richard Hoffman. The cause of death is reportedly related to Parkinson’s disease.\u003c/p>\n\u003cp>With an everyman quality and a knack for comedy that allowed him to appeal to a wide audience, Jones made a total of 10 Disney movies; one of his first, \u003cem>The Love Bug, \u003c/em>became one of the highest-grossing films of 1968.\u003c/p>\n\u003cp>Jones’ other films include\u003cem> The Shaggy D.A., The Million Dollar Duck, Snowball Express,\u003c/em> and \u003cem>Herbie Goes To Monte Carlo\u003c/em>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Jones’ film grosses exceeded $960 million and six of his ten films for Walt Disney are on Variety’s all-time hit list,” according to an obituary sent by his publicist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He later appeared in 1992’s big-dog flick \u003cem>Beethoven\u003c/em> and the 1994 Tom Clancy film \u003cem>Clear and Present Danger\u003c/em>. In more recent years, Jones worked in TV and doing voice-overs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.hollywoodreporter.com/news/dean-jones-dead-disney-actor-819867\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> offers this summary of Jones’ early career:\u003c/p>\n\u003cblockquote>\n\u003cp>“Born Dean Carroll Jones on Jan. 25, 1931, in Decatur, Alabama, Jones served in the Navy during the Korean War and attended Asbury University in Kentucky. He started his career as the host of a local Alabama radio show, \u003cem>Dean Jones Sings\u003c/em>, and as a producer of stage shows.\u003c/p>\n\u003cp>“Signed by MGM, Jones made his film debut opposite Paul Newman in the boxing film \u003cem>Somebody Up There Likes Me\u003c/em> (1956), and \u003cem>Jailhouse Rock\u003c/em> (1957) with Elvis Presley soon followed.\u003c/p>\n\u003cp>“Jones bowed on Broadway in \u003cem>There Was A Little Girl\u003c/em> opposite Jane Fonda in 1960 and was in \u003cem>Under The Yum-Yum Tree\u003c/em> in the same year.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dean+Jones%2C+Herbie%27s+Driver+In+Disney+Movies%2C+Dies+At+Age+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Dean Jones, who starred in \u003cem>The Love Bug, That Darn Cat! \u003c/em>and other classic Walt Disney movies, has died at age 84. In addition to his film work, Jones played the role of Bobby in the original Broadway cast of Stephen Sondheim’s \u003cem>Company\u003c/em> in 1970.\u003c/p>\n\u003cp>Jones died in Los Angeles on Tuesday, according to his publicist, Richard Hoffman. The cause of death is reportedly related to Parkinson’s disease.\u003c/p>\n\u003cp>With an everyman quality and a knack for comedy that allowed him to appeal to a wide audience, Jones made a total of 10 Disney movies; one of his first, \u003cem>The Love Bug, \u003c/em>became one of the highest-grossing films of 1968.\u003c/p>\n\u003cp>Jones’ other films include\u003cem> The Shaggy D.A., The Million Dollar Duck, Snowball Express,\u003c/em> and \u003cem>Herbie Goes To Monte Carlo\u003c/em>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Jones’ film grosses exceeded $960 million and six of his ten films for Walt Disney are on Variety’s all-time hit list,” according to an obituary sent by his publicist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\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>[ad fullwidth]\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",
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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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"title": "Oliver Sacks, Renowned Neurologist and Author, Dies at 82",
"headTitle": "Oliver Sacks, Renowned Neurologist and Author, Dies at 82 | KQED",
"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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"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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"title": "Tony Gleaton: Photographing the African Story Across the Americas",
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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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"excerpt": "Tony Gleaton left a budding career in fashion photography to travel across continents, taking pictures of landscapes and people of the Americas that had special meaning for the African diaspora.",
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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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"title": "Ballet Programs Look for More Boys to Step Up to the Barre",
"headTitle": "Ballet Programs Look for More Boys to Step Up to the Barre | KQED",
"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. 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\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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