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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The senseless futility of that first War, often eclipsed in popular culture by the more readily justified WWII, bears repeating. Predictably, perhaps (the movie’s producers also brought us the offensively gooey Holocaust drama \u003cem>The Boy in the Striped Pajamas\u003c/em>), \u003cem>Testament\u003c/em> is sentimental and lumbering, weighed down by a dawdling pace, clumsy flashbacks, drawing-room brocades by the yard, and a score that leans heavily on a soft piano and swelling strings. Blink, and you might miss a much-needed dose of acid from Miranda Richardson as Vera’s exasperated tutor at Oxford.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Vikander crisply holds the screen as a naive rebel transformed by unspeakable suffering into a mature, independent young woman who remains open to the possibility of a new love and a rebuilt England. Vera Brittain never became a literary star like her Oxford buddy Winifred Holtby (Alexandra Roach), who appears in the movie to guide her shattered friend back to spiritual health. Yet from her ringside seat Vera quickly grasped that beyond the loss of her own boys, all of England, rich and poor, had lost the flower of its youth. Stripped of illusions but never cynical, Vera willingly joined in the shaping of a nascent post-War democracy that would weaken the standing of her own class. She caught the moment, then rode the wave, and Britain loved her for it. Vikander makes us see why.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, the American saxophonist and composer who liberated jazz from conventional harmony, tonality, structure and expectation, died early on Thursday of cardiac arrest in Manhattan. He was 85.\u003c/p>\n\u003cp>Coleman was an American icon and iconoclast — a self-taught musician born poor and fatherless in Fort Worth, Texas, in 1930, who went on to win the Pulitzer Prize, the Japanese Praemium Imperiale, two Guggenheims, a MacArthur, honorary doctorates and a National Endowment for the Arts Jazz Master honor.\u003c/p>\n\u003cp>Ornette Coleman played his alto saxophone the way someone whistles to themselves walking down the street, unconcerned with rules about how a song is supposed to go. In 1997, Coleman told NPR that he believed in the unfettered, imaginative, original, expressive powers of melody.\u003c/p>\n\u003cp>“As a music, it allows every musician to participate in any form of musical environment without them changing their own personality, their own tone or their way of phrasing,” Coleman said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QSmYTc1Jv7w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And he put that belief into practice when he could. Coleman was raised by his single mother and sister. He learned music on his own and left home as a teenager to tour the deep south with a minstrel show. On the road, he faced rejection and even assault for an unorthodox, free style built on Texas blues. He wound up in Los Angeles, working as an elevator operator and trying to get a hearing in jam sessions. He finally made his \u003ca href=\"https://www.youtube.com/watch?v=Lp60JUI55Pg\" target=\"_blank\" rel=\"noopener\">first recording\u003c/a> as a leader in 1958, \u003cem>Something Else\u003c/em>.\u003c/p>\n\u003cp>Some praised Coleman for returning jazz to the kind of collective improvisation its earliest players used. Others heard only cacophony.\u003c/p>\n\u003cp>“In jazz before Ornette Coleman,” \u003cem>New York Times\u003c/em> writer Jon Pareles told NPR in 1985, “people would devise solos that were designed to fit on top of the tune. If the tune was 32 bars long, the improvisation was 32 bars long, and it fit into whatever 32 bars of chords were in the tune. Ornette came along and said, ‘We don’t have to do it that way, we can take an improvisation that tells its own kind of story, that elapses according to the freedom of the song.’ He basically showed people a new kind of freedom. He broke them out of the maze of harmony.”\u003c/p>\n\u003cp>Coleman himself described his system as “sound grammar” or “harmolodics.”\u003c/p>\n\u003cp>“It’s the scientific form of sound based upon the human emotion of expression,” Coleman said. “That’s basically what it is and what it does.”\u003c/p>\n\u003cp>Coleman’s principle idea — that anyone can make music with anyone, and they don’t have to know much about each other to do it — made him able to retain his cry of the blues even \u003ca href=\"https://www.youtube.com/watch?v=ao9Y_uZLcx0\" target=\"_blank\" rel=\"noopener\">while jamming with the Master Musicians of Jajouka\u003c/a> from the mountains of Morocco. Musicians flocked to Coleman like he was the Pied Piper — and he played with\u003cem> \u003c/em>them: \u003ca href=\"http://www.npr.org/artists/15360402/yoko-ono\" target=\"_blank\" rel=\"noopener\">Yoko Ono\u003c/a>, Jerry Garcia and the \u003ca href=\"http://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a>, not to mention the many jazz musicians who graduated from his bands. Yet Coleman himself was unfailingly modest. He was shy about cameras and might be oblique in conversation. It wasn’t that his vocabulary was peculiar, but his point of view was unique, coming from all directions, seeming to take in everything, imagistic and fundamental. But his musicians understood him.\u003c/p>\n\u003cp>“It was very easy for me to follow him,” said longtime bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> in 1997. “And it’s always been easy for me to follow him because he’s very articulate, just in his own language, just as he is in his music.”\u003c/p>\n\u003cp>In December of 1960, Haden was part of Coleman’s radical experiment in collective improvisation — two quartets playing simultaneously — titled \u003cem>Free Jazz\u003c/em>.\u003c/p>\n\u003cp>The recording inspired, licensed — or provoked — many better-established jazz musicians of the ’60s. But his experiments didn’t stop there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSVMG0Y-Dvs\u003c/p>\n\u003cp>“I never have classified music as being in different categories, so I started writing music which consists of violins and stuff like that,” Coleman said. “I think most people classify you as what you do when they see you in the contents of drums and things like that everybody they call that jazz. But when they see a violin or French horn something they call that classical music. And I really believe that any instrument can become the soloist instrument in any kind of contents.”\u003c/p>\n\u003cp>This work, too, was scorned until 1986, when conductor John Giordano of the Fort Worth Symphony worked closely with Coleman on a revision. Performances by orchestras in Europe and the New York Philharmonic followed.\u003c/p>\n\u003cp>Ornette Coleman said that he liked to tell people, “‘I’m a composer who performs.’ Whenever I would hear a band with guitars and bass the melodic line sounded so full, it sounded like a full orchestra. So I said, well, if I could expand the melodic writing into a much fuller sound, I would be able to express more music.”\u003c/p>\n\u003cp>In the mid-1970s, Coleman re-invented himself again, forming an electric band that often included his son, Denardo. In a 2008 interview, Denardo Coleman explained that his father’s philosophy suffuses his art, is part of his bands’ rehearsals and comes to fruition in performance.\u003c/p>\n\u003cp>“I think it’s beyond just scale, key, all that,” he said. “Everything he’s talking about is what he always talks about, with us, as well. So we’re bringing everything — the performance is everything.”\u003c/p>\n\u003cp>It was Ornette Coleman’s life to express feeling freely and directly, in music, and also to ask the big, confounding questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Does music have life?” he asked. His many fans and followers answer in the affirmative. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And he put that belief into practice when he could. Coleman was raised by his single mother and sister. He learned music on his own and left home as a teenager to tour the deep south with a minstrel show. On the road, he faced rejection and even assault for an unorthodox, free style built on Texas blues. He wound up in Los Angeles, working as an elevator operator and trying to get a hearing in jam sessions. He finally made his \u003ca href=\"https://www.youtube.com/watch?v=Lp60JUI55Pg\" target=\"_blank\" rel=\"noopener\">first recording\u003c/a> as a leader in 1958, \u003cem>Something Else\u003c/em>.\u003c/p>\n\u003cp>Some praised Coleman for returning jazz to the kind of collective improvisation its earliest players used. Others heard only cacophony.\u003c/p>\n\u003cp>“In jazz before Ornette Coleman,” \u003cem>New York Times\u003c/em> writer Jon Pareles told NPR in 1985, “people would devise solos that were designed to fit on top of the tune. If the tune was 32 bars long, the improvisation was 32 bars long, and it fit into whatever 32 bars of chords were in the tune. Ornette came along and said, ‘We don’t have to do it that way, we can take an improvisation that tells its own kind of story, that elapses according to the freedom of the song.’ He basically showed people a new kind of freedom. He broke them out of the maze of harmony.”\u003c/p>\n\u003cp>Coleman himself described his system as “sound grammar” or “harmolodics.”\u003c/p>\n\u003cp>“It’s the scientific form of sound based upon the human emotion of expression,” Coleman said. “That’s basically what it is and what it does.”\u003c/p>\n\u003cp>Coleman’s principle idea — that anyone can make music with anyone, and they don’t have to know much about each other to do it — made him able to retain his cry of the blues even \u003ca href=\"https://www.youtube.com/watch?v=ao9Y_uZLcx0\" target=\"_blank\" rel=\"noopener\">while jamming with the Master Musicians of Jajouka\u003c/a> from the mountains of Morocco. Musicians flocked to Coleman like he was the Pied Piper — and he played with\u003cem> \u003c/em>them: \u003ca href=\"http://www.npr.org/artists/15360402/yoko-ono\" target=\"_blank\" rel=\"noopener\">Yoko Ono\u003c/a>, Jerry Garcia and the \u003ca href=\"http://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a>, not to mention the many jazz musicians who graduated from his bands. Yet Coleman himself was unfailingly modest. He was shy about cameras and might be oblique in conversation. It wasn’t that his vocabulary was peculiar, but his point of view was unique, coming from all directions, seeming to take in everything, imagistic and fundamental. But his musicians understood him.\u003c/p>\n\u003cp>“It was very easy for me to follow him,” said longtime bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> in 1997. “And it’s always been easy for me to follow him because he’s very articulate, just in his own language, just as he is in his music.”\u003c/p>\n\u003cp>In December of 1960, Haden was part of Coleman’s radical experiment in collective improvisation — two quartets playing simultaneously — titled \u003cem>Free Jazz\u003c/em>.\u003c/p>\n\u003cp>The recording inspired, licensed — or provoked — many better-established jazz musicians of the ’60s. But his experiments didn’t stop there.\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/zSVMG0Y-Dvs'\n title='//www.youtube.com/embed/zSVMG0Y-Dvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I never have classified music as being in different categories, so I started writing music which consists of violins and stuff like that,” Coleman said. “I think most people classify you as what you do when they see you in the contents of drums and things like that everybody they call that jazz. But when they see a violin or French horn something they call that classical music. And I really believe that any instrument can become the soloist instrument in any kind of contents.”\u003c/p>\n\u003cp>This work, too, was scorned until 1986, when conductor John Giordano of the Fort Worth Symphony worked closely with Coleman on a revision. Performances by orchestras in Europe and the New York Philharmonic followed.\u003c/p>\n\u003cp>Ornette Coleman said that he liked to tell people, “‘I’m a composer who performs.’ Whenever I would hear a band with guitars and bass the melodic line sounded so full, it sounded like a full orchestra. So I said, well, if I could expand the melodic writing into a much fuller sound, I would be able to express more music.”\u003c/p>\n\u003cp>In the mid-1970s, Coleman re-invented himself again, forming an electric band that often included his son, Denardo. In a 2008 interview, Denardo Coleman explained that his father’s philosophy suffuses his art, is part of his bands’ rehearsals and comes to fruition in performance.\u003c/p>\n\u003cp>“I think it’s beyond just scale, key, all that,” he said. “Everything he’s talking about is what he always talks about, with us, as well. So we’re bringing everything — the performance is everything.”\u003c/p>\n\u003cp>It was Ornette Coleman’s life to express feeling freely and directly, in music, and also to ask the big, confounding questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Does music have life?” he asked. His many fans and followers answer in the affirmative. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Christopher Lee, Star in 'Dracula,' 'Star Wars,' Dies",
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"content": "\u003cp>\u003cstrong>Updated at 10 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Christopher Lee, the actor best known for defining the role of Dracula on the big screen, died on Sunday at the age of 93.\u003c/p>\n\u003cp>An official for the Royal Borough of Kensington and Chelsea in London confirmed the death.\u003c/p>\n\u003cp>For a younger generation, Lee is best known for his role as Saruman, the white-maned villain in the\u003cem> Lord of the Rings\u003c/em> franchise. Lee also played Count Dooku, another villain with superhuman powers, in the \u003cem>Star Wars\u003c/em> series.\u003c/p>\n\u003cp>But, as \u003ca href=\"http://www.theguardian.com/film/2015/jun/11/christopher-lee-dies-at-the-age-of-93-dracula\">The Guardian\u003c/a> reports, Lee was born to play the Count:\u003c/p>\n\u003cblockquote>\n\u003cp>“… When Lee’s Count Dracula first walked down to the stairs to greet his visitors in the first Hammer movie version it was a revelation. He was tall (six foot five), handsome and well-built, with an easy athleticism and a frank, direct manner. His deep, melodious voice completed the effect: commanding. There was nothing unwholesome-looking about this vampire, not at first: he looked more like a British or at any rate Central European version of Gary Cooper. So it was even more powerful and shocking when this patrician figure disclosed his Satanic qualities: and that face became pale and contorted, when the lips peeled back to reveal the fangs, the eyes turned red and the lips dripped with blood — and his whole being oozed with forbidden sexuality. \u003ca href=\"http://www.theguardian.com/film/christopher-lee\">Christopher Lee\u003c/a> \u003cem>was\u003c/em> Dracula; he had taken over the character as clearly as Sean Connery took over James Bond.\u003c/p>\n\u003cp>“He took the role in a string of other Dracula sequels, which became increasingly seedy and humiliatingly preposterous for this sensitive and thoughtful actor. But there was no doubt about it. Along with his similarly refined colleague Peter Cushing, Lee had virtually invented the lucrative Hammer horror brand. He made other pictures for a studio with which he was associated for 20 years, before getting out in the late 70s to avoid typecasting. Modern PR types call it detoxifying your image. This was more like devampirifying it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0000489/bio?ref_=nm_ov_bio_sm\">According to an IMDB biography\u003c/a>, Lee was born in London in 1922. After starring in a string of successful British films, he moved to Hollywood in the ’70s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’ll leave you with a video from The Telegraph that encapsulates Lee’s career:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cscript height=\"349px\" width=\"620px\" src=\"http://player.ooyala.com/iframe.js#ec=VlNWpsdTpQ6sYppM0ZZRNqjs_w20_0p0&pbid=7dfd98005dba40baacc82277f292e522\">\u003c/script>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 10 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Christopher Lee, the actor best known for defining the role of Dracula on the big screen, died on Sunday at the age of 93.\u003c/p>\n\u003cp>An official for the Royal Borough of Kensington and Chelsea in London confirmed the death.\u003c/p>\n\u003cp>For a younger generation, Lee is best known for his role as Saruman, the white-maned villain in the\u003cem> Lord of the Rings\u003c/em> franchise. Lee also played Count Dooku, another villain with superhuman powers, in the \u003cem>Star Wars\u003c/em> series.\u003c/p>\n\u003cp>But, as \u003ca href=\"http://www.theguardian.com/film/2015/jun/11/christopher-lee-dies-at-the-age-of-93-dracula\">The Guardian\u003c/a> reports, Lee was born to play the Count:\u003c/p>\n\u003cblockquote>\n\u003cp>“… When Lee’s Count Dracula first walked down to the stairs to greet his visitors in the first Hammer movie version it was a revelation. He was tall (six foot five), handsome and well-built, with an easy athleticism and a frank, direct manner. His deep, melodious voice completed the effect: commanding. There was nothing unwholesome-looking about this vampire, not at first: he looked more like a British or at any rate Central European version of Gary Cooper. So it was even more powerful and shocking when this patrician figure disclosed his Satanic qualities: and that face became pale and contorted, when the lips peeled back to reveal the fangs, the eyes turned red and the lips dripped with blood — and his whole being oozed with forbidden sexuality. \u003ca href=\"http://www.theguardian.com/film/christopher-lee\">Christopher Lee\u003c/a> \u003cem>was\u003c/em> Dracula; he had taken over the character as clearly as Sean Connery took over James Bond.\u003c/p>\n\u003cp>“He took the role in a string of other Dracula sequels, which became increasingly seedy and humiliatingly preposterous for this sensitive and thoughtful actor. But there was no doubt about it. Along with his similarly refined colleague Peter Cushing, Lee had virtually invented the lucrative Hammer horror brand. He made other pictures for a studio with which he was associated for 20 years, before getting out in the late 70s to avoid typecasting. Modern PR types call it detoxifying your image. This was more like devampirifying it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0000489/bio?ref_=nm_ov_bio_sm\">According to an IMDB biography\u003c/a>, Lee was born in London in 1922. After starring in a string of successful British films, he moved to Hollywood in the ’70s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’ll leave you with a video from The Telegraph that encapsulates Lee’s career:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cscript height=\"349px\" width=\"620px\" src=\"http://player.ooyala.com/iframe.js#ec=VlNWpsdTpQ6sYppM0ZZRNqjs_w20_0p0&pbid=7dfd98005dba40baacc82277f292e522\">\u003c/script>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The roar of a car bomb has been the prelude to Karim Wasfi’s performances of late.\u003c/p>\n\u003cp>The renowned conductor of the \u003ca href=\"http://www.npr.org/sections/parallels/2014/09/15/348760910/iraqs-artists-defy-extremists-with-bows-brushes-and-a-low-profile\" target=\"_blank\" rel=\"noopener\">Iraqi National Symphony Orchestra\u003c/a> has been appearing at the sites of explosions across Baghdad. Just hours after attacks, Wasfi \u003ca href=\"https://www.youtube.com/watch?v=3tyDtGAGoqI\" target=\"_blank\" rel=\"noopener\">can be seen\u003c/a> seated amid ash and rubble in a black suit jacket, long hair combed back, playing his cello. For him, this combination of music and place has become a form of resistance, something he told \u003cem>Morning Edition\u003c/em> when the show reached him at home in Baghdad.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/412284066/412805201\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>“This was an action respecting the souls and the spirits of the fallen ones due to terror around the world — and, of course, Baghdad, because we’re living the reality over here,” Wasfi says. “The other side chose to turn every element, every aspect of life in Iraq into a battle and into a war zone. I chose to turn every corner of Iraq into a spot for civility, beauty and compassion.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Wasfi resides in a well-to-do neighborhood of Baghdad called Mansour, once an enclave of diplomats and private clubs. A deadly attack in Mansour a few weeks ago, an explosion Wasfi narrowly missed, prompted him to take his cello to the streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wasfi’s close friend Ammar al-Shahbander posted footage of that first performance, in which he performs an original composition titled “Baghdad Mourning Melancholy.” In the video, a man in a wheelchair rolls up slowly right next to Wasfi, taking in the unusual moment, while others gather to watch and listen.\u003c/p>\n\u003cp>“Some soldiers were in tears, some shop owners were in tears. Some people were confused,” Wasfi remembers. “I was connecting everything: death, spirits, bodies, life. People were supportive. They were appreciating the fact that someone can still at least lead their emotions and spirits towards something beautiful, to rise above the intimidation of improvised death.”\u003c/p>\n\u003cp>The video went viral, broadcasting Wasfi’s music and message beyond Iraq. His next performance came after a tragedy that affected him personally, when al-Shahbander was himself killed by a car bomb attack.\u003cstrong> \u003c/strong>The next morning, Wasfi put on a full white suit and grabbed his cello again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Unlike what people think, we have a choice of fighting back,” Wasfi says. “We can’t just surrender to the impending doom of uncertainty by not functioning. But I think it’s an awakening for everybody to make a choice and to choose how they want to live, not how they want to die.” \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=Amid+Violence+In+Baghdad%2C+A+Musician+Creates+A+One-Man+Vigil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The roar of a car bomb has been the prelude to Karim Wasfi’s performances of late.\u003c/p>\n\u003cp>The renowned conductor of the \u003ca href=\"http://www.npr.org/sections/parallels/2014/09/15/348760910/iraqs-artists-defy-extremists-with-bows-brushes-and-a-low-profile\" target=\"_blank\" rel=\"noopener\">Iraqi National Symphony Orchestra\u003c/a> has been appearing at the sites of explosions across Baghdad. Just hours after attacks, Wasfi \u003ca href=\"https://www.youtube.com/watch?v=3tyDtGAGoqI\" target=\"_blank\" rel=\"noopener\">can be seen\u003c/a> seated amid ash and rubble in a black suit jacket, long hair combed back, playing his cello. For him, this combination of music and place has become a form of resistance, something he told \u003cem>Morning Edition\u003c/em> when the show reached him at home in Baghdad.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/412284066/412805201\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>“This was an action respecting the souls and the spirits of the fallen ones due to terror around the world — and, of course, Baghdad, because we’re living the reality over here,” Wasfi says. “The other side chose to turn every element, every aspect of life in Iraq into a battle and into a war zone. I chose to turn every corner of Iraq into a spot for civility, beauty and compassion.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Wasfi resides in a well-to-do neighborhood of Baghdad called Mansour, once an enclave of diplomats and private clubs. A deadly attack in Mansour a few weeks ago, an explosion Wasfi narrowly missed, prompted him to take his cello to the streets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wasfi’s close friend Ammar al-Shahbander posted footage of that first performance, in which he performs an original composition titled “Baghdad Mourning Melancholy.” In the video, a man in a wheelchair rolls up slowly right next to Wasfi, taking in the unusual moment, while others gather to watch and listen.\u003c/p>\n\u003cp>“Some soldiers were in tears, some shop owners were in tears. Some people were confused,” Wasfi remembers. “I was connecting everything: death, spirits, bodies, life. People were supportive. They were appreciating the fact that someone can still at least lead their emotions and spirits towards something beautiful, to rise above the intimidation of improvised death.”\u003c/p>\n\u003cp>The video went viral, broadcasting Wasfi’s music and message beyond Iraq. His next performance came after a tragedy that affected him personally, when al-Shahbander was himself killed by a car bomb attack.\u003cstrong> \u003c/strong>The next morning, Wasfi put on a full white suit and grabbed his cello again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Unlike what people think, we have a choice of fighting back,” Wasfi says. “We can’t just surrender to the impending doom of uncertainty by not functioning. But I think it’s an awakening for everybody to make a choice and to choose how they want to live, not how they want to die.” \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=Amid+Violence+In+Baghdad%2C+A+Musician+Creates+A+One-Man+Vigil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Wouldn’t it be nice if Beach Boy Brian Wilson’s troubled life were as easily understood as \u003cem>Love & Mercy\u003c/em> makes it appear? Where the \u003cem>Pet Sounds \u003c/em>auteur is known for multi-part harmonies, director Bill Pohlad’s biopic is a series of simple duets.\u003c/p>\n\u003cp>Scripter Oren Moverman, who shares credit with Michael Alan Lerner but is reportedly the principal writer, summoned seven Dylans for \u003cem>I’m Not There\u003c/em>. Here he presents just two Brians: one from 1963-67, and another from roughly two decades later. The first is artistically agile, but beginning to lose his psychological balance; the second is essentially imprisoned, and ready to break free.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3atb-ykMR0Y\u003c/p>\n\u003cp>Crucially, the movie also juggles two acting styles. Paul Dano takes a cinematic approach to the younger Brian, even packing on some baby-genius fat to more closely resemble the Beach Boy who preferred junk food and cigarettes to surfing (or touring with the band). John Cusack’s version of the older man is more distanced and theatrical, without attempts at either physical or psychological impersonation. The performance is amiable but not very convincing, and doesn’t mesh with the literal-minded rest of the movie.\u003c/p>\n\u003cp>The two chapters are interwoven, with equal emphasis on both. That makes some sense, since the making of \u003cem>Pet Sounds\u003c/em> is virtually guaranteed to elicit smiley smiles, even from fans who know the history well enough to see how it’s been condensed and elided.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet the later story has more dramatic potential. After years of little musical output, Wilson is under the 24-hour-a-day authority of psychologist Eugene Landy (Paul Giamatti), who controls the onetime pop prodigy with drugs the therapist is not legally allowed to prescribe. The becalmed Beach Boy is rescued by Cadillac saleswoman Melinda Ledbetter (Elizabeth Banks), who sues Landy and eventually marries Brian.\u003c/p>\n\u003cp>Giamatti and Banks both give enthusiastic but predictable performances in shallowly written roles. Cusack portrays the Landy-dominated Brian as child-like and sometimes fearful, but capable of sly self-awareness. This seems unlikely, given his ’80s diet of sedatives and anti-psychotics.\u003c/p>\n\u003cp>Aside from the heroic Ledbetter, Wilson’s relationships are mostly with villains: Landy, of course, but also his father Murry (Bill Camp) and cousin and bandmate Mike Love (Jake Abel). Those two want hits, and don’t appreciate Brian’s attempts to expand the group’s style and lace the fun-fun-fun with wistfulness and rue.\u003c/p>\n\u003cp>To acknowledge Wilson’s many collaborators, the movie fleetingly introduces two of them, Tony Asher and Van Dyke Parks. But it doesn’t explain what either of them did. (Asher wrote most of \u003cem>Pet Sounds\u003c/em>‘ lyrics, and Parks served repeatedly as Wilson’s lyrical and musical foil.) It’s easier to dramatize a lone prodigy, so the movie makes all the good musical ideas appear to be Brian’s. In reality, even Mike Love had his moments.\u003c/p>\n\u003cp>\u003cem>Love & Mercy\u003c/em> is named, curiously, for a 1988 song that Wilson supposedly co-wrote with Landy. (The extent of the therapist’s contribution has been questioned.) But the movie wisely concentrates on the mid-’60s music, making expert use of the vocal-free backing tracks released on the \u003cem>Pet Sounds \u003c/em>box set. Even Atticus Ross’ shattered-pop score, used to evoke Wilson’s alienation and auditory hallucinations, is cut and pasted mostly from Beach Boys ditties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those tunes wouldn’t be remembered so fondly, however, if they were all sadness, self-doubt, and the disconnection Pohlad visualizes by showing Wilson behind windows or reflected in mirrors. So the final song, which ends a flawed movie with an immaculate burst of joy? Let’s just say it’s not “Hang on to Your Ego.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wouldn’t it be nice if Beach Boy Brian Wilson’s troubled life were as easily understood as \u003cem>Love & Mercy\u003c/em> makes it appear? Where the \u003cem>Pet Sounds \u003c/em>auteur is known for multi-part harmonies, director Bill Pohlad’s biopic is a series of simple duets.\u003c/p>\n\u003cp>Scripter Oren Moverman, who shares credit with Michael Alan Lerner but is reportedly the principal writer, summoned seven Dylans for \u003cem>I’m Not There\u003c/em>. Here he presents just two Brians: one from 1963-67, and another from roughly two decades later. The first is artistically agile, but beginning to lose his psychological balance; the second is essentially imprisoned, and ready to break free.\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/3atb-ykMR0Y'\n title='//www.youtube.com/embed/3atb-ykMR0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Crucially, the movie also juggles two acting styles. Paul Dano takes a cinematic approach to the younger Brian, even packing on some baby-genius fat to more closely resemble the Beach Boy who preferred junk food and cigarettes to surfing (or touring with the band). John Cusack’s version of the older man is more distanced and theatrical, without attempts at either physical or psychological impersonation. The performance is amiable but not very convincing, and doesn’t mesh with the literal-minded rest of the movie.\u003c/p>\n\u003cp>The two chapters are interwoven, with equal emphasis on both. That makes some sense, since the making of \u003cem>Pet Sounds\u003c/em> is virtually guaranteed to elicit smiley smiles, even from fans who know the history well enough to see how it’s been condensed and elided.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet the later story has more dramatic potential. After years of little musical output, Wilson is under the 24-hour-a-day authority of psychologist Eugene Landy (Paul Giamatti), who controls the onetime pop prodigy with drugs the therapist is not legally allowed to prescribe. The becalmed Beach Boy is rescued by Cadillac saleswoman Melinda Ledbetter (Elizabeth Banks), who sues Landy and eventually marries Brian.\u003c/p>\n\u003cp>Giamatti and Banks both give enthusiastic but predictable performances in shallowly written roles. Cusack portrays the Landy-dominated Brian as child-like and sometimes fearful, but capable of sly self-awareness. This seems unlikely, given his ’80s diet of sedatives and anti-psychotics.\u003c/p>\n\u003cp>Aside from the heroic Ledbetter, Wilson’s relationships are mostly with villains: Landy, of course, but also his father Murry (Bill Camp) and cousin and bandmate Mike Love (Jake Abel). Those two want hits, and don’t appreciate Brian’s attempts to expand the group’s style and lace the fun-fun-fun with wistfulness and rue.\u003c/p>\n\u003cp>To acknowledge Wilson’s many collaborators, the movie fleetingly introduces two of them, Tony Asher and Van Dyke Parks. But it doesn’t explain what either of them did. (Asher wrote most of \u003cem>Pet Sounds\u003c/em>‘ lyrics, and Parks served repeatedly as Wilson’s lyrical and musical foil.) It’s easier to dramatize a lone prodigy, so the movie makes all the good musical ideas appear to be Brian’s. In reality, even Mike Love had his moments.\u003c/p>\n\u003cp>\u003cem>Love & Mercy\u003c/em> is named, curiously, for a 1988 song that Wilson supposedly co-wrote with Landy. (The extent of the therapist’s contribution has been questioned.) But the movie wisely concentrates on the mid-’60s music, making expert use of the vocal-free backing tracks released on the \u003cem>Pet Sounds \u003c/em>box set. Even Atticus Ross’ shattered-pop score, used to evoke Wilson’s alienation and auditory hallucinations, is cut and pasted mostly from Beach Boys ditties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those tunes wouldn’t be remembered so fondly, however, if they were all sadness, self-doubt, and the disconnection Pohlad visualizes by showing Wilson behind windows or reflected in mirrors. So the final song, which ends a flawed movie with an immaculate burst of joy? Let’s just say it’s not “Hang on to Your Ego.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Much of Brad Bird’s Disney sci-fi adventure \u003cem>Tomorrowland\u003c/em> is terrific fun, but it’s one of the strangest family movies I’ve seen: Bird’s not just making a case for hope, he’s making a furious, near-hysterical case against anti-hope.\u003c/p>\n\u003cp>After a perplexing prologue in which George Clooney in a futuristic suit addresses an unseen audience, Bird flashes back to perhaps the 20th century’s most enduring symbol of technological optimism: The 1964 New York World’s Fair. Clooney’s character, Frank Walker, is a preteen science nerd who is demonstrating his semifunctional homemade jetpack to a British scientist called Nix played by Hugh Laurie. Nix belittles Frank, but a young girl named Athena, who appears to be Nix’s daughter, secretly slips the boy a World’s Fair pin that transports him somewhere \u003cem>fabulous\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0sH0__SpV88\u003c/p>\n\u003cp>I can’t describe where that is because the fun in \u003cem>Tomorrowland\u003c/em> comes from being constantly upended. What I can say is that for Bird the ’64 fair is utopia. This was an era when kids made rockets in garages out of vacuum cleaner parts; when a clean, cheerful “city of the future” inspired awe instead of cynicism. For Frank, anything seems possible.\u003c/p>\n\u003cp>Frank is not the movie’s protagonist, but it’s someone cut from the same cloth. Casey Newton is a present-day Florida teen (played by Britt Robertson) whose dad works for NASA overseeing the dismantling of rockets that will never be used. A budding rocket scientist, she’s so outraged by the failure to support the space program, she sends homemade drones to sabotage the equipment — and gets caught. Sprung from jail, she finds in her belongings the same kind of pin that sent Frank on the ride of his life. Every time she touches it, she’s in what I’m tempted to call a field of dreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s obvious why both Casey and Frank got that pin: They have imaginations that can’t be dampened. Casey’s dad poses a riddle that becomes the cornerstone of her worldview, which is, in fact, the film’s worldview: You have two wolves, one representing darkness and despair, the other light and hope. Which one lives? Casey knows the answer: “The one you \u003cem>feed\u003c/em>.”\u003c/p>\n\u003cp>After Casey joins forces with the middle-aged Frank, much of \u003cem>Tomorrowland\u003c/em> is time-and-space jumping plus blast-’em-up battles with human-looking robots. But the most vivid thing is the message: a critique of films, books and TV shows in which floods, plagues, robots, or nukes wipe out civilization. It’s not that Bird is disparaging climate change or other dangers. He’s saying our society has become so comfortable with the vision of apocalypse that we’re not dreaming up solutions.\u003c/p>\n\u003cp>Maybe Bird is right and we \u003cem>are\u003c/em> too comfortable — even turned on — by plague/flood/road-warrior/kids-killing-kids movies. But \u003cem>Tomorrowland\u003c/em> has a weird side, too. Bird has acknowledged the influence of Ayn Rand’s militant individualism, and so the enemies he identifies aren’t, say, the people \u003cem>causing\u003c/em> climate change. They’re the doomsaying collective, like the science teacher who drones on about temperature rise and looks dumbly at Casey when she interrupts to ask, “Can we \u003cem>fix\u003c/em> it?” Nihilistic groupthink rules our culture, says Bird, and Casey’s positivity makes her a pariah.\u003c/p>\n\u003cp>Apart from that — a big “apart” — I loved the movie. I had to dry my tears and let the buzz wear off before I could argue with it. The creator of \u003cem>The Incredibles\u003c/em>, \u003cem>Ratatouille\u003c/em> and the last \u003cem>Mission: Impossible\u003c/em> film, \u003cem>Ghost Protocol\u003c/em>, Bird straddles two worlds, his animation grounded by love of classic cinema, his live-action films liberated by an animator’s sense of possibilities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cast is fun, too. Though Clooney mugs as much as acts, his comic timing remains superb and his young female co-stars are marvelous. Britt Robertson’s jumpy Casey pairs beautifully with Raffey Cassidy’s crisp underplaying as the enigmatic Athena. I hope neither actress follows \u003cem>Tomorrowland\u003c/em> with a plague or \u003cem>Mad Max \u003c/em>film — though we all know that in Hollywood, movies with no future are the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much of Brad Bird’s Disney sci-fi adventure \u003cem>Tomorrowland\u003c/em> is terrific fun, but it’s one of the strangest family movies I’ve seen: Bird’s not just making a case for hope, he’s making a furious, near-hysterical case against anti-hope.\u003c/p>\n\u003cp>After a perplexing prologue in which George Clooney in a futuristic suit addresses an unseen audience, Bird flashes back to perhaps the 20th century’s most enduring symbol of technological optimism: The 1964 New York World’s Fair. Clooney’s character, Frank Walker, is a preteen science nerd who is demonstrating his semifunctional homemade jetpack to a British scientist called Nix played by Hugh Laurie. Nix belittles Frank, but a young girl named Athena, who appears to be Nix’s daughter, secretly slips the boy a World’s Fair pin that transports him somewhere \u003cem>fabulous\u003c/em>.\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/0sH0__SpV88'\n title='//www.youtube.com/embed/0sH0__SpV88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I can’t describe where that is because the fun in \u003cem>Tomorrowland\u003c/em> comes from being constantly upended. What I can say is that for Bird the ’64 fair is utopia. This was an era when kids made rockets in garages out of vacuum cleaner parts; when a clean, cheerful “city of the future” inspired awe instead of cynicism. For Frank, anything seems possible.\u003c/p>\n\u003cp>Frank is not the movie’s protagonist, but it’s someone cut from the same cloth. Casey Newton is a present-day Florida teen (played by Britt Robertson) whose dad works for NASA overseeing the dismantling of rockets that will never be used. A budding rocket scientist, she’s so outraged by the failure to support the space program, she sends homemade drones to sabotage the equipment — and gets caught. Sprung from jail, she finds in her belongings the same kind of pin that sent Frank on the ride of his life. Every time she touches it, she’s in what I’m tempted to call a field of dreams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s obvious why both Casey and Frank got that pin: They have imaginations that can’t be dampened. Casey’s dad poses a riddle that becomes the cornerstone of her worldview, which is, in fact, the film’s worldview: You have two wolves, one representing darkness and despair, the other light and hope. Which one lives? Casey knows the answer: “The one you \u003cem>feed\u003c/em>.”\u003c/p>\n\u003cp>After Casey joins forces with the middle-aged Frank, much of \u003cem>Tomorrowland\u003c/em> is time-and-space jumping plus blast-’em-up battles with human-looking robots. But the most vivid thing is the message: a critique of films, books and TV shows in which floods, plagues, robots, or nukes wipe out civilization. It’s not that Bird is disparaging climate change or other dangers. He’s saying our society has become so comfortable with the vision of apocalypse that we’re not dreaming up solutions.\u003c/p>\n\u003cp>Maybe Bird is right and we \u003cem>are\u003c/em> too comfortable — even turned on — by plague/flood/road-warrior/kids-killing-kids movies. But \u003cem>Tomorrowland\u003c/em> has a weird side, too. Bird has acknowledged the influence of Ayn Rand’s militant individualism, and so the enemies he identifies aren’t, say, the people \u003cem>causing\u003c/em> climate change. They’re the doomsaying collective, like the science teacher who drones on about temperature rise and looks dumbly at Casey when she interrupts to ask, “Can we \u003cem>fix\u003c/em> it?” Nihilistic groupthink rules our culture, says Bird, and Casey’s positivity makes her a pariah.\u003c/p>\n\u003cp>Apart from that — a big “apart” — I loved the movie. I had to dry my tears and let the buzz wear off before I could argue with it. The creator of \u003cem>The Incredibles\u003c/em>, \u003cem>Ratatouille\u003c/em> and the last \u003cem>Mission: Impossible\u003c/em> film, \u003cem>Ghost Protocol\u003c/em>, Bird straddles two worlds, his animation grounded by love of classic cinema, his live-action films liberated by an animator’s sense of possibilities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cast is fun, too. Though Clooney mugs as much as acts, his comic timing remains superb and his young female co-stars are marvelous. Britt Robertson’s jumpy Casey pairs beautifully with Raffey Cassidy’s crisp underplaying as the enigmatic Athena. I hope neither actress follows \u003cem>Tomorrowland\u003c/em> with a plague or \u003cem>Mad Max \u003c/em>film — though we all know that in Hollywood, movies with no future are the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mary Ellen Mark, the influential photographer known mostly for her humanist work, has died. She was 75.\u003c/p>\n\u003cp>Mark died Monday, a representative said Tuesday. The \u003cem>Philadelphia Inquirer\u003c/em> reported that she died in New York.\u003c/p>\n\u003cp>Mark’s work appeared in \u003cem>Life\u003c/em>, \u003cem>New York Times Magazine\u003c/em>, \u003cem>Rolling Stone\u003c/em> and \u003cem>Vanity Fair\u003c/em>. Her photo essay on runaway children in Seattle became the basis of \u003cem>Streetwise,\u003c/em> an Academy Award-nominated film that was directed by her husband, Martin Bell.\u003c/p>\n\u003cp>In a 1988 interview with the \u003ca href=\"http://www.philly.com/philly/blogs/entertainment/fine_arts/Legendary-Philadelphia-photographer-Mary-Ellen-Mark-dies-75.html\" target=\"_blank\" rel=\"noopener\">Philadelphia Inquirer\u003c/a>, Mark said she got her break while working for a Penn alumni magazine. On assignment, she met Pat Carbine, who then was managing editor of \u003cem>Look. \u003c/em>Carbine\u003cem> \u003c/em>later took Mark’s pitch to photograph London drug clinics.\u003c/p>\n\u003cp>“From the very first moment I took pictures [on the streets of Philadelphia], I loved it,” \u003ca href=\"http://articles.philly.com/1988-06-14/news/26266003_1_magazine-loft-photography\" target=\"_blank\" rel=\"noopener\">she told the\u003c/a> \u003cem>Inquirer\u003c/em>. “The thrill was the idea of just being on a street, turning a corner and looking for something to see. It was just an amazing feeling. … Photography became my obsession. … In a way it’s not so different when I go out to work now. It’s just that now I have years of experience in knowing how to use that little machine in front of me — at least better than I used it then. When it’s good and interesting it’s still that feeling of being on the street and wondering — God, I love this! — what’s going to happen next?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>NPR, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5020651\" target=\"_blank\" rel=\"noopener\">in a 2005 review of her work\u003c/a>, called her “a brilliant and fearless artist,” adding: “Mark’s highly celebrated work is sad, spectacular, desperate, disturbing and so much who we are.”\u003c/p>\n\u003cp>In 2012, Mark spoke to NPR about her book \u003cem>Prom\u003c/em>, a collection of 127 portraits from 13 schools across the country, shot between 2006 and 2009. You can listen to that interview \u003ca href=\"http://www.npr.org/sections/pictureshow/2012/04/06/150057877/not-your-average-prom-portraits\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/150057877/150149088\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>See more of Mark’s work in this \u003ca href=\"http://www.pbs.org/newshour/rundown/mary-ellen-mark/\" target=\"_blank\" rel=\"noopener\">PBS Newshour article\u003c/a> about her career.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR’s Neda Ulaby is reporting on Mark’s legacy on Wednesday’s \u003ca href=\"../programs/morning-edition/\" target=\"_blank\" rel=\"noopener\">Morning Edition\u003c/a>. Please tune in to your local public radio station to listen. \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=Photographer+Mary+Ellen+Mark+Dies+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>NPR, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5020651\" target=\"_blank\" rel=\"noopener\">in a 2005 review of her work\u003c/a>, called her “a brilliant and fearless artist,” adding: “Mark’s highly celebrated work is sad, spectacular, desperate, disturbing and so much who we are.”\u003c/p>\n\u003cp>In 2012, Mark spoke to NPR about her book \u003cem>Prom\u003c/em>, a collection of 127 portraits from 13 schools across the country, shot between 2006 and 2009. You can listen to that interview \u003ca href=\"http://www.npr.org/sections/pictureshow/2012/04/06/150057877/not-your-average-prom-portraits\" target=\"_blank\" rel=\"noopener\">here\u003c/a>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/150057877/150149088\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>See more of Mark’s work in this \u003ca href=\"http://www.pbs.org/newshour/rundown/mary-ellen-mark/\" target=\"_blank\" rel=\"noopener\">PBS Newshour article\u003c/a> about her career.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR’s Neda Ulaby is reporting on Mark’s legacy on Wednesday’s \u003ca href=\"../programs/morning-edition/\" target=\"_blank\" rel=\"noopener\">Morning Edition\u003c/a>. Please tune in to your local public radio station to listen. \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=Photographer+Mary+Ellen+Mark+Dies+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first scene of \u003cem>Aloft\u003c/em> is one of the more haunting movie openings in recent years. It’s a bitter cold day in northern Canada; against a barren snowscape, a single mother named Nana (Jennifer Connolly) and her two young sons hitch rides in vans from morose men toward an increasingly remote location. With little dialogue, we discover they are on their way to visit a faith healer named The Architect, who performs rituals for a cult of believers in an igloo-like structure built from twigs. Nana’s younger son is ill; this shack, and the fragile, unspoken promise it houses, is her last hope. But, her older son is a budding falconer and his majestic bird takes flight against The Architect.\u003c/p>\n\u003cp>The sensory power of this scene is still ringing even as the film’s mystique slowly drains. \u003cem>Aloft\u003c/em> cuts between two timeframes: one in which Nana has subsequent run-ins with The Architect as her youngest becomes sicker, and a period 20 years later, when she has assumed her own faith-healing mantle. Her older son, Ivan (Cillian Murphy), is unable to cope with his mother’s abandonment and retreats into his birds. A French journalist (Mélanie Laurent) comes to Ivan’s doorstep looking for Nana, and despite his livid protests he eventually agrees to accompany her on a trek to the remote Arctic Circle outpost where Nana lives as a recluse with her followers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ImbiTVzpJBo\u003c/p>\n\u003cp>It’s a journey of discovery for Ivan: What caused his mother to abandon her child for a spiritual quest? It’s also a journey for the audience, but not in the way the film intends. The film is filled with gabbing and melodrama, even as it maintains the gorgeous visuals. The present-day trek northward fills the stark, airy void with chatter that glazes over Nana’s state of mind. It feels unnecessary.\u003c/p>\n\u003cp>The competing storylines pull \u003cem>Aloft\u003c/em> away from its central questions. The entire flashback structure is building toward one of those twist endings that the characters would already know, but that’s being deliberately withheld from the audience in an attempt at suspense.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Connolly and Murphy give strong performances, though neither of them looks completely in sync with the Great White North surroundings. Connolly never quite sells Nana’s transformation from desperate mother to full-blown mystic, though since we barely see her in full-on faith-healer mode, there’s little reason to buy her arc, anyway. With his bony physique and head constantly buried under a hood, Murphy always seems lost in his own world. He does, however, have great chemistry with his falcon.\u003c/p>\n\u003cp>\u003cem>Aloft \u003c/em>was written and directed by Peruvian filmmaker Claudia Llosa. Her previous feature was 2009’s Oscar-nominated \u003cem>The Milk Of Sorrow\u003c/em>, about a young woman who goes to extreme measures to avoid the abuse her mother met at the hands of Peru’s military dictatorship, and it’s an intoxicating mix of magic realism, body horror, and reckoning with a nation’s painful history. Her new film lacks the same unnerving qualities—it feels like a more standard tale of frayed familial bonds that happens to take place in an unusual setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cem>Aloft \u003c/em>maintains Llosa’s biggest strength as a filmmaker: an acute sense of place. The movie was filmed in Manitoba and makes full use of its gorgeous isolation, including a harrowing scene on the frozen ice roads of Lake Winnipeg. The cinematographer, Nicolas Bolduc, keeps his camera low, centered on the characters as their fates spill over into the vast winter surrounding them. With frequent cutaways to flying hawks against this landscape, Llosa evokes the animal-themed wilderness narratives of Jack London. That opening still shines like a beacon in the frozen north, though less brightly once we’ve heard the noise and seen the nothingness which follows.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first scene of \u003cem>Aloft\u003c/em> is one of the more haunting movie openings in recent years. It’s a bitter cold day in northern Canada; against a barren snowscape, a single mother named Nana (Jennifer Connolly) and her two young sons hitch rides in vans from morose men toward an increasingly remote location. With little dialogue, we discover they are on their way to visit a faith healer named The Architect, who performs rituals for a cult of believers in an igloo-like structure built from twigs. Nana’s younger son is ill; this shack, and the fragile, unspoken promise it houses, is her last hope. But, her older son is a budding falconer and his majestic bird takes flight against The Architect.\u003c/p>\n\u003cp>The sensory power of this scene is still ringing even as the film’s mystique slowly drains. \u003cem>Aloft\u003c/em> cuts between two timeframes: one in which Nana has subsequent run-ins with The Architect as her youngest becomes sicker, and a period 20 years later, when she has assumed her own faith-healing mantle. Her older son, Ivan (Cillian Murphy), is unable to cope with his mother’s abandonment and retreats into his birds. A French journalist (Mélanie Laurent) comes to Ivan’s doorstep looking for Nana, and despite his livid protests he eventually agrees to accompany her on a trek to the remote Arctic Circle outpost where Nana lives as a recluse with her followers.\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/ImbiTVzpJBo'\n title='//www.youtube.com/embed/ImbiTVzpJBo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a journey of discovery for Ivan: What caused his mother to abandon her child for a spiritual quest? It’s also a journey for the audience, but not in the way the film intends. The film is filled with gabbing and melodrama, even as it maintains the gorgeous visuals. The present-day trek northward fills the stark, airy void with chatter that glazes over Nana’s state of mind. It feels unnecessary.\u003c/p>\n\u003cp>The competing storylines pull \u003cem>Aloft\u003c/em> away from its central questions. The entire flashback structure is building toward one of those twist endings that the characters would already know, but that’s being deliberately withheld from the audience in an attempt at suspense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Connolly and Murphy give strong performances, though neither of them looks completely in sync with the Great White North surroundings. Connolly never quite sells Nana’s transformation from desperate mother to full-blown mystic, though since we barely see her in full-on faith-healer mode, there’s little reason to buy her arc, anyway. With his bony physique and head constantly buried under a hood, Murphy always seems lost in his own world. He does, however, have great chemistry with his falcon.\u003c/p>\n\u003cp>\u003cem>Aloft \u003c/em>was written and directed by Peruvian filmmaker Claudia Llosa. Her previous feature was 2009’s Oscar-nominated \u003cem>The Milk Of Sorrow\u003c/em>, about a young woman who goes to extreme measures to avoid the abuse her mother met at the hands of Peru’s military dictatorship, and it’s an intoxicating mix of magic realism, body horror, and reckoning with a nation’s painful history. Her new film lacks the same unnerving qualities—it feels like a more standard tale of frayed familial bonds that happens to take place in an unusual setting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cem>Aloft \u003c/em>maintains Llosa’s biggest strength as a filmmaker: an acute sense of place. The movie was filmed in Manitoba and makes full use of its gorgeous isolation, including a harrowing scene on the frozen ice roads of Lake Winnipeg. The cinematographer, Nicolas Bolduc, keeps his camera low, centered on the characters as their fates spill over into the vast winter surrounding them. With frequent cutaways to flying hawks against this landscape, Llosa evokes the animal-themed wilderness narratives of Jack London. That opening still shines like a beacon in the frozen north, though less brightly once we’ve heard the noise and seen the nothingness which follows.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Earlier this month, almost 2,000 radio fanatics gathered at the Brooklyn Academy of Music (BAM) to listen in as Marc Maron, the neurotic and sometimes gruff comedian and podcast host, interviewed \u003cem>Fresh Air’s\u003c/em> Terry Gross. He is known for being vulnerable and bringing his personal life into his interviews; she tends to keep her personal life separate from her work. The conversation that resulted blurs those two styles and ends up revealing aspects of Gross’ life that even the biggest \u003cem>Fresh Air\u003c/em> fans may find surprising.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/206567895″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Maron is the host of \u003ca href=\"http://www.wtfpod.com/podcast\" target=\"_blank\" rel=\"noopener\">WTF\u003c/a>\u003cem>,\u003c/em> a podcast he started in his garage in 2009. \u003cem>WTF\u003c/em> began as a way for Maron to talk about life and career struggles with other comics, and it has expanded to include musicians, actors and directors — and now the host of \u003cem>Fresh Air.\u003c/em>\u003c/p>\n\u003cp>Gross has \u003ca href=\"http://www.npr.org/2014/05/09/310783376/marc-maron-a-life-fueled-by-panic-and-dread\" target=\"_blank\" rel=\"noopener\">previously interviewed Maron for Fresh Air\u003c/a>, but those interviews were conducted in separate studios; the sit-down at BAM was the first time the two met in person. In her introduction to the interview, Gross says, “When I’d met him backstage before the show, I really wanted to talk with him, but we agreed — let’s save it for the interview.”\u003c/p>\n\u003cp>During the course of their conversation, Maron and Gross discussed her childhood in Brooklyn, her beginnings in radio and her record- and book-strewn apartment. For her part, Gross says that Maron’s “no bulls***” style made her feel comfortable opening up to him. “I couldn’t look you in the eye and not tell you the truth,” she tells him.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On preparing for interviews\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> I’m a little nervous, but I’ve prepared. I’ve written things on a piece of paper. I don’t know how you prepare — I could ask you that, maybe I will — but this is how I prepare: I panic for a while, and then I scramble and then I type some things up and then I hand write things that are hard to read so I can challenge myself on that level during the interview.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Being self-defeating is always a good part of preparation.\u003c/p>\n\u003cp>\u003cstrong>Maron\u003c/strong>: Yes!\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Self sabotage.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So you do that?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> I sometimes do that.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> How often?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> I try not to do that, I do that more in life than I do in radio. … Life is harder than radio.\u003c/p>\n\u003cp>\u003cstrong>On wanting to b\u003c/strong>\u003cstrong>e a lyricist when she was young\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> When I was in high school I wanted to be a lyricist. … Brooklyn public schools used to have something called \u003cem>SING!\u003c/em> where you’d put on a show, each grade would put on a show at the end of the year and you’d write your own storyline. You’d borrow melodies from Broadway shows and write your own lyrics. So I was one of the lyricists for each year that I was there. And part of the time I was in high school my friends shared this interest in theater and it was great, and I thought, “If I could live that life where there’s theater and there’s song and there’s music and people designing scenery and painting it, that would just be super.” And then I thought, “How do you get there? How the hell do you get there?” But it was kind of thrilling if somebody sang a lyric that I wrote. Like once I was walking down the street and I heard a couple of the basketball players singing a lyric that I wrote and I thought, “That is really — that’s just fabulous.”\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> It’s great! Do you remember the lyrics?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> No.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Really?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Yeah. I’m lying, I wouldn’t tell you.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> That’s what you won’t tell me? That’s where you draw the line? At a lyric that some basketball players were singing? That’s what you don’t want America to know about you?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Yeah.\u003c/p>\n\u003cp>\u003cstrong>On her book and record collection\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Here’s what typically happens: [My husband] spends a lot of time in record stores looking for unusual and interesting things.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So he’s a vinyl guy.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Our house is like — it’s kind of like we’re living in a record store and library.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So now we’re talking. There are just stacks of records everywhere. I know the vinyl addiction.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Records and CDs and piles.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So do you walk around the house going, “Are you \u003cem>kidding\u003c/em> me?”\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Yes!\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> “I can’t get into the bathroom!”\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It is a little like that. But anyways —\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> No, no, no.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Is your house like that?\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Is my house? No, no, let’s stay in your house.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> My house is like a little apartment.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> That’s how I pictured it. Every time I talk to you on the air I always picture you in some weird bunker surrounded by books.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It’s kind of like that.\u003c/p>\n\u003cp>\u003cstrong>On hitchhiking across the country with her then-boyfriend when she was in college\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> My parents, when I decided to hitchhike cross-country, they were very, very upset about it.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> I’m upset now.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Well, now that I’m the age that I am, I think, like “My gosh, no wonder they were so upset!” But my attitude then was, you know, “You’re not telling me what to do! You don’t control me.” …\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Was this a big deal for you, was it against character?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It was totally against character. And the fact is that I think my boyfriend wanted to do it probably more than I did, because I’m really not the adventurous type. I think I’m intellectually adventurous — I’m adventurous in my musical taste, in my artistic taste. I’m not a physically adventurous person. I’m not a risk-taker when it comes to the outside world. …\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So you know that about yourself now, but this must’ve been a fairly powerful bit of business for you personally?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It was, and it was weird. I hitchhiked rides. Like there was somebody who was probably just out of prison and somebody else who probably had tuberculosis, judging from how he was coughing, and in the back of a truck with probably — they were probably migrant workers and there were axes all over. I don’t think they planned on using them against us, but it is a kind of creepy feeling to be in the back of a pickup truck where there’s axes. And if my ex-boyfriend/husband is listening to this, I hope his memories jibe with mine because I can’t swear to the accuracy of my memory, but it was just totally creepy.\u003c/p>\n\u003cp>\u003cstrong>On having more intimate conversations on mic than off\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Can I get a chance to ask you a question?\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> In a minute! In a minute! I know how \u003cem>that \u003c/em>goes. I’m trying to hold the line, Terry. These are professional boundaries. \u003cem>I’m \u003c/em>the questioner. But how are you with joy? I’m asking this because — this is all I know: I became an interviewer for reasons that had nothing to do with interviewing. … I don’t know if you feel this way, you say you work all the time, but you talk to people professionally and you elicit things from them and you draw people out … but do you get something out of that emotionally? Because I find in my life that I’m capable of almost a deeper intimacy with —\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> That was the question I was going to ask you!\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Well, I’m asking you first!\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> OK. Yes.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Looks like I beat you to it. I’m learning. I just feel like I had one of these weird kind of “Yes, I’m glad that I’m on the right track if I came up with a question that you already had in your mind.” \u003cem>Do\u003c/em> you?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It’s a weird thing. I’ll give you an example. I often ask people who have a history of illness or who are near death — because I’ve interviewed people who are near death — I’ve asked them very intimate things about facing death and about their attitudes toward death. I ask people a lot about how they want to buried, or if they want to be buried or if they’d prefer to be cremated. I had a friend a couple of years ago who was also a neighbor who died and I spent a lot of time with her at the end of her life, shopping for food for her, making some food for her. And I knew she didn’t want to talk about facing death and she was really not ready to do it. To the end, she didn’t want to talk about it. So here I am, talking to people who I’m not in the room with. … I don’t know them, they don’t know me, and I’m asking them about death. And here’s my friend who is dying and I’m not talking with her about death. But there’s a reason for that and I felt it would’ve been intrusive in a way that it’s not with my interviewees because she was not ready to talk about it.\u003c/p>\n\u003cp>\u003cstrong>On meeting in real life\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> I guess it’s sort of shocking to me because my experience with you is only with voice. This is the first time I’ve seen you moving. I think for a while there, pre-Internet, there was no pictures of you available anywhere. Like I didn’t really know what you looked like, but just your voice made me want to be a better person.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Have I accomplished that?\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Yeah, I think so. I get nervous. Like, talking to you now is good. Like, I don’t know why you interview, but for me it’s to get very deep emotional needs met. So, like, I seem to be getting along with you, we’re connecting, that makes me happy. It doesn’t feel difficult to me. I know you’re wondering how this is going, I’m telling you from my point of view that I’m having a nice time.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> So am I.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> But when I’m in the studio talking to you I’m standing up straight and I want to impress you. Like one time I made you snort-laugh and I was like, “I win!” I heard you laugh and snort and I’m like, “I’m done with radio. I can wear that as a badge of honor.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>We tried our best to translate this conversation into print, but some things are just better in audio. For the full effect, click the audio link above.\u003c/strong>\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this month, almost 2,000 radio fanatics gathered at the Brooklyn Academy of Music (BAM) to listen in as Marc Maron, the neurotic and sometimes gruff comedian and podcast host, interviewed \u003cem>Fresh Air’s\u003c/em> Terry Gross. He is known for being vulnerable and bringing his personal life into his interviews; she tends to keep her personal life separate from her work. The conversation that resulted blurs those two styles and ends up revealing aspects of Gross’ life that even the biggest \u003cem>Fresh Air\u003c/em> fans may find surprising.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/206567895″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/206567895″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Maron is the host of \u003ca href=\"http://www.wtfpod.com/podcast\" target=\"_blank\" rel=\"noopener\">WTF\u003c/a>\u003cem>,\u003c/em> a podcast he started in his garage in 2009. \u003cem>WTF\u003c/em> began as a way for Maron to talk about life and career struggles with other comics, and it has expanded to include musicians, actors and directors — and now the host of \u003cem>Fresh Air.\u003c/em>\u003c/p>\n\u003cp>Gross has \u003ca href=\"http://www.npr.org/2014/05/09/310783376/marc-maron-a-life-fueled-by-panic-and-dread\" target=\"_blank\" rel=\"noopener\">previously interviewed Maron for Fresh Air\u003c/a>, but those interviews were conducted in separate studios; the sit-down at BAM was the first time the two met in person. In her introduction to the interview, Gross says, “When I’d met him backstage before the show, I really wanted to talk with him, but we agreed — let’s save it for the interview.”\u003c/p>\n\u003cp>During the course of their conversation, Maron and Gross discussed her childhood in Brooklyn, her beginnings in radio and her record- and book-strewn apartment. For her part, Gross says that Maron’s “no bulls***” style made her feel comfortable opening up to him. “I couldn’t look you in the eye and not tell you the truth,” she tells him.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On preparing for interviews\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> I’m a little nervous, but I’ve prepared. I’ve written things on a piece of paper. I don’t know how you prepare — I could ask you that, maybe I will — but this is how I prepare: I panic for a while, and then I scramble and then I type some things up and then I hand write things that are hard to read so I can challenge myself on that level during the interview.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Being self-defeating is always a good part of preparation.\u003c/p>\n\u003cp>\u003cstrong>Maron\u003c/strong>: Yes!\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Self sabotage.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So you do that?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> I sometimes do that.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> How often?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> I try not to do that, I do that more in life than I do in radio. … Life is harder than radio.\u003c/p>\n\u003cp>\u003cstrong>On wanting to b\u003c/strong>\u003cstrong>e a lyricist when she was young\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> When I was in high school I wanted to be a lyricist. … Brooklyn public schools used to have something called \u003cem>SING!\u003c/em> where you’d put on a show, each grade would put on a show at the end of the year and you’d write your own storyline. You’d borrow melodies from Broadway shows and write your own lyrics. So I was one of the lyricists for each year that I was there. And part of the time I was in high school my friends shared this interest in theater and it was great, and I thought, “If I could live that life where there’s theater and there’s song and there’s music and people designing scenery and painting it, that would just be super.” And then I thought, “How do you get there? How the hell do you get there?” But it was kind of thrilling if somebody sang a lyric that I wrote. Like once I was walking down the street and I heard a couple of the basketball players singing a lyric that I wrote and I thought, “That is really — that’s just fabulous.”\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> It’s great! Do you remember the lyrics?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> No.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Really?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Yeah. I’m lying, I wouldn’t tell you.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> That’s what you won’t tell me? That’s where you draw the line? At a lyric that some basketball players were singing? That’s what you don’t want America to know about you?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Yeah.\u003c/p>\n\u003cp>\u003cstrong>On her book and record collection\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Here’s what typically happens: [My husband] spends a lot of time in record stores looking for unusual and interesting things.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So he’s a vinyl guy.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Our house is like — it’s kind of like we’re living in a record store and library.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So now we’re talking. There are just stacks of records everywhere. I know the vinyl addiction.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Records and CDs and piles.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So do you walk around the house going, “Are you \u003cem>kidding\u003c/em> me?”\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Yes!\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> “I can’t get into the bathroom!”\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It is a little like that. But anyways —\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> No, no, no.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Is your house like that?\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Is my house? No, no, let’s stay in your house.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> My house is like a little apartment.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> That’s how I pictured it. Every time I talk to you on the air I always picture you in some weird bunker surrounded by books.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It’s kind of like that.\u003c/p>\n\u003cp>\u003cstrong>On hitchhiking across the country with her then-boyfriend when she was in college\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> My parents, when I decided to hitchhike cross-country, they were very, very upset about it.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> I’m upset now.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Well, now that I’m the age that I am, I think, like “My gosh, no wonder they were so upset!” But my attitude then was, you know, “You’re not telling me what to do! You don’t control me.” …\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Was this a big deal for you, was it against character?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It was totally against character. And the fact is that I think my boyfriend wanted to do it probably more than I did, because I’m really not the adventurous type. I think I’m intellectually adventurous — I’m adventurous in my musical taste, in my artistic taste. I’m not a physically adventurous person. I’m not a risk-taker when it comes to the outside world. …\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> So you know that about yourself now, but this must’ve been a fairly powerful bit of business for you personally?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It was, and it was weird. I hitchhiked rides. Like there was somebody who was probably just out of prison and somebody else who probably had tuberculosis, judging from how he was coughing, and in the back of a truck with probably — they were probably migrant workers and there were axes all over. I don’t think they planned on using them against us, but it is a kind of creepy feeling to be in the back of a pickup truck where there’s axes. And if my ex-boyfriend/husband is listening to this, I hope his memories jibe with mine because I can’t swear to the accuracy of my memory, but it was just totally creepy.\u003c/p>\n\u003cp>\u003cstrong>On having more intimate conversations on mic than off\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Can I get a chance to ask you a question?\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> In a minute! In a minute! I know how \u003cem>that \u003c/em>goes. I’m trying to hold the line, Terry. These are professional boundaries. \u003cem>I’m \u003c/em>the questioner. But how are you with joy? I’m asking this because — this is all I know: I became an interviewer for reasons that had nothing to do with interviewing. … I don’t know if you feel this way, you say you work all the time, but you talk to people professionally and you elicit things from them and you draw people out … but do you get something out of that emotionally? Because I find in my life that I’m capable of almost a deeper intimacy with —\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> That was the question I was going to ask you!\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Well, I’m asking you first!\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> OK. Yes.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Looks like I beat you to it. I’m learning. I just feel like I had one of these weird kind of “Yes, I’m glad that I’m on the right track if I came up with a question that you already had in your mind.” \u003cem>Do\u003c/em> you?\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> It’s a weird thing. I’ll give you an example. I often ask people who have a history of illness or who are near death — because I’ve interviewed people who are near death — I’ve asked them very intimate things about facing death and about their attitudes toward death. I ask people a lot about how they want to buried, or if they want to be buried or if they’d prefer to be cremated. I had a friend a couple of years ago who was also a neighbor who died and I spent a lot of time with her at the end of her life, shopping for food for her, making some food for her. And I knew she didn’t want to talk about facing death and she was really not ready to do it. To the end, she didn’t want to talk about it. So here I am, talking to people who I’m not in the room with. … I don’t know them, they don’t know me, and I’m asking them about death. And here’s my friend who is dying and I’m not talking with her about death. But there’s a reason for that and I felt it would’ve been intrusive in a way that it’s not with my interviewees because she was not ready to talk about it.\u003c/p>\n\u003cp>\u003cstrong>On meeting in real life\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> I guess it’s sort of shocking to me because my experience with you is only with voice. This is the first time I’ve seen you moving. I think for a while there, pre-Internet, there was no pictures of you available anywhere. Like I didn’t really know what you looked like, but just your voice made me want to be a better person.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> Have I accomplished that?\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> Yeah, I think so. I get nervous. Like, talking to you now is good. Like, I don’t know why you interview, but for me it’s to get very deep emotional needs met. So, like, I seem to be getting along with you, we’re connecting, that makes me happy. It doesn’t feel difficult to me. I know you’re wondering how this is going, I’m telling you from my point of view that I’m having a nice time.\u003c/p>\n\u003cp>\u003cstrong>Gross:\u003c/strong> So am I.\u003c/p>\n\u003cp>\u003cstrong>Maron:\u003c/strong> But when I’m in the studio talking to you I’m standing up straight and I want to impress you. Like one time I made you snort-laugh and I was like, “I win!” I heard you laugh and snort and I’m like, “I’m done with radio. I can wear that as a badge of honor.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Longtime 'Charlie Hebdo' Cartoonist Announces He's Quitting",
"headTitle": "Longtime ‘Charlie Hebdo’ Cartoonist Announces He’s Quitting | KQED",
"content": "\u003cp>The cartoonist who drew the image of the Prophet Muhammad that appeared on the comeback issue of \u003cem>Charlie Hebdo\u003c/em> is leaving the satirical magazine, citing stress and a lack of inspiration. The cartoonist, Luz, was one of the few artists who survived January’s attack on the magazine’s office in Paris.\u003c/p>\n\u003cp>“I will no longer be \u003cem>Charlie Hebdo\u003c/em>, but I will always be Charlie,” said Luz.\u003c/p>\n\u003cp>The cartoonist, whose name is Renald Luzier and who joined the weekly magazine in 1992, says he’ll leave in September. He made his departure official in an interview with the newspaper \u003cem>Liberation\u003c/em>.\u003c/p>\n\u003cp>“It’s a very personal choice,” Luz tells \u003ca href=\"http://ecrans.liberation.fr/ecrans/2015/05/18/luz-je-ne-serai-plus-charlie-hebdo-mais-je-serai-toujours-charlie_1311812\">Liberation\u003c/a>. He later added, “It became one of my obsessions after all this craziness to rebuild myself, to retake control of myself.”\u003c/p>\n\u003cp>Luz also said he has spent sleepless nights wondering about the work that his dead colleagues would have produced. Five cartoonists were among the 12 people \u003cem>\u003c/em>who died in the Jan. 7 attack on \u003cem>Charlie Hebdo\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One week after the assault, a new issue of \u003cem>Charlie Hebdo\u003c/em> became an international sensation, depicting the Prophet Muhammad shedding a tear and holding a sign reading: “Je Suis Charlie.” Above him, the headline announced: “Tout Est Pardonné” (All Is Forgiven).\u003c/p>\n\u003cp>Many people have urged him to keep working at the magazine, Luz told \u003cem>Liberation\u003c/em>, “but they forget that the worry is the inspiration.” Without it, he said, there can be no originality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This week, the cartoonist is also releasing \u003ca href=\"http://www.futuropolis.fr/fiche_titre.php?id_article=790502\">Catharsis\u003c/a>, a “therapeutic book” that compiles his drawings and thoughts from the days and weeks after the attack. \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=Longtime+%27Charlie+Hebdo%27+Cartoonist+Announces+He%27s+Quitting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\"I will no longer be \u003cem>Charlie Hebdo\u003c/em>, but I will always be Charlie,\" says Renald Luzier, the cartoonist known as Luz.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The cartoonist who drew the image of the Prophet Muhammad that appeared on the comeback issue of \u003cem>Charlie Hebdo\u003c/em> is leaving the satirical magazine, citing stress and a lack of inspiration. The cartoonist, Luz, was one of the few artists who survived January’s attack on the magazine’s office in Paris.\u003c/p>\n\u003cp>“I will no longer be \u003cem>Charlie Hebdo\u003c/em>, but I will always be Charlie,” said Luz.\u003c/p>\n\u003cp>The cartoonist, whose name is Renald Luzier and who joined the weekly magazine in 1992, says he’ll leave in September. He made his departure official in an interview with the newspaper \u003cem>Liberation\u003c/em>.\u003c/p>\n\u003cp>“It’s a very personal choice,” Luz tells \u003ca href=\"http://ecrans.liberation.fr/ecrans/2015/05/18/luz-je-ne-serai-plus-charlie-hebdo-mais-je-serai-toujours-charlie_1311812\">Liberation\u003c/a>. He later added, “It became one of my obsessions after all this craziness to rebuild myself, to retake control of myself.”\u003c/p>\n\u003cp>Luz also said he has spent sleepless nights wondering about the work that his dead colleagues would have produced. Five cartoonists were among the 12 people \u003cem>\u003c/em>who died in the Jan. 7 attack on \u003cem>Charlie Hebdo\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One week after the assault, a new issue of \u003cem>Charlie Hebdo\u003c/em> became an international sensation, depicting the Prophet Muhammad shedding a tear and holding a sign reading: “Je Suis Charlie.” Above him, the headline announced: “Tout Est Pardonné” (All Is Forgiven).\u003c/p>\n\u003cp>Many people have urged him to keep working at the magazine, Luz told \u003cem>Liberation\u003c/em>, “but they forget that the worry is the inspiration.” Without it, he said, there can be no originality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This week, the cartoonist is also releasing \u003ca href=\"http://www.futuropolis.fr/fiche_titre.php?id_article=790502\">Catharsis\u003c/a>, a “therapeutic book” that compiles his drawings and thoughts from the days and weeks after the attack. \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=Longtime+%27Charlie+Hebdo%27+Cartoonist+Announces+He%27s+Quitting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What’s the half-life of a post-apocalyptic action film franchise? Potential ticket-buyers born the day the most recent \u003cem>Mad Max \u003c/em>movie was released – summer 1985, one weekend after \u003cem>Back to the Future \u003c/em>– could be on their second marriages by now. The original \u003cem>Mad Max,\u003c/em> from 1979, cost less than $1 million in 2015 money. Though an international hit, today it plays more like a scrappy curiosity than a great action picture, notable for introducing the world to 23-year-old Mel Gibson, whose personal dystopian hellscape was still decades off. Its sequel, released in these United States as \u003cem>The Road Warrior,\u003c/em> is the original trio’s only essential entry.\u003c/p>\n\u003cp>But even that lo-fi, high-impact classic now looks like a mere sketch for the long-under-construction \u003cem>Mad Max: Fury Road, \u003c/em>a kinetic, hallucinatory, boldly feminist chase flick that, with its vibrant color palette, harrowing stunt work and show-don’t-tell style of yarn-spinning, leaves every Marvel movie and every \u003cem>Fast & Furious\u003c/em> in its irradiated dust. It’s the most visceral blockbuster since \u003cem>Gravity, \u003c/em>and it reinvigorates the doomsday genre like no film since \u003cem>The Matrix. \u003c/em>Miller, plucked-from-retirement cinematographer John Seale, and editors Jason Ballantine and Margaret Sixel render its overwhelmingly analog derring-do in a balletic and fluid legato, rather than the thudding staccato of a younger, more loudmouthed car-chase franchise that lives its life a quarter mile at a time (and never, ever shuts up about it). If \u003cem>Fury Road\u003c/em> has a moral, it’s the same one screenwriting professors have been reiterating since chase movies starred Steve McQueen: \u003cem>Action is character. \u003c/em>Words? They’re just talk.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hEJnMQG9ev8\u003c/p>\n\u003cp>Tom Hardy, replacing Gibson as Max with as little explanation as when James Bond swaps faces, is nearly as tight-lipped in the role as Gibson was. (Miller cowrote the script with Nick Lathouris and veteran British comics artist Brendan McCarthy, who also contributed to eye-popping design work.) When he does speak, he sounds as if he’s just snuck up on Vin Diesel during one of his slurry monologues and swallowed him whole. Mercifully brief narration – from Max himself this time, a change the earlier movies – sets the table: He was a cop, in the last days of civilization. After motorbike-riding droogs ran down his wife and child, he wandered into the desert. Now he’s driven only to survive, so he says, but here he is again, defending the vulnerable against the cruel for a third time.\u003c/p>\n\u003cp>Make that \u003cem>co-\u003c/em>defending. Charlize Theron shares a movie-opening title card with Hardy and pulls a Linda Hamilton-in-\u003cem>Terminator 2,\u003c/em> elbowing the title character out of the way to become the film’s true protagonist. She plays Imperator Furiosa, a one-armed “war rig” jockey who paints her face with engine grease before going into battle on behalf of the water-hoarding warlord Immortan Joe. The McGuffins in his installment are, like Soylent Green, people: Specifically, Joe’s five jealously guarded slave “wives,” one of whom is carrying his child. Save for Joe’s son, they’re the only humans in the movie not visibly afflicted by cancer or gout or pallor or a missing limb. Except for Max, of course – and he’s crazier than Don Quixote. (He sees dead people now, and it’s starting to degrade his combat effectiveness.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyway, Furiosa goes rogue to help these women escape. Wonder of wonders, we’re not subjected to a cinemas-interruptus monologue where she tells us \u003cem>why\u003c/em>. We get why. Theron’s eyes show us why. Max eventually becomes her ally through happenstance, not heroism: He was a Immortan Joe’s captive, too, kept alive for use as a “blood bag” for Joe’s chalk-skinned “warboys.” In one scene, he takes a few errant shots with a rifle before handing it, along with the movie, over to Furiosa. Her aim proves true.\u003c/p>\n\u003cp>Miller invited \u003cem>Vagina Monologues\u003c/em> playwright Eve Ensler to the set in Namibia to help the cast try to understand the perspective of victims of sexual violence in war zones. A tall order for a summer popcorn flick, putting it mildly, not to mention for a film that, for all its brutality, sustains a lighter tone than most superhero films of recent vintage. (The sight gags are straight out of a Road Runner cartoon.) But it’s all of a piece. The feminist and ecological payload of the movie is so inseparable from its simple narrative of flight and pursuit that it never feels didactic. It feels, well, visionary.\u003c/p>\n\u003cp>That’s also true of the keenly observed anthropological details of the sunny hellscape Miller & Co. have created: It’s a yellow desert with a liquid blue sky, wherein sickly warboys spray chrome on their faces in the hope of proving themselves “shiny” in battle. An elderly woman carries various seeds on her back her through the wastes in the slender hope of replanting the world.\u003c/p>\n\u003cp>There are a handful of callbacks to the earlier movies – including a running gag about the unreliability of old shotgun shells – but they don’t call undue attention to themselves. In a pleasing bit of symmetry, the corrupt, red-eyed Immortan Joe is played by Hugh Keays-Byrne, the same actor who appeared as Toecutter, leader of the gang of art-school sadists who killed Max’s family in the 1979 original. Nicholas Hoult gives a terrific performance as Nux, a tumor-pocked child soldier who becomes, briefly, a real boy. And Theron deserves another Oscar.\u003c/p>\n\u003cp>And let’s also have one for Miller, who’s been trying to get this movie made for at least 15 years. After delays ranging from September 11th to the Iraq War to original star Gibson’s public dissolution to unexpected rainfall in Australia, he finally began shooting… in 2012, which was a while ago. George Lucas, James Cameron, and Peter Jackson all returned to this sort of epic fantasy/sci-fi after long sabbaticals, and all of them seemed to have lost, to greater or lesser degrees, the storytelling instincts that had served them so faithfully as younger, hungrier artists. Not so with Miller, whose three-decade second act as a maker of family-friendly films (two installments in the porcine \u003cem>Babe\u003c/em> franchise, plus two penguine \u003cem>Happy Feet\u003c/em>) has only made him a bolder and more energetic maestro of vehicular Thunderdome.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Now, he’s willed into existence a $150 million tentpole that doesn’t condescend and feels like the coherent statement of a singular artist. If he can pull that off, how about an Imperator Furiosa \u003ca href=\"http://toybox.io9.com/black-widow-absent-from-a-toy-based-on-one-of-her-coole-1703705181\" target=\"_blank\" rel=\"noopener\">action figure\u003c/a>?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What’s the half-life of a post-apocalyptic action film franchise? Potential ticket-buyers born the day the most recent \u003cem>Mad Max \u003c/em>movie was released – summer 1985, one weekend after \u003cem>Back to the Future \u003c/em>– could be on their second marriages by now. The original \u003cem>Mad Max,\u003c/em> from 1979, cost less than $1 million in 2015 money. Though an international hit, today it plays more like a scrappy curiosity than a great action picture, notable for introducing the world to 23-year-old Mel Gibson, whose personal dystopian hellscape was still decades off. Its sequel, released in these United States as \u003cem>The Road Warrior,\u003c/em> is the original trio’s only essential entry.\u003c/p>\n\u003cp>But even that lo-fi, high-impact classic now looks like a mere sketch for the long-under-construction \u003cem>Mad Max: Fury Road, \u003c/em>a kinetic, hallucinatory, boldly feminist chase flick that, with its vibrant color palette, harrowing stunt work and show-don’t-tell style of yarn-spinning, leaves every Marvel movie and every \u003cem>Fast & Furious\u003c/em> in its irradiated dust. It’s the most visceral blockbuster since \u003cem>Gravity, \u003c/em>and it reinvigorates the doomsday genre like no film since \u003cem>The Matrix. \u003c/em>Miller, plucked-from-retirement cinematographer John Seale, and editors Jason Ballantine and Margaret Sixel render its overwhelmingly analog derring-do in a balletic and fluid legato, rather than the thudding staccato of a younger, more loudmouthed car-chase franchise that lives its life a quarter mile at a time (and never, ever shuts up about it). If \u003cem>Fury Road\u003c/em> has a moral, it’s the same one screenwriting professors have been reiterating since chase movies starred Steve McQueen: \u003cem>Action is character. \u003c/em>Words? They’re just talk.\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/hEJnMQG9ev8'\n title='//www.youtube.com/embed/hEJnMQG9ev8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tom Hardy, replacing Gibson as Max with as little explanation as when James Bond swaps faces, is nearly as tight-lipped in the role as Gibson was. (Miller cowrote the script with Nick Lathouris and veteran British comics artist Brendan McCarthy, who also contributed to eye-popping design work.) When he does speak, he sounds as if he’s just snuck up on Vin Diesel during one of his slurry monologues and swallowed him whole. Mercifully brief narration – from Max himself this time, a change the earlier movies – sets the table: He was a cop, in the last days of civilization. After motorbike-riding droogs ran down his wife and child, he wandered into the desert. Now he’s driven only to survive, so he says, but here he is again, defending the vulnerable against the cruel for a third time.\u003c/p>\n\u003cp>Make that \u003cem>co-\u003c/em>defending. Charlize Theron shares a movie-opening title card with Hardy and pulls a Linda Hamilton-in-\u003cem>Terminator 2,\u003c/em> elbowing the title character out of the way to become the film’s true protagonist. She plays Imperator Furiosa, a one-armed “war rig” jockey who paints her face with engine grease before going into battle on behalf of the water-hoarding warlord Immortan Joe. The McGuffins in his installment are, like Soylent Green, people: Specifically, Joe’s five jealously guarded slave “wives,” one of whom is carrying his child. Save for Joe’s son, they’re the only humans in the movie not visibly afflicted by cancer or gout or pallor or a missing limb. Except for Max, of course – and he’s crazier than Don Quixote. (He sees dead people now, and it’s starting to degrade his combat effectiveness.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anyway, Furiosa goes rogue to help these women escape. Wonder of wonders, we’re not subjected to a cinemas-interruptus monologue where she tells us \u003cem>why\u003c/em>. We get why. Theron’s eyes show us why. Max eventually becomes her ally through happenstance, not heroism: He was a Immortan Joe’s captive, too, kept alive for use as a “blood bag” for Joe’s chalk-skinned “warboys.” In one scene, he takes a few errant shots with a rifle before handing it, along with the movie, over to Furiosa. Her aim proves true.\u003c/p>\n\u003cp>Miller invited \u003cem>Vagina Monologues\u003c/em> playwright Eve Ensler to the set in Namibia to help the cast try to understand the perspective of victims of sexual violence in war zones. A tall order for a summer popcorn flick, putting it mildly, not to mention for a film that, for all its brutality, sustains a lighter tone than most superhero films of recent vintage. (The sight gags are straight out of a Road Runner cartoon.) But it’s all of a piece. The feminist and ecological payload of the movie is so inseparable from its simple narrative of flight and pursuit that it never feels didactic. It feels, well, visionary.\u003c/p>\n\u003cp>That’s also true of the keenly observed anthropological details of the sunny hellscape Miller & Co. have created: It’s a yellow desert with a liquid blue sky, wherein sickly warboys spray chrome on their faces in the hope of proving themselves “shiny” in battle. An elderly woman carries various seeds on her back her through the wastes in the slender hope of replanting the world.\u003c/p>\n\u003cp>There are a handful of callbacks to the earlier movies – including a running gag about the unreliability of old shotgun shells – but they don’t call undue attention to themselves. In a pleasing bit of symmetry, the corrupt, red-eyed Immortan Joe is played by Hugh Keays-Byrne, the same actor who appeared as Toecutter, leader of the gang of art-school sadists who killed Max’s family in the 1979 original. Nicholas Hoult gives a terrific performance as Nux, a tumor-pocked child soldier who becomes, briefly, a real boy. And Theron deserves another Oscar.\u003c/p>\n\u003cp>And let’s also have one for Miller, who’s been trying to get this movie made for at least 15 years. After delays ranging from September 11th to the Iraq War to original star Gibson’s public dissolution to unexpected rainfall in Australia, he finally began shooting… in 2012, which was a while ago. George Lucas, James Cameron, and Peter Jackson all returned to this sort of epic fantasy/sci-fi after long sabbaticals, and all of them seemed to have lost, to greater or lesser degrees, the storytelling instincts that had served them so faithfully as younger, hungrier artists. Not so with Miller, whose three-decade second act as a maker of family-friendly films (two installments in the porcine \u003cem>Babe\u003c/em> franchise, plus two penguine \u003cem>Happy Feet\u003c/em>) has only made him a bolder and more energetic maestro of vehicular Thunderdome.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The fighting in Georgia can be hard to follow from afar, but it traces a theme that has been recurring ever since the Soviet Union shattered into 15 countries in 1991. Georgia was one of those lands that gained independence, but it soon degenerated into a war in the northern region of Abkhazia, where Russian-backed separatists carved out a piece of territory they claim and hold until this day.\u003c/p>\n\u003cp>The conflict feels eerily familiar now in the context of the current turmoil in Ukraine, and has haunted much of recent Georgian cinema (or, to be fair, the limited scope of Georgian cinema that reaches North American audiences). In 2012’s \u003cem>The Machine Which Makes Everything Disappear\u003c/em> and 2013’s \u003cem>In Bloom\u003c/em>, the war is never directly seen but its ravaging effect on Georgian society—the thousands of dead, the broken families that resulted—is evident. Zaza Urushadze’s \u003cem>Tangerines\u003c/em>, meanwhile, is actually set during the war, but the movie examines the conflict so circumspectly that it actually feels more distant than in either of the other films.\u003c/p>\n\u003cp>Urushadze’s movie, a surprise Oscar nominee earlier this year for Best Foreign Language Film, centers on Ivo (Lembit Ulfsak), an Estonian living in what is now a Georgian war zone. While the majority of his fellow Estonians have returned home to escape the conflict—according to an opening title card, Estonian communities in Georgia date back 100 years—Ivo has stayed to help his neighbor, Margus (Elmo Nüganen), harvest his tangerine crop, for which Ivo makes the crates.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v7OVjfSDcEU\u003c/p>\n\u003cp>Ivo and Margus seem relatively protected from the front lines of the war, but the conflict comes to them when two Abkhazian mercenaries arrive looking for food and proceed to get in a gunfight with Georgian soldiers outside Margus’s home. Two wounded men emerge—the first, Ahmed (Giorgi Nakashidze), an Abkhazian; the second, Niko (Misha Meskhi), a Georgian—and Ivo brings them both back to his house to help them recover.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The set-up—two enemies living under the same roof, both owing their lives to a gracious, neutral party—is already more allegorical than realist, and Urushadze’s script never pushes much further. The arguments between Ahmed and Niko—who both promise Ivo they won’t kill each other in Ivo’s house—are simplistic: One says the land they’re on is Abkhazian, the other that it’s Georgian; Ahmed emasculates Niko; Niko calls Ahmed uneducated. It’s not, to say the least, a deep or particularly insightful examination of the roots of war.\u003c/p>\n\u003cp>Instead, it’s evident pretty early that Urushadze is pushing not toward an examination of war but to an appreciation of our common humanity. (Margus’s tangerines—superfluous and at risk of neglect during such a violent conflict—are overused as a symbol in this respect.) Some might reject the message outright, but even if it appeals, here it’s too far removed from reality to be effective. For one, the event that catalyzes the inevitable reconciliation of differences between Niko and Ahmed is nearly unbelievable in its contrivance. But most of all, because the conflict between Abkhazians and Georgians is so sketchily drawn, the ultimate heartwarming tone of the film seems not so much unearned as unspectacular.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There might be, to be fair, a problem of cultural translation. American films need only scantily explain the horrors and importance of the Vietnam War because they’re a matter of common knowledge at this point. The same may be true of the Abkhazian War in Georgia. But there’s still a difference between \u003cem>Tangerines\u003c/em> and the more successful \u003cem>In Bloom\u003c/em> or \u003cem>Machine\u003c/em>. The latter two don’t explain much about the war either, but you can see its effects on the faces of its characters and subjects. In Tangerines, that same work is left entirely to our imaginations.\u003c/p>\n\n",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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