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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet \u003cem>Amy\u003c/em> also pays warm homage to Winehouse the musician, and not just because of the astonishing voice — the throaty roar of a trained soul singer in full maturity — that poured out of that tiny body. Never a follower of fashion, Winehouse remained wide open to many musical sources. The Goth look, the lyrics that put “rehab” and “no, no, no” together couldn’t fail to win over young audiences. \u003cem>Amy\u003c/em> also makes us see why she enchanted so many across generations, from jazz to garage-band fans to the Tony Bennett demographic who thrilled to the standards the two sang so beautifully together.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Life teaches you how to live it, if you’re lucky enough to live that long,” says Bennett, who brought out the old soul in Winehouse and who comes across in the movie as a true gent who saw that for his young collaborator, time was always running out. “All I’m good for is making tunes,” she tells one interviewer. “So leave me alone to do that.” Her time ran out far too early, but the luck is all ours — we still have the voice. \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=Beyond+A+Voice+And+A+Sad+Story%2C+%27Amy%27+Listens+To+A+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the early 20th century, the Cherry Sisters — a family of performers from Marion, Iowa — were like a meme.\u003c/p>\n\u003cp>Simply invoking the name — the Cherry Sisters — was shorthand for anything awful. As Anthony Slide wrote in the \u003cem>Encyclopedia of Vaudeville\u003c/em>, the onstage siblings became “synonymous with any act devoid of talent.”\u003c/p>\n\u003cp>Apparently, they were a cross between early American performance art and age old scapegoatism. Their variety act included original music, bass drum thumping, poetry, mouth harp playing, inspirational recitations, essay reading, fake hypnosis and other artistic expressions. And the audience responded to the whole shebang by hurling vegetables, shouting interjections and behaving rudely.\u003c/p>\n\u003cp>“People enjoyed tossing tomatoes and whatever at them,” says David Soren, acting curator of the \u003ca href=\"http://speccoll.library.arizona.edu/collections/american-vaudeville-museum-collection\" target=\"_blank\" rel=\"noopener\">American Vaudeville Museum Collection\u003c/a> at the University of Arizona. “The Cherry Sisters were generally regarded as the worst ever.”\u003c/p>\n\u003cp>But the Cherry Sisters also signified something else in American comedy history. In the tradition of Tiny Tim, Andy Kaufman and certain other deadpan comics, the questions always hovered around them: Were they sincere? Were they in on the joke? Did they even care what people thought?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Several good researchers,” the 2004 \u003ca href=\"https://books.google.com/books?id=XFnfnKg6BcAC&pg=PA218&dq=%22cherry+sisters%22&hl=en&sa=X&ei=wA2LVbGCA4WaNsu9gYAC&ved=0CDMQ6AEwBA#v=onepage&q=%22cherry%20sisters%22&f=false\">book\u003c/a> \u003cem>Vaudeville Old and New\u003c/em> observes, “have pondered the reasons the Cherry Sisters were willing to put up with the abuse that attended their vaudeville careers. Most observers ranged between two poles of opinion: those who held that the Cherry Sisters knew what they were doing and to some degree were complicit and those who maintain that the sisters were talentless naifs ignorant of how bad they were.”\u003c/p>\n\u003cp>\u003cstrong>Rotten Tomatoes\u003c/strong>\u003c/p>\n\u003cp>Originally, there were five: Addie, Effie, Ella, Lizzie and Jessie. So the story goes — in multiple accounts — they lost their parents early on. In 1893, several of the sisters formed a performance group to finance a trip to the World’s Columbian Exposition in Chicago. One of their first public appearances was at their hometown opera house.\u003c/p>\n\u003cp>Many chroniclers suggest that the Cherry Sisters mistook the community’s polite support for their debut as validation and victory. But as the story unfolds, it becomes harder and harder to know exactly what motivated and sustained the Cherry Sisters as they appeared night after night to increasingly hostile crowds.\u003c/p>\n\u003cp>They went to Chicago, where they auditioned for an agent. Seeing the flawed performers in homespun clothes, the agent “must have sensed the potential of novelty,” according to \u003cem>Vaudeville Old and New\u003c/em>. He hired them to tour small Midwestern towns and “along the route, audiences jeered them.”\u003c/p>\n\u003cp>Traveling mostly about Iowa, the Cherry Sisters became the targets of scalding press reviews. The journalistic jabbing, which rivaled some of today’s most caustic comments sections, became part of the strange, interactive audience participation that surrounded the sisters. “They couldn’t sing, speak or act,” the Cedar Rapids \u003cem>Gazette \u003c/em>reported in March of 1893 in one of the earliest critiques. “They were simply awful … At one minute the scene was like the incurable ward in an insane asylum, the next it was like a camp meeting. Cigars, cigarettes, rubbers everything was thrown at them, yet they stood there awkwardly bowing their acknowledgments and singing on.”\u003c/p>\n\u003cp>Soon other towns were clamoring to see just how bad they were. And local reviewers, like crabs in a basket, crawled over one another to write cruel and skewering reviews. The Cherry Sisters were rebuked in Dubuque. The Chicago \u003cem>Daily Tribune\u003c/em> of May 19, 1893, reported that when the women appeared at the Dubuque Grand Opera House, they “were pelted with everything from an onion to a tin boiler and were afterwards badly treated on their way to their hotel.”\u003c/p>\n\u003cp>And they were lambasted in Odebolt. The editor of the local \u003cem>Chronicle\u003c/em> wrote in February of 1898: “Their long skinny arms equipped with talons at the extremities, swung mechanically, and soon were waved frantically at the suffering audience. Their mouths opened like caverns, and sounds like the wailing of damned souls issued therefrom.”\u003c/p>\n\u003cp>This last vicious appraisal was reprinted in the Des Moines \u003cem>Leader \u003c/em>and the Cherry Sisters, who had exhibited litigiousness over the years, sued both newspapers for defamation. In a landmark case, the Iowa Supreme Court eventually \u003ca href=\"http://www.rootsweb.ancestry.com/~iaohms/cherry_lawsuit.html\">ruled in favor\u003c/a> of the newspapers’ right to freely criticize public performances.\u003c/p>\n\u003cp>In describing the sisters’ act to the court, one of the Cherrys \u003ca href=\"http://www.rootsweb.ancestry.com/~iaohms/cherry_lawsuit.html\" target=\"_blank\" rel=\"noopener\">testified\u003c/a>: “These entertainments are concerts — literary entertainments. I don’t sing much. The others do. I have recitations and readings; recite and read in costume. In feminine costumes. … Sometimes I have worn men’s clothes. I never dance. I recite essays and events that have happened, I have written up of my own.”\u003c/p>\n\u003cp>Her rambling statements may add credence to the theory that the Cherrys were primitive thespians, without self-awareness.\u003c/p>\n\u003cp>Unless, of course, the bizarre testimony was all part of the act.\u003c/p>\n\u003cp>\u003cstrong>Bright Lights, Mean City\u003c/strong>\u003c/p>\n\u003cp>National publicity for the Cherry Sisters reached such a fever pitch in the mid-1890s that New York theater mogul Oscar Hammerstein booked them for a well-paying, multiweek vaudeville engagement in 1896 at his Olympia Music Hall.\u003c/p>\n\u003cp>The \u003cem>New York Times\u003c/em> review was headlined “Four Freaks From Iowa; They Presented a Spectacle More Pitiable than Amusing.”\u003c/p>\n\u003cp>For the Cherry Sisters, this was probably the pinnacle — of recognition and of ridicule.\u003c/p>\n\u003cp>After taking Manhattan, the Cherrys continued to tour for a few years. Jessie died in 1903 and the Sisters, in various number, performed only intermittently. “None of the sisters married,” according to the \u003cem>Encyclopedia of Vaudeville. \u003c/em>In later years, “Effie was the most active, twice running unsuccessfully for mayor of Cedar Rapids.”\u003c/p>\n\u003cp>The \u003cem>Encyclopedia \u003c/em>cites this 1910 description of the Cherry Sisters — from Robert Grau’s book \u003cem>The Business Man in the Amusement World\u003c/em>: “They were just a quartet of incompetents and they were so indifferent to their reception by the public, that they were in demand for many years at a salary far higher than what would have been accorded them if they had possessed any real ability. There was, though, something approaching cruelty in the spectacle which these poor females presented, night after night, in exhibiting their crudities to howling, insulting audiences.”\u003c/p>\n\u003cp>\u003cstrong>The Pendulum And The Pits\u003c/strong>\u003c/p>\n\u003cp>So the question is: Were the Cherry Sisters — in their prime — the worst act ever on the American stage or were they comic geniuses, committed to the bit?\u003c/p>\n\u003cp>After all, as David Soren points out, there was “a vaudeville tradition of no-talent acts” and people who “were considered just awful and were put on the vaudeville bill last in order to clear out the theater for a fresh and freshly paid audience.”\u003c/p>\n\u003cp>The Cherry Sisters, he says, did not think of themselves as a bad act.\u003c/p>\n\u003cp>“I’m not sure if the Cherry Sisters started as sincere performers,” M.A. Kibler, author of \u003cem>Rank Ladies: Gender and Cultural Hierarchy in American Vaudeville\u003c/em>, tells NPR, “but I would bet that they quickly learned that being the ‘worst’ was their hook — their novelty. Lots of acts tried to be novel, or exceptional.”\u003c/p>\n\u003cp>As late as 1908, the Sisters were still defending their honor and honesty. In \u003ca href=\"https://archive.org/stream/variety10-1908-04/variety10-1908-04_djvu.txt\" target=\"_blank\" rel=\"noopener\">a letter\u003c/a> to \u003cem>Variety\u003c/em>, in response to one more scathing critique, they wrote: “Although we have the best act in vaudeville and are the best drawing card on the stage, we have no swelled head, as some others have … We have had more knocking since we went into the theatrical business than any act in the history of the world.”\u003c/p>\n\u003cp>Whether the Cherry Sisters were, or were not, the worst act ever, they were American originals. And there was a pathos about them that is undeniable. Night after night of being on the receiving end of rude catcalls and rotten vegetables must have been unnerving. Day after day of picking up the papers and reading the belittling reviews, regardless of any fame and financial gain, must have been defeating.\u003c/p>\n\u003cp>What an up-and-down roller coaster ride. All the attention; all the humiliation. All the travel; all the travail. All the edginess; all the exhaustion. Withering heights, if you will.\u003c/p>\n\u003cp>Or, like the name of their act through the years, “Something Good, Something Sad.”\u003c/p>\n\u003cp>\u003cstrong>Mediography\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.el-hai.com/blog/2012/6/6/the-cherry-sisters-good-or-bad.html\" target=\"_blank\" rel=\"noopener\">The Cherry Sisters: Good or bad?\u003c/a> by Jack El-Hai\u003c/p>\n\u003cp>\u003ca href=\"https://wfmu.org/LCD/Early/cherry.html\" target=\"_blank\" rel=\"noopener\">Cherry Bomb: The Story of the Awful Cherry Sisters\u003c/a> by Irwin Chusid\u003c/p>\n\u003cp>\u003ca href=\"http://data.desmoinesregister.com/famous-iowans/cherry-sisters\" target=\"_blank\" rel=\"noopener\">Cherry Sisters\u003c/a> \u003cem>Des Moines Register\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Follow me \u003ca href=\"https://twitter.com/NPRHistoryDept\" target=\"_blank\" rel=\"noopener\">@NPRHistoryDept\u003c/a>; lead me by writing \u003ca href=\"mailto:lweeks@npr.org\" target=\"_blank\" rel=\"noopener\">lweeks@npr.org\u003c/a>\u003c/strong> \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=The+Cherry+Sisters%3A+Worst+Act+Ever%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 20th century, the Cherry Sisters — a family of performers from Marion, Iowa — were like a meme.\u003c/p>\n\u003cp>Simply invoking the name — the Cherry Sisters — was shorthand for anything awful. As Anthony Slide wrote in the \u003cem>Encyclopedia of Vaudeville\u003c/em>, the onstage siblings became “synonymous with any act devoid of talent.”\u003c/p>\n\u003cp>Apparently, they were a cross between early American performance art and age old scapegoatism. Their variety act included original music, bass drum thumping, poetry, mouth harp playing, inspirational recitations, essay reading, fake hypnosis and other artistic expressions. And the audience responded to the whole shebang by hurling vegetables, shouting interjections and behaving rudely.\u003c/p>\n\u003cp>“People enjoyed tossing tomatoes and whatever at them,” says David Soren, acting curator of the \u003ca href=\"http://speccoll.library.arizona.edu/collections/american-vaudeville-museum-collection\" target=\"_blank\" rel=\"noopener\">American Vaudeville Museum Collection\u003c/a> at the University of Arizona. “The Cherry Sisters were generally regarded as the worst ever.”\u003c/p>\n\u003cp>But the Cherry Sisters also signified something else in American comedy history. In the tradition of Tiny Tim, Andy Kaufman and certain other deadpan comics, the questions always hovered around them: Were they sincere? Were they in on the joke? Did they even care what people thought?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Several good researchers,” the 2004 \u003ca href=\"https://books.google.com/books?id=XFnfnKg6BcAC&pg=PA218&dq=%22cherry+sisters%22&hl=en&sa=X&ei=wA2LVbGCA4WaNsu9gYAC&ved=0CDMQ6AEwBA#v=onepage&q=%22cherry%20sisters%22&f=false\">book\u003c/a> \u003cem>Vaudeville Old and New\u003c/em> observes, “have pondered the reasons the Cherry Sisters were willing to put up with the abuse that attended their vaudeville careers. Most observers ranged between two poles of opinion: those who held that the Cherry Sisters knew what they were doing and to some degree were complicit and those who maintain that the sisters were talentless naifs ignorant of how bad they were.”\u003c/p>\n\u003cp>\u003cstrong>Rotten Tomatoes\u003c/strong>\u003c/p>\n\u003cp>Originally, there were five: Addie, Effie, Ella, Lizzie and Jessie. So the story goes — in multiple accounts — they lost their parents early on. In 1893, several of the sisters formed a performance group to finance a trip to the World’s Columbian Exposition in Chicago. One of their first public appearances was at their hometown opera house.\u003c/p>\n\u003cp>Many chroniclers suggest that the Cherry Sisters mistook the community’s polite support for their debut as validation and victory. But as the story unfolds, it becomes harder and harder to know exactly what motivated and sustained the Cherry Sisters as they appeared night after night to increasingly hostile crowds.\u003c/p>\n\u003cp>They went to Chicago, where they auditioned for an agent. Seeing the flawed performers in homespun clothes, the agent “must have sensed the potential of novelty,” according to \u003cem>Vaudeville Old and New\u003c/em>. He hired them to tour small Midwestern towns and “along the route, audiences jeered them.”\u003c/p>\n\u003cp>Traveling mostly about Iowa, the Cherry Sisters became the targets of scalding press reviews. The journalistic jabbing, which rivaled some of today’s most caustic comments sections, became part of the strange, interactive audience participation that surrounded the sisters. “They couldn’t sing, speak or act,” the Cedar Rapids \u003cem>Gazette \u003c/em>reported in March of 1893 in one of the earliest critiques. “They were simply awful … At one minute the scene was like the incurable ward in an insane asylum, the next it was like a camp meeting. Cigars, cigarettes, rubbers everything was thrown at them, yet they stood there awkwardly bowing their acknowledgments and singing on.”\u003c/p>\n\u003cp>Soon other towns were clamoring to see just how bad they were. And local reviewers, like crabs in a basket, crawled over one another to write cruel and skewering reviews. The Cherry Sisters were rebuked in Dubuque. The Chicago \u003cem>Daily Tribune\u003c/em> of May 19, 1893, reported that when the women appeared at the Dubuque Grand Opera House, they “were pelted with everything from an onion to a tin boiler and were afterwards badly treated on their way to their hotel.”\u003c/p>\n\u003cp>And they were lambasted in Odebolt. The editor of the local \u003cem>Chronicle\u003c/em> wrote in February of 1898: “Their long skinny arms equipped with talons at the extremities, swung mechanically, and soon were waved frantically at the suffering audience. Their mouths opened like caverns, and sounds like the wailing of damned souls issued therefrom.”\u003c/p>\n\u003cp>This last vicious appraisal was reprinted in the Des Moines \u003cem>Leader \u003c/em>and the Cherry Sisters, who had exhibited litigiousness over the years, sued both newspapers for defamation. In a landmark case, the Iowa Supreme Court eventually \u003ca href=\"http://www.rootsweb.ancestry.com/~iaohms/cherry_lawsuit.html\">ruled in favor\u003c/a> of the newspapers’ right to freely criticize public performances.\u003c/p>\n\u003cp>In describing the sisters’ act to the court, one of the Cherrys \u003ca href=\"http://www.rootsweb.ancestry.com/~iaohms/cherry_lawsuit.html\" target=\"_blank\" rel=\"noopener\">testified\u003c/a>: “These entertainments are concerts — literary entertainments. I don’t sing much. The others do. I have recitations and readings; recite and read in costume. In feminine costumes. … Sometimes I have worn men’s clothes. I never dance. I recite essays and events that have happened, I have written up of my own.”\u003c/p>\n\u003cp>Her rambling statements may add credence to the theory that the Cherrys were primitive thespians, without self-awareness.\u003c/p>\n\u003cp>Unless, of course, the bizarre testimony was all part of the act.\u003c/p>\n\u003cp>\u003cstrong>Bright Lights, Mean City\u003c/strong>\u003c/p>\n\u003cp>National publicity for the Cherry Sisters reached such a fever pitch in the mid-1890s that New York theater mogul Oscar Hammerstein booked them for a well-paying, multiweek vaudeville engagement in 1896 at his Olympia Music Hall.\u003c/p>\n\u003cp>The \u003cem>New York Times\u003c/em> review was headlined “Four Freaks From Iowa; They Presented a Spectacle More Pitiable than Amusing.”\u003c/p>\n\u003cp>For the Cherry Sisters, this was probably the pinnacle — of recognition and of ridicule.\u003c/p>\n\u003cp>After taking Manhattan, the Cherrys continued to tour for a few years. Jessie died in 1903 and the Sisters, in various number, performed only intermittently. “None of the sisters married,” according to the \u003cem>Encyclopedia of Vaudeville. \u003c/em>In later years, “Effie was the most active, twice running unsuccessfully for mayor of Cedar Rapids.”\u003c/p>\n\u003cp>The \u003cem>Encyclopedia \u003c/em>cites this 1910 description of the Cherry Sisters — from Robert Grau’s book \u003cem>The Business Man in the Amusement World\u003c/em>: “They were just a quartet of incompetents and they were so indifferent to their reception by the public, that they were in demand for many years at a salary far higher than what would have been accorded them if they had possessed any real ability. There was, though, something approaching cruelty in the spectacle which these poor females presented, night after night, in exhibiting their crudities to howling, insulting audiences.”\u003c/p>\n\u003cp>\u003cstrong>The Pendulum And The Pits\u003c/strong>\u003c/p>\n\u003cp>So the question is: Were the Cherry Sisters — in their prime — the worst act ever on the American stage or were they comic geniuses, committed to the bit?\u003c/p>\n\u003cp>After all, as David Soren points out, there was “a vaudeville tradition of no-talent acts” and people who “were considered just awful and were put on the vaudeville bill last in order to clear out the theater for a fresh and freshly paid audience.”\u003c/p>\n\u003cp>The Cherry Sisters, he says, did not think of themselves as a bad act.\u003c/p>\n\u003cp>“I’m not sure if the Cherry Sisters started as sincere performers,” M.A. Kibler, author of \u003cem>Rank Ladies: Gender and Cultural Hierarchy in American Vaudeville\u003c/em>, tells NPR, “but I would bet that they quickly learned that being the ‘worst’ was their hook — their novelty. Lots of acts tried to be novel, or exceptional.”\u003c/p>\n\u003cp>As late as 1908, the Sisters were still defending their honor and honesty. In \u003ca href=\"https://archive.org/stream/variety10-1908-04/variety10-1908-04_djvu.txt\" target=\"_blank\" rel=\"noopener\">a letter\u003c/a> to \u003cem>Variety\u003c/em>, in response to one more scathing critique, they wrote: “Although we have the best act in vaudeville and are the best drawing card on the stage, we have no swelled head, as some others have … We have had more knocking since we went into the theatrical business than any act in the history of the world.”\u003c/p>\n\u003cp>Whether the Cherry Sisters were, or were not, the worst act ever, they were American originals. And there was a pathos about them that is undeniable. Night after night of being on the receiving end of rude catcalls and rotten vegetables must have been unnerving. Day after day of picking up the papers and reading the belittling reviews, regardless of any fame and financial gain, must have been defeating.\u003c/p>\n\u003cp>What an up-and-down roller coaster ride. All the attention; all the humiliation. All the travel; all the travail. All the edginess; all the exhaustion. Withering heights, if you will.\u003c/p>\n\u003cp>Or, like the name of their act through the years, “Something Good, Something Sad.”\u003c/p>\n\u003cp>\u003cstrong>Mediography\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.el-hai.com/blog/2012/6/6/the-cherry-sisters-good-or-bad.html\" target=\"_blank\" rel=\"noopener\">The Cherry Sisters: Good or bad?\u003c/a> by Jack El-Hai\u003c/p>\n\u003cp>\u003ca href=\"https://wfmu.org/LCD/Early/cherry.html\" target=\"_blank\" rel=\"noopener\">Cherry Bomb: The Story of the Awful Cherry Sisters\u003c/a> by Irwin Chusid\u003c/p>\n\u003cp>\u003ca href=\"http://data.desmoinesregister.com/famous-iowans/cherry-sisters\" target=\"_blank\" rel=\"noopener\">Cherry Sisters\u003c/a> \u003cem>Des Moines Register\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Follow me \u003ca href=\"https://twitter.com/NPRHistoryDept\" target=\"_blank\" rel=\"noopener\">@NPRHistoryDept\u003c/a>; lead me by writing \u003ca href=\"mailto:lweeks@npr.org\" target=\"_blank\" rel=\"noopener\">lweeks@npr.org\u003c/a>\u003c/strong> \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=The+Cherry+Sisters%3A+Worst+Act+Ever%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What Happened to the 9-Year-Old Smoking in Mary Ellen Mark's Photo?",
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"content": "\u003cp>A good photograph can speak volumes about its subjects, yet still leave you wanting to know more.\u003c/p>\n\u003cp>The acclaimed and prolific American photographer Mary Ellen Mark, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/05/26/409806219/photographer-mary-ellen-mark-dies-at-75\" target=\"_blank\" rel=\"noopener\">died May 25\u003c/a> at the age of 75, was known for her humanist portraits: \u003ca href=\"http://www.maryellenmark.com/text/magazines/life/905W-000-021.html\" target=\"_blank\" rel=\"noopener\">homeless children\u003c/a> in Seattle, \u003ca href=\"http://www.npr.org/sections/goatsandsoda/2015/05/30/410521364/mary-ellen-mark-and-the-caged-prostitutes-of-mumbai\" target=\"_blank\" rel=\"noopener\">prostitutes\u003c/a> in India, \u003ca href=\"http://www.maryellenmark.com/text/magazines/life/905W-000-031.html\" target=\"_blank\" rel=\"noopener\">a family\u003c/a> living out of their car. In 1990, she took one of her most memorable shots, titled, “Amanda and her cousin Amy.” The location is listed as Valdese, N.C.\u003c/p>\n\u003cp>“This photograph raises a lot of questions and leaves me with a slightly uneasy feeling,” says Jeff Jacobson, a New York \u003ca href=\"http://www.jeffjacobsonphotography.com/\" target=\"_blank\" rel=\"noopener\">photographer\u003c/a> and a friend of Mark’s. “That, I feel, over and over again is the hallmark of her best work.”\u003c/p>\n\u003cp>In light of Mark’s passing, NPR sought to find out more about the two children in the photograph, particularly Amanda: Why was she smoking and wearing makeup and fake nails at age 9? What does she remember of the photo shoot? And what has happened since that sunny afternoon in 1990?\u003c/p>\n\u003cp>She now goes by Amanda Marie Ellison — her surname was Minton at the time of the photo. She is 34 years old, lives in Lenoir, N.C., and indeed still remembers the photo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Never forgotten it. Never in my life have I forgotten it,” she says.\u003c/p>\n\u003cp>Ellison says Mark formed a bond with her over multiple photo shoots, but after Mark left, Ellison lost track of the photographer’s name and phone number. For 25 years, she says she searched for the photo to no avail. Then last month, after Mark’s death, her cousin posted the picture to Facebook and tagged Ellison.\u003c/p>\n\u003cp>“I cried. I cried. Because … all at once, there it was,” Ellison says.\u003c/p>\n\u003cp>In 1990, Mark had been sent to rural North Carolina by \u003cem>Life \u003c/em>magazine to cover a school for “problem children.” Ellison was one of those children. “She’s my favourite,” Mark \u003ca href=\"http://www.maryellenmark.com/text/magazines/vogue%20england/925M-000-003.html\" target=\"_blank\" rel=\"noopener\">told British Vogue\u003c/a> in 1993. “She was so bad she was wonderful, she had a really vulgar mouth, she was brilliant.”\u003c/p>\n\u003cfigure id=\"attachment_10805906\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-1180x787.jpg\" alt=\"Photographer Mary Ellen Mark in New York City in 1987. (Courtesy of Mary Ellen Mark Studio and Library)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10805906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Mary Ellen Mark in New York City in 1987.\u003cbr>(Courtesy of Mary Ellen Mark Studio and Library)\u003c/figcaption>\u003c/figure>\n\u003cp>Mark added: “I was something of a problem kid. I was emotional, wild, rebellious at school. I’m very touched by kids who don’t have advantages; they are much more interesting than kids who have everything. They have a lot of passion and emotion, such a strong will.”\u003c/p>\n\u003cp>Ellison openly concedes she was a “wild” child, but she says she was just emulating the adults in her life, all of whom by her memory were drug-addicted, residing in a low-income housing complex nicknamed “Sin City.” It was around that time that she began to smoke.\u003c/p>\n\u003cp>“If I couldn’t get [cigarettes], if somebody wouldn’t give them to me, yes, I’d steal a pack of cigarettes and be gone,” she says. “I’d sit in the woods and smoke ’til they were gone.”\u003c/p>\n\u003cp>Two years after the photo, at age 11, Ellison says she was taken into foster care and later lived in group homes. She says she developed an addiction for hard drugs when she was 16.\u003c/p>\n\u003cp>Amy Minton Velasquez, Ellison’s cousin and the other child in “Amanda and her cousin Amy,” corroborates much of her account.\u003c/p>\n\u003cp>“I mean, I had a rough childhood,” Velasquez says. “But I will say this: that youngin’, she was put through things that would probably make the hair stand on your head if you really knew.”\u003c/p>\n\u003cp>Ellison says at age 9 she knew there were deep problems with her childhood; she viewed Mark’s photos as not just a fun diversion but as a possible solution.\u003c/p>\n\u003cp>“When she came along and took those photos, I thought, ‘Well, hey, people will see me and this may get me the attention that I want; it may change things for me,’ ” Ellison says. She thought someone would see the images and come rescue her. “I had thought that that might have been the way out. But it wasn’t.”\u003c/p>\n\u003cp>Jacobson, the New York photographer, says Mark was not the type to give her subjects false impressions. But he says, “In any photographic encounter, the one person that always benefits and always is in a more powerful position and always knows more is the photographer.”\u003c/p>\n\u003cp>By her own admission, Ellison’s adulthood is still tumultuous. She has served time in prison and says she is still “surrounded by crazy people and drugs.” But she says her life has improved, and she wishes she could talk again with “that photographer lady.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If I had to guess,” Ellison says, “I would say she would be, I don’t know, overwhelmed with joy that I have made it this far.” \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=What+Happened+To+The+9-Year-Old+Smoking+In+Mary+Ellen+Mark%27s+Photo%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A good photograph can speak volumes about its subjects, yet still leave you wanting to know more.\u003c/p>\n\u003cp>The acclaimed and prolific American photographer Mary Ellen Mark, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/05/26/409806219/photographer-mary-ellen-mark-dies-at-75\" target=\"_blank\" rel=\"noopener\">died May 25\u003c/a> at the age of 75, was known for her humanist portraits: \u003ca href=\"http://www.maryellenmark.com/text/magazines/life/905W-000-021.html\" target=\"_blank\" rel=\"noopener\">homeless children\u003c/a> in Seattle, \u003ca href=\"http://www.npr.org/sections/goatsandsoda/2015/05/30/410521364/mary-ellen-mark-and-the-caged-prostitutes-of-mumbai\" target=\"_blank\" rel=\"noopener\">prostitutes\u003c/a> in India, \u003ca href=\"http://www.maryellenmark.com/text/magazines/life/905W-000-031.html\" target=\"_blank\" rel=\"noopener\">a family\u003c/a> living out of their car. In 1990, she took one of her most memorable shots, titled, “Amanda and her cousin Amy.” The location is listed as Valdese, N.C.\u003c/p>\n\u003cp>“This photograph raises a lot of questions and leaves me with a slightly uneasy feeling,” says Jeff Jacobson, a New York \u003ca href=\"http://www.jeffjacobsonphotography.com/\" target=\"_blank\" rel=\"noopener\">photographer\u003c/a> and a friend of Mark’s. “That, I feel, over and over again is the hallmark of her best work.”\u003c/p>\n\u003cp>In light of Mark’s passing, NPR sought to find out more about the two children in the photograph, particularly Amanda: Why was she smoking and wearing makeup and fake nails at age 9? What does she remember of the photo shoot? And what has happened since that sunny afternoon in 1990?\u003c/p>\n\u003cp>She now goes by Amanda Marie Ellison — her surname was Minton at the time of the photo. She is 34 years old, lives in Lenoir, N.C., and indeed still remembers the photo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Never forgotten it. Never in my life have I forgotten it,” she says.\u003c/p>\n\u003cp>Ellison says Mark formed a bond with her over multiple photo shoots, but after Mark left, Ellison lost track of the photographer’s name and phone number. For 25 years, she says she searched for the photo to no avail. Then last month, after Mark’s death, her cousin posted the picture to Facebook and tagged Ellison.\u003c/p>\n\u003cp>“I cried. I cried. Because … all at once, there it was,” Ellison says.\u003c/p>\n\u003cp>In 1990, Mark had been sent to rural North Carolina by \u003cem>Life \u003c/em>magazine to cover a school for “problem children.” Ellison was one of those children. “She’s my favourite,” Mark \u003ca href=\"http://www.maryellenmark.com/text/magazines/vogue%20england/925M-000-003.html\" target=\"_blank\" rel=\"noopener\">told British Vogue\u003c/a> in 1993. “She was so bad she was wonderful, she had a really vulgar mouth, she was brilliant.”\u003c/p>\n\u003cfigure id=\"attachment_10805906\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-1180x787.jpg\" alt=\"Photographer Mary Ellen Mark in New York City in 1987. (Courtesy of Mary Ellen Mark Studio and Library)\" width=\"640\" height=\"427\" class=\"size-large wp-image-10805906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/401p-003-001-small_slide-ab5f240cc00922afecf6c94c82b64fac5c57c351-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Mary Ellen Mark in New York City in 1987.\u003cbr>(Courtesy of Mary Ellen Mark Studio and Library)\u003c/figcaption>\u003c/figure>\n\u003cp>Mark added: “I was something of a problem kid. I was emotional, wild, rebellious at school. I’m very touched by kids who don’t have advantages; they are much more interesting than kids who have everything. They have a lot of passion and emotion, such a strong will.”\u003c/p>\n\u003cp>Ellison openly concedes she was a “wild” child, but she says she was just emulating the adults in her life, all of whom by her memory were drug-addicted, residing in a low-income housing complex nicknamed “Sin City.” It was around that time that she began to smoke.\u003c/p>\n\u003cp>“If I couldn’t get [cigarettes], if somebody wouldn’t give them to me, yes, I’d steal a pack of cigarettes and be gone,” she says. “I’d sit in the woods and smoke ’til they were gone.”\u003c/p>\n\u003cp>Two years after the photo, at age 11, Ellison says she was taken into foster care and later lived in group homes. She says she developed an addiction for hard drugs when she was 16.\u003c/p>\n\u003cp>Amy Minton Velasquez, Ellison’s cousin and the other child in “Amanda and her cousin Amy,” corroborates much of her account.\u003c/p>\n\u003cp>“I mean, I had a rough childhood,” Velasquez says. “But I will say this: that youngin’, she was put through things that would probably make the hair stand on your head if you really knew.”\u003c/p>\n\u003cp>Ellison says at age 9 she knew there were deep problems with her childhood; she viewed Mark’s photos as not just a fun diversion but as a possible solution.\u003c/p>\n\u003cp>“When she came along and took those photos, I thought, ‘Well, hey, people will see me and this may get me the attention that I want; it may change things for me,’ ” Ellison says. She thought someone would see the images and come rescue her. “I had thought that that might have been the way out. But it wasn’t.”\u003c/p>\n\u003cp>Jacobson, the New York photographer, says Mark was not the type to give her subjects false impressions. But he says, “In any photographic encounter, the one person that always benefits and always is in a more powerful position and always knows more is the photographer.”\u003c/p>\n\u003cp>By her own admission, Ellison’s adulthood is still tumultuous. She has served time in prison and says she is still “surrounded by crazy people and drugs.” But she says her life has improved, and she wishes she could talk again with “that photographer lady.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If I had to guess,” Ellison says, “I would say she would be, I don’t know, overwhelmed with joy that I have made it this far.” \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=What+Happened+To+The+9-Year-Old+Smoking+In+Mary+Ellen+Mark%27s+Photo%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Escobar: Paradise Lost' Finds Young Love Overshadowed by Violence",
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"content": "\u003cp>Filmmakers can struggle to prevent their swaggering villain from upstaging their innocuous hero. Writer-director Andrea Di Stefano clearly didn’t worry about that when making \u003cem>Escobar: Paradise Lost\u003c/em>. If he did, he wouldn’t have cast Benicio del Toro as the bad guy.\u003c/p>\n\u003cp>Playing Colombian cocaine baron Pablo Escobar, the charismatic del Toro is the most vivid presence in the movie, which was loosely inspired by actual events. The other two principals are amiable and attractive, but bland. Fortunately for the movie’s watchability, the fictional romance of Nick (Josh Hutcherson) and Maria (Claudia Traisac) exists primarily to bring the former into orbit of the eccentric, lethal Pablo.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CSen29S0DLE\u003c/p>\n\u003cp>Disheveled yet commanding, del Toro’s Escobar is a pudgy, overgrown kid with a menagerie of African animals. He relishes playing the indulgent \u003cem>patron\u003c/em>, even if he more resembles a \u003cem>campesino\u003c/em>. Like some American rappers who later invoked him, Pablo has an adolescent fixation with gangsters, including the doomed Bonnie and Clyde.\u003c/p>\n\u003cp>Nico — that’s what Pablo calls him — is well acquainted with the drug lord when the story begins. It’s 1991, and Escobar is about to surrender to the police, as previously negotiated. All that remains before he enters a luxury prison, designed to his specifications, is to call his mother and kneel so they can share a farewell prayer. Pablo is a devout Catholic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Actually, there’s one more thing to be done: hiding Pablo’s fortune in remote sites around the country. Although not a member of the cocaine gang, Nick is “like a son to me” — engaged to Maria, Pablo’s beloved niece. Perhaps that will protect the young Canadian, who came to Colombia to surf, not peddle drugs and death.\u003c/p>\n\u003cp>The tale is recounted via a web of flashbacks and flash-forwards, beginning chronologically with Nick’s introduction to Maria. She helps her uncle — a self-styled Robin Hood — open a medical clinic in the coastal town where Nick and his brother Dylan (Brady Corbet) have just established a surfing camp. Soon, Pablo is facilitating the operation, discouraging small-time local thugs from bothering Nick and Dylan. Only later will Nick learn that Pablo’s style is to eliminate mosquitoes with a flame-thrower.\u003c/p>\n\u003cp>Andrea Di Stefano, an Italian actor who makes his directorial debut with \u003cem>Escobar\u003c/em>, doesn’t give Nick and Maria’s romance much heat, either from lust or conflict. Maria nonchalantly accepts that her uncle traffics in cocaine, which she considers a traditional Colombian crop. She doesn’t know, or want to know, that Pablo is a killer. Nick figures out that part, but is foolishly slow to react. Or maybe it’s that he’s just too sitcom-star nice to give anyone a hard time, even a murderer.\u003c/p>\n\u003cp>Hutcherson, who’s best known for being overshadowed by Jennifer Lawrence in the \u003cem>Hunger Games\u003c/em> series, is equally dominated here. But that suits the unequal relationship of guileless Nick and calculating Pablo. In the movie’s complex centerpiece, Nick struggles to accept a murderous task that Pablo’s assigned him, only to gradually recognize that his mission is more diabolical than his worst imagining.\u003c/p>\n\u003cp>Impressively staged in the Panama countryside, Nick’s attempt to fulfill his duty with a minimum of carnage is taut and suspenseful. The kid may be naive, but that makes him an compelling audience surrogate. It’s easy to identify with a laidback Canadian who’s asked to do not one but all kinds of things that aren’t mentioned in the Lonely Planet guide to drug-cartel tourism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Can it all end safely for Nick? Well, maybe, since he’s an invented character. But one omen worth noting is that the real Pablo Escobar died in 1993 of a bullet to the head. \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=%27Escobar%3A+Paradise+Lost%27+Finds+Young+Love+Overshadowed+By+Violence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Filmmakers can struggle to prevent their swaggering villain from upstaging their innocuous hero. Writer-director Andrea Di Stefano clearly didn’t worry about that when making \u003cem>Escobar: Paradise Lost\u003c/em>. If he did, he wouldn’t have cast Benicio del Toro as the bad guy.\u003c/p>\n\u003cp>Playing Colombian cocaine baron Pablo Escobar, the charismatic del Toro is the most vivid presence in the movie, which was loosely inspired by actual events. The other two principals are amiable and attractive, but bland. Fortunately for the movie’s watchability, the fictional romance of Nick (Josh Hutcherson) and Maria (Claudia Traisac) exists primarily to bring the former into orbit of the eccentric, lethal Pablo.\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/CSen29S0DLE'\n title='//www.youtube.com/embed/CSen29S0DLE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Disheveled yet commanding, del Toro’s Escobar is a pudgy, overgrown kid with a menagerie of African animals. He relishes playing the indulgent \u003cem>patron\u003c/em>, even if he more resembles a \u003cem>campesino\u003c/em>. Like some American rappers who later invoked him, Pablo has an adolescent fixation with gangsters, including the doomed Bonnie and Clyde.\u003c/p>\n\u003cp>Nico — that’s what Pablo calls him — is well acquainted with the drug lord when the story begins. It’s 1991, and Escobar is about to surrender to the police, as previously negotiated. All that remains before he enters a luxury prison, designed to his specifications, is to call his mother and kneel so they can share a farewell prayer. Pablo is a devout Catholic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Actually, there’s one more thing to be done: hiding Pablo’s fortune in remote sites around the country. Although not a member of the cocaine gang, Nick is “like a son to me” — engaged to Maria, Pablo’s beloved niece. Perhaps that will protect the young Canadian, who came to Colombia to surf, not peddle drugs and death.\u003c/p>\n\u003cp>The tale is recounted via a web of flashbacks and flash-forwards, beginning chronologically with Nick’s introduction to Maria. She helps her uncle — a self-styled Robin Hood — open a medical clinic in the coastal town where Nick and his brother Dylan (Brady Corbet) have just established a surfing camp. Soon, Pablo is facilitating the operation, discouraging small-time local thugs from bothering Nick and Dylan. Only later will Nick learn that Pablo’s style is to eliminate mosquitoes with a flame-thrower.\u003c/p>\n\u003cp>Andrea Di Stefano, an Italian actor who makes his directorial debut with \u003cem>Escobar\u003c/em>, doesn’t give Nick and Maria’s romance much heat, either from lust or conflict. Maria nonchalantly accepts that her uncle traffics in cocaine, which she considers a traditional Colombian crop. She doesn’t know, or want to know, that Pablo is a killer. Nick figures out that part, but is foolishly slow to react. Or maybe it’s that he’s just too sitcom-star nice to give anyone a hard time, even a murderer.\u003c/p>\n\u003cp>Hutcherson, who’s best known for being overshadowed by Jennifer Lawrence in the \u003cem>Hunger Games\u003c/em> series, is equally dominated here. But that suits the unequal relationship of guileless Nick and calculating Pablo. In the movie’s complex centerpiece, Nick struggles to accept a murderous task that Pablo’s assigned him, only to gradually recognize that his mission is more diabolical than his worst imagining.\u003c/p>\n\u003cp>Impressively staged in the Panama countryside, Nick’s attempt to fulfill his duty with a minimum of carnage is taut and suspenseful. The kid may be naive, but that makes him an compelling audience surrogate. It’s easy to identify with a laidback Canadian who’s asked to do not one but all kinds of things that aren’t mentioned in the Lonely Planet guide to drug-cartel tourism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Can it all end safely for Nick? Well, maybe, since he’s an invented character. But one omen worth noting is that the real Pablo Escobar died in 1993 of a bullet to the head. \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=%27Escobar%3A+Paradise+Lost%27+Finds+Young+Love+Overshadowed+By+Violence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Villains are staples of stories for kids. Making them bigger, meaner, madder, more impossible to defeat — that’s how you build the ideas of fear and then, inevitably, of courage. A small person faces a giant, or a witch, or a wolf, or Jafar, or Cruella De Vil, or the Buy ‘N’ Large, and by watching that happen, you learn. You learn what it takes to beat the bad guy. You learn that you, too, can beat the bad guy. You learn not to lose heart and not to give up. You use something inside yourself to beat something outside yourself.\u003c/p>\n\u003cp>There is no villain in Pixar’s new film \u003cem>Inside Out\u003c/em>. That’s not only because the action takes place inside the mind of 11-year-old Riley. It’s also because even in there, where her Joy, Sadness, Anger, Fear and Disgust stand and argue and sometimes fumble at the controls, there is no villain. Riley isn’t stalked by any invading monster; there’s no hulking, lumbering beast named Insecurity or Hate or Depression who must later be defeated or vanquished in a climactic battle or persuaded to change its nature. Riley begins with a vibrant spirit humming with varied, vivid life, and her great battle — the battle that must be fought by her Joy and her Sadness but is being fought by Riley always, after all — is simply to master the fact that her assembled life is delicate and complex. Each segment affects the others; each decision and experience rattles the pieces and can imperil the whole.\u003c/p>\n\u003cp>Within this literally cerebral tale, there are clowns, vacuum hoses, glassy globes, a unicorn, a being that cries candy out of his eyes, and a literal Train Of Thought. But there’s no intruder. Nothing in Riley’s mind is ultimately tagged as not belonging or not wanted, because nothing in her mind can be separated from who she is. She is made up of the same things that cause her sadness, fright and disgust — those little emotions are her and she is them. There’s nothing to defeat; if anything, what Riley is fighting against is the impulse to exile the feelings that embarrass her.\u003c/p>\n\u003cp>She’s confronted with learning — through the interplay of emotions — how to balance all of the pieces of herself the way she will need to do as she becomes an adult and steps out of the part of her childhood where happiness could reliably be her dominant emotion and other feelings could be treated as temporary, meaningless flashes to be quickly soothed by the right sunny thought or driven off by the right distraction. This is the actual poignancy of adolescence: the arrival of more emotional nuance and more sophisticated understanding is the arrival of more sophisticated pain as well as more meaningful joy. Things blend, things bend, the world gets weirder.\u003c/p>\n\u003cp>Riley is, in one sense, fighting a battle we know she will lose: the battle for Joy to rule all things forever. But in another sense, her destination — the moment at which the story is aching to arrive — is balance, even if it’s a kind of balanced chaos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Admittedly, there’s something very lonely about \u003cem>Inside Out\u003c/em> if you compare its external structure and Riley’s journey through her physical world to traditional kids’ movies. There’s no Donkey from \u003cem>Shrek\u003c/em> or Abu from \u003cem>Aladdin \u003c/em>or Timon and Pumbaa from \u003cem>The Lion King \u003c/em>cheering her up with “Hakuna Matata.” This respect for the role of melancholy in the lives of kids is very Pixar, but it’s particularly acute here: There are no other Incredibles, there is no EVE, there is no Dug the dog. Riley’s allies and boosters in this adventure are not made or met along the way; they are summoned. They are \u003cem>hers —\u003c/em> in fact, they are her. Her mom and dad love her, and she needs them, and they can help and they must help. But if you’ve ever known a kid this age, you know that sometimes, trying to help is like trying to grab onto a wet eel. They have to do some of the work themselves, and it’s often the beginning of work they’ll do imperfectly but tirelessly all their lives.\u003c/p>\n\u003cp>And honestly, some of what Riley is experiencing \u003cem>is \u003c/em>lonely. Isolation is, for so many kids, a fundamental part of the rhythm of those years. At that age — at any age — there are times when it’s just you and your little cartoon feelings, figuring stuff out. It’s one of the reasons kids keep diaries: They turn into tumbling dialogues, whether you’d identify them as such or not, between your Anger and your Fear or your Joy and your Sadness.\u003c/p>\n\u003cp>But there’s also a sense at the core of the movie that the fights you fight on the inside are integral to the relationships with other people you’re going to have on the outside. Riley is feeling a kind of frightening centripetal force that makes her afraid she’ll fly apart, so she turns and pushes inward. Inward, to where she has to go on her own journey in her own company, the better to turn back again toward her parents and her friends.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The structural decision to do without a villain, and ultimately to do without one of the easiest elements to make entertaining and marketable, means that the process Riley is undergoing — adolescence — is visualized as … normal. Her mind is not a space that’s been invaded by something that must be driven out, but a new environment to be mastered. And if other kids’ stories are there to teach kids how to be brave when they see witches and giants, \u003cem>Inside Out \u003c/em>is there, maybe, to teach them how to be brave when there’s no witch and no giant, but things can feel broken anyway. \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=Why+The+Key+Character+In+%27Inside+Out%27+Is+The+One+Who+Isn%27t+There&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Villains are staples of stories for kids. Making them bigger, meaner, madder, more impossible to defeat — that’s how you build the ideas of fear and then, inevitably, of courage. A small person faces a giant, or a witch, or a wolf, or Jafar, or Cruella De Vil, or the Buy ‘N’ Large, and by watching that happen, you learn. You learn what it takes to beat the bad guy. You learn that you, too, can beat the bad guy. You learn not to lose heart and not to give up. You use something inside yourself to beat something outside yourself.\u003c/p>\n\u003cp>There is no villain in Pixar’s new film \u003cem>Inside Out\u003c/em>. That’s not only because the action takes place inside the mind of 11-year-old Riley. It’s also because even in there, where her Joy, Sadness, Anger, Fear and Disgust stand and argue and sometimes fumble at the controls, there is no villain. Riley isn’t stalked by any invading monster; there’s no hulking, lumbering beast named Insecurity or Hate or Depression who must later be defeated or vanquished in a climactic battle or persuaded to change its nature. Riley begins with a vibrant spirit humming with varied, vivid life, and her great battle — the battle that must be fought by her Joy and her Sadness but is being fought by Riley always, after all — is simply to master the fact that her assembled life is delicate and complex. Each segment affects the others; each decision and experience rattles the pieces and can imperil the whole.\u003c/p>\n\u003cp>Within this literally cerebral tale, there are clowns, vacuum hoses, glassy globes, a unicorn, a being that cries candy out of his eyes, and a literal Train Of Thought. But there’s no intruder. Nothing in Riley’s mind is ultimately tagged as not belonging or not wanted, because nothing in her mind can be separated from who she is. She is made up of the same things that cause her sadness, fright and disgust — those little emotions are her and she is them. There’s nothing to defeat; if anything, what Riley is fighting against is the impulse to exile the feelings that embarrass her.\u003c/p>\n\u003cp>She’s confronted with learning — through the interplay of emotions — how to balance all of the pieces of herself the way she will need to do as she becomes an adult and steps out of the part of her childhood where happiness could reliably be her dominant emotion and other feelings could be treated as temporary, meaningless flashes to be quickly soothed by the right sunny thought or driven off by the right distraction. This is the actual poignancy of adolescence: the arrival of more emotional nuance and more sophisticated understanding is the arrival of more sophisticated pain as well as more meaningful joy. Things blend, things bend, the world gets weirder.\u003c/p>\n\u003cp>Riley is, in one sense, fighting a battle we know she will lose: the battle for Joy to rule all things forever. But in another sense, her destination — the moment at which the story is aching to arrive — is balance, even if it’s a kind of balanced chaos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Admittedly, there’s something very lonely about \u003cem>Inside Out\u003c/em> if you compare its external structure and Riley’s journey through her physical world to traditional kids’ movies. There’s no Donkey from \u003cem>Shrek\u003c/em> or Abu from \u003cem>Aladdin \u003c/em>or Timon and Pumbaa from \u003cem>The Lion King \u003c/em>cheering her up with “Hakuna Matata.” This respect for the role of melancholy in the lives of kids is very Pixar, but it’s particularly acute here: There are no other Incredibles, there is no EVE, there is no Dug the dog. Riley’s allies and boosters in this adventure are not made or met along the way; they are summoned. They are \u003cem>hers —\u003c/em> in fact, they are her. Her mom and dad love her, and she needs them, and they can help and they must help. But if you’ve ever known a kid this age, you know that sometimes, trying to help is like trying to grab onto a wet eel. They have to do some of the work themselves, and it’s often the beginning of work they’ll do imperfectly but tirelessly all their lives.\u003c/p>\n\u003cp>And honestly, some of what Riley is experiencing \u003cem>is \u003c/em>lonely. Isolation is, for so many kids, a fundamental part of the rhythm of those years. At that age — at any age — there are times when it’s just you and your little cartoon feelings, figuring stuff out. It’s one of the reasons kids keep diaries: They turn into tumbling dialogues, whether you’d identify them as such or not, between your Anger and your Fear or your Joy and your Sadness.\u003c/p>\n\u003cp>But there’s also a sense at the core of the movie that the fights you fight on the inside are integral to the relationships with other people you’re going to have on the outside. Riley is feeling a kind of frightening centripetal force that makes her afraid she’ll fly apart, so she turns and pushes inward. Inward, to where she has to go on her own journey in her own company, the better to turn back again toward her parents and her friends.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The structural decision to do without a villain, and ultimately to do without one of the easiest elements to make entertaining and marketable, means that the process Riley is undergoing — adolescence — is visualized as … normal. Her mind is not a space that’s been invaded by something that must be driven out, but a new environment to be mastered. And if other kids’ stories are there to teach kids how to be brave when they see witches and giants, \u003cem>Inside Out \u003c/em>is there, maybe, to teach them how to be brave when there’s no witch and no giant, but things can feel broken anyway. \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=Why+The+Key+Character+In+%27Inside+Out%27+Is+The+One+Who+Isn%27t+There&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A movie about high school students dealing with mortality — haven’t we been dipping into that well a lot lately? So the surprise was the laughs when \u003cem>Me and Earl and The Dying Girl\u003c/em> became the surprise smash at this year’s Sundance Film Festival, taking both the Audience Award and the Grand Jury Prize. Here was a film that managed to be at once earnest and flip, capturing teen angst without wallowing in teen drama.\u003c/p>\n\u003cp>The opening shots introduce us to Greg (Thomas Mann), a dweeby high school senior who’s perfected the wisecrack as a substitute for social interaction. A member of no clique, he’s on friendly terms with everyone from jocks to goths to geeks because he only half-engages, zooming down a hall, hearing a snatch of conversation like, say, “your test was today?” and offering a bit of snark — “ugh, tests, been there” — without breaking stride.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2qfmAllbYC8\u003c/p>\n\u003cp>His one close buddy, Earl (RJ Cyler), he’s known forever. They bonded as kids while watching Greg’s dad’s film collection, and then coming up with punny titles for movie parodies — \u003cem>A Sockwork Orange\u003c/em>, \u003cem>Senior-Citizen Kane\u003c/em> — they make with household detritus and toys.\u003c/p>\n\u003cp>But being jokey and making videos does not prepare Greg for news his mother gives him about a classmate with leukemia — Rachel (Olivia Cooke), who’d been talking tests in that school hallway. Greg cringes when he realizes what tests she meant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Worse, his mom insists that he go and spend time with Rachel, though he barely knows her — and social grace is, let’s say, not his strong suit. Rachel lets him hang out, and soon they’re bonding, somewhat. The moviemaker in Greg senses that that’s cool even as the highschooler in him senses that it’s emotionally treacherous.\u003c/p>\n\u003cp>Partly to protect himself from too much closeness, and too much pain if Rachel’s illness progresses, he brings Earl into their world, and ends up opening himself up more than he intended when Earl mentions their movies, outing him, as it were, as a creative soul in high school.\u003c/p>\n\u003cp>Director Alfonso Gomez-Rejon — working from a screenplay Jesse Andrews based on his own novel, which was in turn, somewhat autobiographical — has a sure sense of the sort of kid who would use a camera lens as a shield. He also has an engaging way of using camera tricks — weird angles, voice-overs, animation — to get at the hormone-addled inanity that is teenagerdom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nowhere more so, perhaps, than when the boys are working on their movies — making their \u003cem>Apocalypse Now\u003c/em> parody, say: \u003cem>A Box-of-Tulips, Wow\u003c/em> with toy soldiers parachuting into a vacant-lot jungle to rescue a box of origami tulips. In their no-budget-goofball way, these minifilma are genius. Sheer genius. This kid, you figure, is gonna grow up to be quite a storyteller. And in a sense, he did.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Worse, his mom insists that he go and spend time with Rachel, though he barely knows her — and social grace is, let’s say, not his strong suit. Rachel lets him hang out, and soon they’re bonding, somewhat. The moviemaker in Greg senses that that’s cool even as the highschooler in him senses that it’s emotionally treacherous.\u003c/p>\n\u003cp>Partly to protect himself from too much closeness, and too much pain if Rachel’s illness progresses, he brings Earl into their world, and ends up opening himself up more than he intended when Earl mentions their movies, outing him, as it were, as a creative soul in high school.\u003c/p>\n\u003cp>Director Alfonso Gomez-Rejon — working from a screenplay Jesse Andrews based on his own novel, which was in turn, somewhat autobiographical — has a sure sense of the sort of kid who would use a camera lens as a shield. He also has an engaging way of using camera tricks — weird angles, voice-overs, animation — to get at the hormone-addled inanity that is teenagerdom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nowhere more so, perhaps, than when the boys are working on their movies — making their \u003cem>Apocalypse Now\u003c/em> parody, say: \u003cem>A Box-of-Tulips, Wow\u003c/em> with toy soldiers parachuting into a vacant-lot jungle to rescue a box of origami tulips. In their no-budget-goofball way, these minifilma are genius. Sheer genius. This kid, you figure, is gonna grow up to be quite a storyteller. And in a sense, he did.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>HBO’s \u003cem>Silicon Valley \u003c/em>ends its second season Sunday night with a finale I have seen and will warn you is \u003cem>so tense \u003c/em>that I actually skipped forward a little bit at one point. That’s how suspenseful I found it. And remember: it’s a comedy.\u003c/p>\n\u003cp>Created by Mike Judge, John Altschuler and Dave Krinsky, the show follows a startup called Pied Piper, run by monumentally hapless founder Richard Hendricks (Thomas Middleditch). Richard is a basically kind, loyal, anxious, twitchy dude who is very good at compression algorithms and very bad at taking deep breaths at any time. He operates out of an incubator owned by Ehrlich Bachman (T.J. Miller), a strangely charismatic complete idiot who fancies himself a kingmaker. (Okay, not a complete idiot. But mostly an idiot.) Richard also employs programmers Gilfoyle (a perpetually seething Martin Starr) and Dinesh (a perpetually mellow but quizzical Kumail Nanjiani) and CFO Jared (Zach Woods). The team works alongside Monica (Amanda Crews), a representative of the venture capital firm that’s got a huge investment in Pied Piper.\u003c/p>\n\u003cp>The blessing and the curse of \u003cem>Silicon Valley\u003c/em> is that it’s set in a very specific universe. You will hear a lot about incubators, investors, buyouts, network security, coding, conferences, a giant company called Hooli (essentially this universe’s Google), various versions of software launching — and keep in mind that Richard’s company is in the business of file compression. He started out wanting to make a music app, but now all these people are deeply engaged in perhaps the unsexiest thing they could possibly do with themselves: making files smaller for the purposes of transmission. You might as well be employed full-time packing people’s suitcases tighter.\u003c/p>\n\u003cp>Of course, file compression is \u003cem>critical\u003c/em> to the functioning of companies like Goo — sorry, Hooli, and that’s why there’s so much money in it. That’s why Hooli founder Gavin Belson (played with waxen flair by Matt Ross) has done countless unscrupulous things trying to get control of Pied Piper or, if he can’t do that, destroy it. It is nevertheless a \u003cem>really really boring \u003c/em>business around which to structure a show if you’re not going to explain how good you have to be to do it well. Without that technical knowledge on the part of the audience, it’s like making a sitcom about a sports team, but the sport is competitively folding pieces of paper into thirds.\u003c/p>\n\u003cp>But the surprise of the show’s second season, which has been stronger than its first was, has increasingly been that in addition to being reliably funny, it somehow feels \u003cem>familiar \u003c/em>as a workplace show, despite being so much a creature of its bro-intensive world in which practically nobody ever goes outside for any purpose other than a meeting he’s dreading and the stakes arise from a business with a purpose as superficially mundane as you can imagine. (It’s no radio station or bar or White House, setting-wise.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Sisyphean nature of Richard’s quest is central: his effort to maintain control of Pied Piper and keep it from dying is threatened by everything from machinations and legal maneuvering by billionaires at the most sophisticated levels to somebody accidentally leaving an object wedged against a keyboard’s “Delete” key. And, of course, he is often his own worst enemy, not for the reasons he anticipates (ineptitude, sabotage) but for the ones he doesn’t (outsmarting himself, primarily). He wants to be as successful as Gavin Belson and, if he’s honest, he probably wants to be as rich as Gavin Belson, but he doesn’t want to \u003cem>be \u003c/em>Gavin Belson. The entire animating question of the show is \u003cem>Can it be different?\u003c/em> And, really, \u003cem>Can I make it different?\u003c/em>\u003c/p>\n\u003cp>That’s Richard’s underlying struggle — not against Hooli, and not against Belson, but against despair. It’s a struggle against giving up and just being the same kind of rich, powerful, unscrupulous garbage person he feels like everybody else is, because he’s probably got the chops for it if he wanted to go that route, and it sometimes feels like \u003cem>not \u003c/em>going that route makes him an eternal punching bag for everyone who does.\u003c/p>\n\u003cp>The battle is not really for Pied Piper; it’s for these guys’ souls, because they’re all up against it in different ways: Richard is a weary idealist with way too much power for his level of management experience, Gilfoyle purports to hate everyone because he doesn’t trust anyone, Dinesh is a very sweet person who needs absolutely everything except programming to be handled by somebody else (and is therefore chum for sharks), and Jared is \u003cem>literally \u003c/em>the most earnest character on television and is therefore the pariah, because even in a house full of socially awkward people, somebody’s always at the bottom, wanting to be liked.\u003c/p>\n\u003cp>And, of course, surrounding all of this is some profoundly silly comedy, this season including an egg-in-the-nest cam, a critical Post-It, an app called Bro, an energy drink, and a lot of other stuff.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So here, on a show full of guys whose priorities don’t resonate with me at all, I find myself deeply invested in this question of whether they will beat … not really Gavin Belson, but \u003cem>hopelessness\u003c/em>. In a strange way, they really are dreamers, even if a big part of the dream is money. \u003cem>Silicon Valley \u003c/em>engages — around a lot of really good and often very silly comedy — with the question of whether tech guys are, as they’re so often positioned, our new visionaries, or our new robber barons, or both. \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=How+%27Silicon+Valley%27+Tells+Broad+Truths+From+An+Insular+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Sisyphean nature of Richard’s quest is central: his effort to maintain control of Pied Piper and keep it from dying is threatened by everything from machinations and legal maneuvering by billionaires at the most sophisticated levels to somebody accidentally leaving an object wedged against a keyboard’s “Delete” key. And, of course, he is often his own worst enemy, not for the reasons he anticipates (ineptitude, sabotage) but for the ones he doesn’t (outsmarting himself, primarily). He wants to be as successful as Gavin Belson and, if he’s honest, he probably wants to be as rich as Gavin Belson, but he doesn’t want to \u003cem>be \u003c/em>Gavin Belson. The entire animating question of the show is \u003cem>Can it be different?\u003c/em> And, really, \u003cem>Can I make it different?\u003c/em>\u003c/p>\n\u003cp>That’s Richard’s underlying struggle — not against Hooli, and not against Belson, but against despair. It’s a struggle against giving up and just being the same kind of rich, powerful, unscrupulous garbage person he feels like everybody else is, because he’s probably got the chops for it if he wanted to go that route, and it sometimes feels like \u003cem>not \u003c/em>going that route makes him an eternal punching bag for everyone who does.\u003c/p>\n\u003cp>The battle is not really for Pied Piper; it’s for these guys’ souls, because they’re all up against it in different ways: Richard is a weary idealist with way too much power for his level of management experience, Gilfoyle purports to hate everyone because he doesn’t trust anyone, Dinesh is a very sweet person who needs absolutely everything except programming to be handled by somebody else (and is therefore chum for sharks), and Jared is \u003cem>literally \u003c/em>the most earnest character on television and is therefore the pariah, because even in a house full of socially awkward people, somebody’s always at the bottom, wanting to be liked.\u003c/p>\n\u003cp>And, of course, surrounding all of this is some profoundly silly comedy, this season including an egg-in-the-nest cam, a critical Post-It, an app called Bro, an energy drink, and a lot of other stuff.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So here, on a show full of guys whose priorities don’t resonate with me at all, I find myself deeply invested in this question of whether they will beat … not really Gavin Belson, but \u003cem>hopelessness\u003c/em>. In a strange way, they really are dreamers, even if a big part of the dream is money. \u003cem>Silicon Valley \u003c/em>engages — around a lot of really good and often very silly comedy — with the question of whether tech guys are, as they’re so often positioned, our new visionaries, or our new robber barons, or both. \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=How+%27Silicon+Valley%27+Tells+Broad+Truths+From+An+Insular+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Vera Brittain, an upper-crust Englishwoman whose experiences as a nurse in World War I turned her into a pacifist, was known to my generation primarily as the mother of Shirley Williams, a similarly feisty and beloved Labour Cabinet member who still sits in the House of Lords. To my parents’ generation, Brittain was the beloved author of a best-selling 1933 memoir, \u003cem>Testament of Youth\u003c/em>, which laid out in devastating detail the cruel obliteration of a whole generation of British youth, to say nothing of Brittain’s own dreams of marriage to Roland Leighton, a budding writer and poet like herself.\u003c/p>\n\u003cp>Like the great poets of that war — Wilfred Owen, Siegfried Sassoon and Rupert Brooke, among others — Brittain came from privilege: She was the daughter of wealthy paper mill owners. But her memoir, published between the Wars in 1933, spoke to the masses in a less literary, more direct and personal voice that crossed England’s powerful class barrier. \u003cem>Testament of Youth\u003c/em>, which dealt with the loss of three crucial young men in Brittain’s life and her transformation from cosseted girl to ardent pacifist, was adapted into an excellent 1979 BBC TV series starring the great actress Cheryl Campbell (\u003cem>Pennies From Heaven\u003c/em>). There’s not much reason for a remake, and director James Kent, who has mostly worked in television, has brought the book to the big screen in a faithful but mostly pedestrian period piece.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VLiLInoOod0\u003c/p>\n\u003cp>Luckily, the film is pepped by a passionate turn from up-and-coming Swedish actress Alicia Vikander, last seen as a democratically inclined freshman Queen of Denmark in \u003cem>A Royal Affair\u003c/em>, and as the savvy Kitty in \u003cem>Anna Karenina\u003c/em>. Vikander looks like a dark-eyed Emily Blunt and carries herself with similar flash and fire. Her Vera may appear breakable, but she’s a sturdy rebel who doesn’t suffer fools gladly. We meet her in full brat mode in 1914, lobbying her unwilling father (an under-used Dominic West) and etiquette-obsessed mother (Emily Watson) to let her study at Oxford alongside her adored brother Edward (Taron Egerton), her sensitive fiancé Roland (Kit Harington), and their friend Victor (Colin Morgan), a good-hearted fellow who also pines for Vera.\u003c/p>\n\u003cp>The young men barely graze Oxford before signing up for what they believe will be a quick victory over the Hun. Disillusion sets in fast as they rot and worse in the stinking trenches of the Somme and other battlefields, rendered in rather crude shorthand that suggests a modest budget. As for Vera, she jettisons an elite education in favor of incrementally brutal stints as a nurse at home and abroad, where she has a formative experience nursing German prisoners.\u003c/p>\n\u003cp>[ad fullwidth]\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",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Vera Brittain, an upper-crust Englishwoman whose experiences as a nurse in World War I turned her into a pacifist, was known to my generation primarily as the mother of Shirley Williams, a similarly feisty and beloved Labour Cabinet member who still sits in the House of Lords. To my parents’ generation, Brittain was the beloved author of a best-selling 1933 memoir, \u003cem>Testament of Youth\u003c/em>, which laid out in devastating detail the cruel obliteration of a whole generation of British youth, to say nothing of Brittain’s own dreams of marriage to Roland Leighton, a budding writer and poet like herself.\u003c/p>\n\u003cp>Like the great poets of that war — Wilfred Owen, Siegfried Sassoon and Rupert Brooke, among others — Brittain came from privilege: She was the daughter of wealthy paper mill owners. But her memoir, published between the Wars in 1933, spoke to the masses in a less literary, more direct and personal voice that crossed England’s powerful class barrier. \u003cem>Testament of Youth\u003c/em>, which dealt with the loss of three crucial young men in Brittain’s life and her transformation from cosseted girl to ardent pacifist, was adapted into an excellent 1979 BBC TV series starring the great actress Cheryl Campbell (\u003cem>Pennies From Heaven\u003c/em>). There’s not much reason for a remake, and director James Kent, who has mostly worked in television, has brought the book to the big screen in a faithful but mostly pedestrian period piece.\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/VLiLInoOod0'\n title='//www.youtube.com/embed/VLiLInoOod0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Luckily, the film is pepped by a passionate turn from up-and-coming Swedish actress Alicia Vikander, last seen as a democratically inclined freshman Queen of Denmark in \u003cem>A Royal Affair\u003c/em>, and as the savvy Kitty in \u003cem>Anna Karenina\u003c/em>. Vikander looks like a dark-eyed Emily Blunt and carries herself with similar flash and fire. Her Vera may appear breakable, but she’s a sturdy rebel who doesn’t suffer fools gladly. We meet her in full brat mode in 1914, lobbying her unwilling father (an under-used Dominic West) and etiquette-obsessed mother (Emily Watson) to let her study at Oxford alongside her adored brother Edward (Taron Egerton), her sensitive fiancé Roland (Kit Harington), and their friend Victor (Colin Morgan), a good-hearted fellow who also pines for Vera.\u003c/p>\n\u003cp>The young men barely graze Oxford before signing up for what they believe will be a quick victory over the Hun. Disillusion sets in fast as they rot and worse in the stinking trenches of the Somme and other battlefields, rendered in rather crude shorthand that suggests a modest budget. As for Vera, she jettisons an elite education in favor of incrementally brutal stints as a nurse at home and abroad, where she has a formative experience nursing German prisoners.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"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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"excerpt": "Lee's career was varied and vast: He made his name as Dracula for decades, but then went on to play roles in Hollywood blockbusters like \u003cem>Lord of the Rings\u003c/em>. Lee was 93 years old.",
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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": "\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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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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