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"content": "\u003cp>“This is Bruce Brown, thank you for watching, I hope you enjoyed my film.”\u003c/p>\n\u003cp>That line, sounding a little like a proud eighth-grader closing out a book report he felt was particularly insightful, is the last piece of narration in the landmark 1964 surfing film \u003cem>The Endless Summer \u003c/em>(which didn’t receive its nationwide theatrical release until 1966). It’s a little amateurish, eye-rollingly hokey, and yet irresistibly endearing in its aw-shucks wholesome sincerity. It’s those qualities that have allowed the film to improbably endure as the most influential adventure sports documentary ever made, and warrant another \u003ca href=\"http://www.montereymedia.com/theatrical/contracts/endlesssummer/contracts/endlesssummer_locations.php\" target=\"_blank\" rel=\"noopener\">limited theatrical run\u003c/a> in a few dozen theaters nationwide to celebrate a half-century since it first screened.\u003c/p>\n\u003cfigure id=\"attachment_10139529\" class=\"wp-caption alignright\" style=\"max-width: 710px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/endless-1-e1d352d361c49d67b75e8f9b9f6ec74f64dec946.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/endless-1-e1d352d361c49d67b75e8f9b9f6ec74f64dec946.jpg\" alt=\"After the film's success,<em> </em>director Bruce Brown (pictured above during filming) directed four additional documentaries, including a sequel<em> </em>-- <em>The</em> <em>Endless Summer II</em>.\" width=\"710\" height=\"532\" class=\"size-full wp-image-10139529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/endless-1-e1d352d361c49d67b75e8f9b9f6ec74f64dec946.jpg 710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/endless-1-e1d352d361c49d67b75e8f9b9f6ec74f64dec946-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/endless-1-e1d352d361c49d67b75e8f9b9f6ec74f64dec946-300x224.jpg 300w\" sizes=\"(max-width: 710px) 100vw, 710px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">After the film’s success,\u003cem> \u003c/em>director Bruce Brown (pictured above during filming) directed four additional documentaries, including a sequel\u003cem> \u003c/em>— \u003cem>The\u003c/em> \u003cem>Endless Summer II\u003c/em>. \u003ccite>(Monterey Media Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Documentaries about sports like surfing, skiing, snow and skateboarding, or mountain climbing are a niche market, often screened only at specialized film festivals before living out their existences being played in the background at ski lodges or in the homes of enthusiasts. \u003cem>Endless Summer\u003c/em> didn’t invent the genre, but it was unique in its huge crossover appeal, sparking popular interest in surf culture that has endured at the movies ever since, whether in direct descendants like the 2003 documentary \u003cem>Step into Liquid\u003c/em> (directed by Brown’s son, Dana), or Keanu Reeves’ undercover surfing “EFF…BEE…EYE…Agent!” in 1991’s \u003cem>Point Break\u003c/em>.\u003c/p>\n\u003cp>Many of the surfing movies that rode \u003cem>Endless Summer\u003c/em>‘s wake presented surfing as the apotheosis of living-on-the-edge cool, with ripped dudes and lean ladies speaking a language all their own while devoting their days to the romantic pursuit of the perfect wave. (Spoiler alert: Brown & Co. found it while filming the movie in 1963, and it’s in South Africa.) But \u003cem>Endless Summer\u003c/em> has none of that.\u003c/p>\n\u003cp>Its primary subjects, Mike Hynson and Robert August — the two world-class surfers Brown takes on a trip around the world trying to follow summer all year round — are as clean-cut and full of all-American innocence as Wally and the Beaver. They’re about as dangerous as Cub Scouts. In one sequence, they’re so nervous and clumsy around a bikini-clad surfer in Australia that they can barely keep upright on their boards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The image of laconic stoner cool surrounding surf culture — as inescapable as the cloud of smoke inside Jeff Spicoli’s van — is nowhere to be found in the film either. Mike and Robert are unreserved enthusiasts, though we never get to hear them speak. Brown only had cash enough for reels and reels of 16mm film and for travel, room and board for the minimal production. Sound recording was an unnecessary luxury for a film that was all about the visual wonder of people doing their best real-world approximation of walking on water.\u003c/p>\n\u003cp>To make up for the lack of location audio, Brown fills the film with two sounds. The first is the wall-to-wall music, mostly prototypical sunny surf rock from a band called The Sandals, along with a smattering of jazz, brassy fanfares (usually for the more dangerous beaches), and some local African music during the portions on that continent. The second is Brown himself, delivering a nonstop narration that veers from the stiff tone of ’60s educational reels to filling in the dialogue we can’t hear being said onscreen, to corny jokes that only a dad could be proud of.\u003c/p>\n\u003cp>If there’s anything hopelessly dated about the film, it’s that narration. At best, Brown imparts a solid background on surfing terms and techniques. More cringe-worthy are his references to a flotation device worn by one young boy as a growth on his back, or the exaggerated winking behind calling a bikini top a “chest protector.” Worst of all is the mortifying treatment of the locals in Senegal and Ghana, which includes an unironic and gleeful fascination with their perceived primitivism, and lines like, “Being good Africans, they threw a few rocks.”\u003c/p>\n\u003cfigure id=\"attachment_10139530\" class=\"wp-caption alignright\" style=\"max-width: 769px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/endless-5-71dda1600b8aed1ee3d7e447756e7d6416fee339.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/endless-5-71dda1600b8aed1ee3d7e447756e7d6416fee339.jpg\" alt=\"Robert August hits some waves off the coast of South Africa in <em>The Endless Summer </em>(1966). The film went on to inspire surfing communities all over the world.\" width=\"769\" height=\"577\" class=\"size-full wp-image-10139530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/endless-5-71dda1600b8aed1ee3d7e447756e7d6416fee339.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/endless-5-71dda1600b8aed1ee3d7e447756e7d6416fee339-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/endless-5-71dda1600b8aed1ee3d7e447756e7d6416fee339-300x225.jpg 300w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert August hits some waves off the coast of South Africa in \u003cem>The Endless Summer \u003c/em>(1966). The film went on to inspire surfing communities all over the world. \u003ccite>(Monterey Media Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown is so affable that it’s tempting to endure such offenses the way one does with a sweet older relative with an unfortunate tendency to spout off occasional casual bursts of racism. You mumble something uncomfortably to the friend you brought home with you for Christmas about how she grew up in a different time, and then shift the conversation as quickly as possible to how good her snickerdoodles are. The moment is still an uncomfortable one.\u003c/p>\n\u003cp>The cookies here would be all the fantastic footage of Mike and Robert catching waves at beaches from Hawaii to Africa to Australia, to Tahiti, to California. While it might not be as crisp or close-up as more modern efforts, Brown has an eye for making beach-bound shots of the surfers mesmerizing, and is especially adept at employing magic-hour lighting to enhance the romance of his wandering, globe-hopping project.\u003c/p>\n\u003cp>\u003cem>Endless Summer\u003c/em> serves as an effective template for adventure sports docs for decades to follow by effectively rendering his soundtrack irrelevant. As with a great silent film, one gets the picture just by watching the pictures, and the film is as good with the sound off as it is with it on.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s the key to its endurance; it’s part surfing film, part travelogue, occasionally even anthropological study and wildlife film, but ultimately it visually taps into the wanderlust that sends us to far-flung beaches in search of an escape from life that we can’t find at home. We don’t have to be surfing experts who can appreciate Mike and Robert’s technique, or know which new part of the globe they’re wave-hunting in. But when they balance on a board on a perfectly curling wave, they’re a portrait of the balance and serenity we all seek from the ideal summer vacation. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Revisiting+An+%27Endless+Summer%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "While corny and dated and even offensive in places, the seminal surfing film \u003cem>The Endless Summer, \u003c/em>now getting a 50th anniversary re-release, remains a rich visual exploration of the freedom of a wave.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“This is Bruce Brown, thank you for watching, I hope you enjoyed my film.”\u003c/p>\n\u003cp>That line, sounding a little like a proud eighth-grader closing out a book report he felt was particularly insightful, is the last piece of narration in the landmark 1964 surfing film \u003cem>The Endless Summer \u003c/em>(which didn’t receive its nationwide theatrical release until 1966). It’s a little amateurish, eye-rollingly hokey, and yet irresistibly endearing in its aw-shucks wholesome sincerity. It’s those qualities that have allowed the film to improbably endure as the most influential adventure sports documentary ever made, and warrant another \u003ca href=\"http://www.montereymedia.com/theatrical/contracts/endlesssummer/contracts/endlesssummer_locations.php\" target=\"_blank\" rel=\"noopener\">limited theatrical run\u003c/a> in a few dozen theaters nationwide to celebrate a half-century since it first screened.\u003c/p>\n\u003cfigure id=\"attachment_10139529\" class=\"wp-caption alignright\" style=\"max-width: 710px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/endless-1-e1d352d361c49d67b75e8f9b9f6ec74f64dec946.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/endless-1-e1d352d361c49d67b75e8f9b9f6ec74f64dec946.jpg\" alt=\"After the film's success,<em> </em>director Bruce Brown (pictured above during filming) directed four additional documentaries, including a sequel<em> </em>-- <em>The</em> <em>Endless Summer II</em>.\" width=\"710\" height=\"532\" class=\"size-full wp-image-10139529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/endless-1-e1d352d361c49d67b75e8f9b9f6ec74f64dec946.jpg 710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/endless-1-e1d352d361c49d67b75e8f9b9f6ec74f64dec946-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/endless-1-e1d352d361c49d67b75e8f9b9f6ec74f64dec946-300x224.jpg 300w\" sizes=\"(max-width: 710px) 100vw, 710px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">After the film’s success,\u003cem> \u003c/em>director Bruce Brown (pictured above during filming) directed four additional documentaries, including a sequel\u003cem> \u003c/em>— \u003cem>The\u003c/em> \u003cem>Endless Summer II\u003c/em>. \u003ccite>(Monterey Media Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Documentaries about sports like surfing, skiing, snow and skateboarding, or mountain climbing are a niche market, often screened only at specialized film festivals before living out their existences being played in the background at ski lodges or in the homes of enthusiasts. \u003cem>Endless Summer\u003c/em> didn’t invent the genre, but it was unique in its huge crossover appeal, sparking popular interest in surf culture that has endured at the movies ever since, whether in direct descendants like the 2003 documentary \u003cem>Step into Liquid\u003c/em> (directed by Brown’s son, Dana), or Keanu Reeves’ undercover surfing “EFF…BEE…EYE…Agent!” in 1991’s \u003cem>Point Break\u003c/em>.\u003c/p>\n\u003cp>Many of the surfing movies that rode \u003cem>Endless Summer\u003c/em>‘s wake presented surfing as the apotheosis of living-on-the-edge cool, with ripped dudes and lean ladies speaking a language all their own while devoting their days to the romantic pursuit of the perfect wave. (Spoiler alert: Brown & Co. found it while filming the movie in 1963, and it’s in South Africa.) But \u003cem>Endless Summer\u003c/em> has none of that.\u003c/p>\n\u003cp>Its primary subjects, Mike Hynson and Robert August — the two world-class surfers Brown takes on a trip around the world trying to follow summer all year round — are as clean-cut and full of all-American innocence as Wally and the Beaver. They’re about as dangerous as Cub Scouts. In one sequence, they’re so nervous and clumsy around a bikini-clad surfer in Australia that they can barely keep upright on their boards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The image of laconic stoner cool surrounding surf culture — as inescapable as the cloud of smoke inside Jeff Spicoli’s van — is nowhere to be found in the film either. Mike and Robert are unreserved enthusiasts, though we never get to hear them speak. Brown only had cash enough for reels and reels of 16mm film and for travel, room and board for the minimal production. Sound recording was an unnecessary luxury for a film that was all about the visual wonder of people doing their best real-world approximation of walking on water.\u003c/p>\n\u003cp>To make up for the lack of location audio, Brown fills the film with two sounds. The first is the wall-to-wall music, mostly prototypical sunny surf rock from a band called The Sandals, along with a smattering of jazz, brassy fanfares (usually for the more dangerous beaches), and some local African music during the portions on that continent. The second is Brown himself, delivering a nonstop narration that veers from the stiff tone of ’60s educational reels to filling in the dialogue we can’t hear being said onscreen, to corny jokes that only a dad could be proud of.\u003c/p>\n\u003cp>If there’s anything hopelessly dated about the film, it’s that narration. At best, Brown imparts a solid background on surfing terms and techniques. More cringe-worthy are his references to a flotation device worn by one young boy as a growth on his back, or the exaggerated winking behind calling a bikini top a “chest protector.” Worst of all is the mortifying treatment of the locals in Senegal and Ghana, which includes an unironic and gleeful fascination with their perceived primitivism, and lines like, “Being good Africans, they threw a few rocks.”\u003c/p>\n\u003cfigure id=\"attachment_10139530\" class=\"wp-caption alignright\" style=\"max-width: 769px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/endless-5-71dda1600b8aed1ee3d7e447756e7d6416fee339.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/endless-5-71dda1600b8aed1ee3d7e447756e7d6416fee339.jpg\" alt=\"Robert August hits some waves off the coast of South Africa in <em>The Endless Summer </em>(1966). The film went on to inspire surfing communities all over the world.\" width=\"769\" height=\"577\" class=\"size-full wp-image-10139530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/endless-5-71dda1600b8aed1ee3d7e447756e7d6416fee339.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/endless-5-71dda1600b8aed1ee3d7e447756e7d6416fee339-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/endless-5-71dda1600b8aed1ee3d7e447756e7d6416fee339-300x225.jpg 300w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert August hits some waves off the coast of South Africa in \u003cem>The Endless Summer \u003c/em>(1966). The film went on to inspire surfing communities all over the world. \u003ccite>(Monterey Media Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown is so affable that it’s tempting to endure such offenses the way one does with a sweet older relative with an unfortunate tendency to spout off occasional casual bursts of racism. You mumble something uncomfortably to the friend you brought home with you for Christmas about how she grew up in a different time, and then shift the conversation as quickly as possible to how good her snickerdoodles are. The moment is still an uncomfortable one.\u003c/p>\n\u003cp>The cookies here would be all the fantastic footage of Mike and Robert catching waves at beaches from Hawaii to Africa to Australia, to Tahiti, to California. While it might not be as crisp or close-up as more modern efforts, Brown has an eye for making beach-bound shots of the surfers mesmerizing, and is especially adept at employing magic-hour lighting to enhance the romance of his wandering, globe-hopping project.\u003c/p>\n\u003cp>\u003cem>Endless Summer\u003c/em> serves as an effective template for adventure sports docs for decades to follow by effectively rendering his soundtrack irrelevant. As with a great silent film, one gets the picture just by watching the pictures, and the film is as good with the sound off as it is with it on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s the key to its endurance; it’s part surfing film, part travelogue, occasionally even anthropological study and wildlife film, but ultimately it visually taps into the wanderlust that sends us to far-flung beaches in search of an escape from life that we can’t find at home. We don’t have to be surfing experts who can appreciate Mike and Robert’s technique, or know which new part of the globe they’re wave-hunting in. But when they balance on a board on a perfectly curling wave, they’re a portrait of the balance and serenity we all seek from the ideal summer vacation. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Revisiting+An+%27Endless+Summer%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "a-hard-days-night-a-pop-artifact-that-still-crackles-with-energy",
"title": "'A Hard Day's Night': A Pop Artifact that still Crackles with Energy",
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"headTitle": "‘A Hard Day’s Night’: A Pop Artifact that still Crackles with Energy | KQED",
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"content": "\u003cp>Back in 1964, movie audiences were treated to three hit musicals. Two of them — \u003cem>Mary Poppins\u003c/em> and \u003cem>My Fair Lady — \u003c/em>won scads of Oscars. But it was the third that announced the future, and it did so from its \u003ca href=\"https://www.youtube.com/watch?v=OHas50cupCA\" target=\"_blank\" rel=\"noopener\">opening chord\u003c/a>.\u003c/p>\n\u003cp>What followed from that chord was what we call The Sixties.\u003c/p>\n\u003cp>To celebrate the 50th anniversary of \u003cem>A Hard Day’s Night\u003c/em>, there’s a spectacular new restoration that you can now see in theaters in its Janus Films release or buy on DVD and Blu-ray from the Criterion Collection. The black-and-white photography is so gorgeous, you’ll swoon.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OHas50cupCA\u003c/p>\n\u003cp>The movie is not half bad either. It was directed by Richard Lester, a filmmaker as underrated as he was influential. Lester took what was designed to be a promo film for the Beatles and — along with screenwriter Alun Owen — crammed it with ideas from the French New Wave and his own slapstick short, \u003cem>The Running Jumping and Standing Still Film\u003c/em>, which is on the DVD. The result is a pop artifact that still crackles with freshness and energy. In Lester’s verite, hyperkinetic approach to the musical sequences — and, boy, are the songs good — you’ll find the template for a million later music videos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie’s title came from a malapropism by Ringo Starr that, in its paradoxical poetry, felt as inevitable as a folk saying. It fit perfectly a film that purported to capture a typical day in the life of the Beatles, who spend 87 minutes singing, clowning, hanging around a TV station, and, crucially, fleeing hysterical fans. You see, this isn’t just a movie about rock stars but about rock stars playing themselves in a movie that’s riffing on rock stardom.\u003c/p>\n\u003cp>Of course, even as the Beatlemaniacs sob and shriek, one of the movie’s conceits is that people over 30 don’t get it. On a train ride, the four are joined in a car by a stuffy, blimpish, mustachioed businessman who closes the window they’ve just opened and, when they turn on the radio, clicks it off.\u003c/p>\n\u003cfigure id=\"attachment_10139456\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/cta1113_original_custom-aa135c04ff8deef32599a1a57286e2f1a923fe3c.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/cta1113_original_custom-aa135c04ff8deef32599a1a57286e2f1a923fe3c-972x1440.jpg\" alt=\"Criterion Collection is selling the movie on DVD and Blu-ray.\" width=\"640\" height=\"948\" class=\"size-large wp-image-10139456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cta1113_original_custom-aa135c04ff8deef32599a1a57286e2f1a923fe3c-972x1440.jpg 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cta1113_original_custom-aa135c04ff8deef32599a1a57286e2f1a923fe3c-400x592.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cta1113_original_custom-aa135c04ff8deef32599a1a57286e2f1a923fe3c-202x300.jpg 202w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cta1113_original_custom-aa135c04ff8deef32599a1a57286e2f1a923fe3c.jpg 1013w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Criterion Collection is selling the movie on DVD and Blu-ray. \u003ccite>(Courtesy of Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching \u003cem>A Hard Day’s Night\u003c/em> today, our perceptions are shot through with historical awareness. The Beatles now seem astonishingly innocent in their neat suits and ties, and it’s hard not to laugh at how the older characters harrumph at their long hair and cheekiness, for the boys are lovable mop tops — well-scrubbed, unprofane, decidedly nonthreatening. They’re so spiffy that in these days of hip-hop and piercings, parents might be delighted to have such nice young men for their sons. Yet the harrumphers \u003cem>weren’t\u003c/em> wrong. As that businessman on the train grasped, the Beatles and their followers were taking over the cultural train.\u003c/p>\n\u003cp>\u003cem>A Hard Day’s Night\u003c/em> brims with Marx Brothers’ irreverence, if not anarchy, and like the brothers, each Beatle has a clear persona. John’s the barbed, ironical one who carries himself like a pop genius. Paul’s the handsome nice guy you wouldn’t guess was a pop genius. George is the dark horse, the quiet young one with secrets. And Ringo — the most popular back then — was the gentle, sad-eyed one. In hindsight, such personas almost predict their destinies. Even as Ringo is still having a laid-back good time into his 70s, Paul now revels in his living landmark status — he’s now photographed hanging out with Warren Buffett. With his hit records, mysticism and humanitarian work, George would become the triumphant dark horse before dying, at 58, from cancer. As for John, if any of the Beatles was fated to be murdered, it was always him — \u003cem>he\u003c/em> was the lightning rod.\u003c/p>\n\u003cp>But all this would come later. A few months before \u003cem>A Hard Day’s Night \u003c/em>opened, the Beatles had landed in an America shattered by the Kennedy assassination not even three months earlier, an America yearning for something alive and optimistic. The band was the ideal antidote to such grief, for the Beatles themselves had risen from an even longer, deeper darkness, the shabby funk of a postwar, post-imperial Britain with a calcified establishment, a frustrated working class, and little future to offer the young.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the unmistakable alchemy of their sound — and in their authentic laughter as they run from shrieking fans during the film’s opening credits — the Beatles embodied the hope and vitality the world was looking for then and still loves to this day. Like Louis Armstrong, they created music that, even when sad, is bursting with joy. All those hard days and nights paid off, for more than any band I can think of, they captured the yeah-yeah-yeah of happiness. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27A+Hard+Day%27s+Night%27%3A+A+Pop+Artifact+That+Still+Crackles+With+Energy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in 1964, movie audiences were treated to three hit musicals. Two of them — \u003cem>Mary Poppins\u003c/em> and \u003cem>My Fair Lady — \u003c/em>won scads of Oscars. But it was the third that announced the future, and it did so from its \u003ca href=\"https://www.youtube.com/watch?v=OHas50cupCA\" target=\"_blank\" rel=\"noopener\">opening chord\u003c/a>.\u003c/p>\n\u003cp>What followed from that chord was what we call The Sixties.\u003c/p>\n\u003cp>To celebrate the 50th anniversary of \u003cem>A Hard Day’s Night\u003c/em>, there’s a spectacular new restoration that you can now see in theaters in its Janus Films release or buy on DVD and Blu-ray from the Criterion Collection. The black-and-white photography is so gorgeous, you’ll swoon.\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/OHas50cupCA'\n title='//www.youtube.com/embed/OHas50cupCA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie is not half bad either. It was directed by Richard Lester, a filmmaker as underrated as he was influential. Lester took what was designed to be a promo film for the Beatles and — along with screenwriter Alun Owen — crammed it with ideas from the French New Wave and his own slapstick short, \u003cem>The Running Jumping and Standing Still Film\u003c/em>, which is on the DVD. The result is a pop artifact that still crackles with freshness and energy. In Lester’s verite, hyperkinetic approach to the musical sequences — and, boy, are the songs good — you’ll find the template for a million later music videos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie’s title came from a malapropism by Ringo Starr that, in its paradoxical poetry, felt as inevitable as a folk saying. It fit perfectly a film that purported to capture a typical day in the life of the Beatles, who spend 87 minutes singing, clowning, hanging around a TV station, and, crucially, fleeing hysterical fans. You see, this isn’t just a movie about rock stars but about rock stars playing themselves in a movie that’s riffing on rock stardom.\u003c/p>\n\u003cp>Of course, even as the Beatlemaniacs sob and shriek, one of the movie’s conceits is that people over 30 don’t get it. On a train ride, the four are joined in a car by a stuffy, blimpish, mustachioed businessman who closes the window they’ve just opened and, when they turn on the radio, clicks it off.\u003c/p>\n\u003cfigure id=\"attachment_10139456\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/cta1113_original_custom-aa135c04ff8deef32599a1a57286e2f1a923fe3c.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/cta1113_original_custom-aa135c04ff8deef32599a1a57286e2f1a923fe3c-972x1440.jpg\" alt=\"Criterion Collection is selling the movie on DVD and Blu-ray.\" width=\"640\" height=\"948\" class=\"size-large wp-image-10139456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cta1113_original_custom-aa135c04ff8deef32599a1a57286e2f1a923fe3c-972x1440.jpg 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cta1113_original_custom-aa135c04ff8deef32599a1a57286e2f1a923fe3c-400x592.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cta1113_original_custom-aa135c04ff8deef32599a1a57286e2f1a923fe3c-202x300.jpg 202w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cta1113_original_custom-aa135c04ff8deef32599a1a57286e2f1a923fe3c.jpg 1013w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Criterion Collection is selling the movie on DVD and Blu-ray. \u003ccite>(Courtesy of Criterion Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching \u003cem>A Hard Day’s Night\u003c/em> today, our perceptions are shot through with historical awareness. The Beatles now seem astonishingly innocent in their neat suits and ties, and it’s hard not to laugh at how the older characters harrumph at their long hair and cheekiness, for the boys are lovable mop tops — well-scrubbed, unprofane, decidedly nonthreatening. They’re so spiffy that in these days of hip-hop and piercings, parents might be delighted to have such nice young men for their sons. Yet the harrumphers \u003cem>weren’t\u003c/em> wrong. As that businessman on the train grasped, the Beatles and their followers were taking over the cultural train.\u003c/p>\n\u003cp>\u003cem>A Hard Day’s Night\u003c/em> brims with Marx Brothers’ irreverence, if not anarchy, and like the brothers, each Beatle has a clear persona. John’s the barbed, ironical one who carries himself like a pop genius. Paul’s the handsome nice guy you wouldn’t guess was a pop genius. George is the dark horse, the quiet young one with secrets. And Ringo — the most popular back then — was the gentle, sad-eyed one. In hindsight, such personas almost predict their destinies. Even as Ringo is still having a laid-back good time into his 70s, Paul now revels in his living landmark status — he’s now photographed hanging out with Warren Buffett. With his hit records, mysticism and humanitarian work, George would become the triumphant dark horse before dying, at 58, from cancer. As for John, if any of the Beatles was fated to be murdered, it was always him — \u003cem>he\u003c/em> was the lightning rod.\u003c/p>\n\u003cp>But all this would come later. A few months before \u003cem>A Hard Day’s Night \u003c/em>opened, the Beatles had landed in an America shattered by the Kennedy assassination not even three months earlier, an America yearning for something alive and optimistic. The band was the ideal antidote to such grief, for the Beatles themselves had risen from an even longer, deeper darkness, the shabby funk of a postwar, post-imperial Britain with a calcified establishment, a frustrated working class, and little future to offer the young.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the unmistakable alchemy of their sound — and in their authentic laughter as they run from shrieking fans during the film’s opening credits — the Beatles embodied the hope and vitality the world was looking for then and still loves to this day. Like Louis Armstrong, they created music that, even when sad, is bursting with joy. All those hard days and nights paid off, for more than any band I can think of, they captured the yeah-yeah-yeah of happiness. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27A+Hard+Day%27s+Night%27%3A+A+Pop+Artifact+That+Still+Crackles+With+Energy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Viking's Choice: Sleep, 'The Clarity'",
"headTitle": "Viking’s Choice: Sleep, ‘The Clarity’ | KQED",
"content": "\u003cfigure id=\"attachment_10139305\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/sleep-single.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/sleep-single.jpg\" alt=\"Artwork for Sleep's "The Clarity," the band's first new material in 20 years.\" width=\"500\" height=\"500\" class=\"size-full wp-image-10139305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork for Sleep’s “The Clarity,” the band’s first new material in 20 years. \u003ccite>(Courtesy of Adult Swim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been 20 years since the stoner-metal caravan \u003ca href=\"http://www.npr.org/artists/92754110/sleep\" target=\"_blank\" rel=\"noopener\">Sleep\u003c/a> wrote \u003cem>Dopesmoker\u003c/em>, a 63-minute track based on a single riff and dedicated to the mighty spliff. Unfortunately, it took \u003ca href=\"http://en.wikipedia.org/wiki/Jerusalem_and_Dopesmoker\" target=\"_blank\" rel=\"noopener\">three labels and a span of 16 years\u003c/a> to release it \u003ca href=\"http://sleepsl.bandcamp.com/album/dopesmoker\" target=\"_blank\" rel=\"noopener\">as intended\u003c/a>. So let’s just follow the smoke and meditate on this premiere of “The Clarity,” part of \u003ca href=\"http://video.adultswim.com/music/singles-2014/\" target=\"_blank\" rel=\"noopener\">Adult Swim’s singles series\u003c/a>, which has already featured new music from the likes of \u003ca href=\"http://www.npr.org/artists/181645899/speedy-ortiz\" target=\"_blank\" rel=\"noopener\">Speedy Ortiz\u003c/a> and \u003ca href=\"http://www.npr.org/artists/142896815/tim-hecker\" target=\"_blank\" rel=\"noopener\">Tim Hecker\u003c/a>, with Run the Jewels, \u003ca href=\"http://www.npr.org/artists/142890332/deafheaven\" target=\"_blank\" rel=\"noopener\">Deafheaven\u003c/a> and more in the pipeline. It will be available as a free download on July 21.\u003c/p>\n\u003cp>“The Clarity” doesn’t miss a step. It captures Sleep at its heaviest and weediest, and despite the puff of smoke that pervades these 10 minutes, it’s the band’s cleanest-sounding recording. Bassist Al Cisneros’ vocals are way out front as he intones, “Life complete / The dealer is my refuge.” Matt Pike’s guitar has somehow taken on an even headier tone, with a riff that burrows into your chest and opens your consciousness.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/155247790″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Since its reunion at ATP London in 2009, Sleep has been active on the live circuit here and there, with \u003ca href=\"http://www.npr.org/artists/161494305/neurosis\" target=\"_blank\" rel=\"noopener\">Neurosis\u003c/a>‘ Jason Roeder taking over the drums. But now Sleep is a full-on band again, and its members say that “The Clarity” has inspired a new full-length album. That said, as the band emails in a brief interview exchange (“answers are from Sleep,” it writes), “It would be impossible to describe any new material from Sleep that does not yet exist.”\u003c/p>\n\u003cp>\u003cstrong>Reunion shows aren’t uncommon these days, often welcome to those of us who missed an artist the first time around. New recordings are a different story. After the \u003ca href=\"https://www.youtube.com/watch?v=OIyj--J43R0\" target=\"_blank\" rel=\"noopener\">legal nightmare\u003c/a> that was \u003cem>Dopesmoker\u003c/em>, did you ever think Sleep would record again?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>What inspired and encouraged “The Clarity,” nearly 20 years after \u003cem>Dopesmoker\u003c/em> was originally written? Were you approached by Adult Swim first, or was the song gestating before?\u003c/strong>\u003c/p>\n\u003cp>Sleep has been sporadically writing riffs for a while now. When Adult Swim approached Sleep about a single, Sleep set aside those riffs and wrote the single in a couple days. “The Clarity” is an exercise in musical stream of thought, as all proper music should be.\u003c/p>\n\u003cp>\u003cstrong>I hear there’s a new album in the works. When do you think that will come out and where? With the experience of post-Sleep bands (High on Fire, Om, Shrinebuilder) and Jason Roeder (Neurosis), what does a new Sleep album sound like?\u003c/strong>\u003c/p>\n\u003cp>It would be impossible to describe any new material from Sleep that does not yet exist. There is no preconceived idea of what the new material should be. It would be an amalgamated effort of decades of riff immersion.\u003c/p>\n\u003cp>\u003cstrong>I couldn’t help but notice the \u003ca href=\"http://rock.genius.com/Sleep-dopesmoker-lyrics#note-2703922\" target=\"_blank\" rel=\"noopener\">Sinsemillian reference\u003c/a> in this new song. Is “The Clarity” a lyrical follow-up to \u003cem>Dopesmoker\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The Clarity” is a lyrical follow-up to a lifetime of marijuana enjoyment. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Viking%27s+Choice%3A+Sleep%2C+%27The+Clarity%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10139305\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/sleep-single.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/sleep-single.jpg\" alt=\"Artwork for Sleep's "The Clarity," the band's first new material in 20 years.\" width=\"500\" height=\"500\" class=\"size-full wp-image-10139305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sleep-single-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork for Sleep’s “The Clarity,” the band’s first new material in 20 years. \u003ccite>(Courtesy of Adult Swim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been 20 years since the stoner-metal caravan \u003ca href=\"http://www.npr.org/artists/92754110/sleep\" target=\"_blank\" rel=\"noopener\">Sleep\u003c/a> wrote \u003cem>Dopesmoker\u003c/em>, a 63-minute track based on a single riff and dedicated to the mighty spliff. Unfortunately, it took \u003ca href=\"http://en.wikipedia.org/wiki/Jerusalem_and_Dopesmoker\" target=\"_blank\" rel=\"noopener\">three labels and a span of 16 years\u003c/a> to release it \u003ca href=\"http://sleepsl.bandcamp.com/album/dopesmoker\" target=\"_blank\" rel=\"noopener\">as intended\u003c/a>. So let’s just follow the smoke and meditate on this premiere of “The Clarity,” part of \u003ca href=\"http://video.adultswim.com/music/singles-2014/\" target=\"_blank\" rel=\"noopener\">Adult Swim’s singles series\u003c/a>, which has already featured new music from the likes of \u003ca href=\"http://www.npr.org/artists/181645899/speedy-ortiz\" target=\"_blank\" rel=\"noopener\">Speedy Ortiz\u003c/a> and \u003ca href=\"http://www.npr.org/artists/142896815/tim-hecker\" target=\"_blank\" rel=\"noopener\">Tim Hecker\u003c/a>, with Run the Jewels, \u003ca href=\"http://www.npr.org/artists/142890332/deafheaven\" target=\"_blank\" rel=\"noopener\">Deafheaven\u003c/a> and more in the pipeline. It will be available as a free download on July 21.\u003c/p>\n\u003cp>“The Clarity” doesn’t miss a step. It captures Sleep at its heaviest and weediest, and despite the puff of smoke that pervades these 10 minutes, it’s the band’s cleanest-sounding recording. Bassist Al Cisneros’ vocals are way out front as he intones, “Life complete / The dealer is my refuge.” Matt Pike’s guitar has somehow taken on an even headier tone, with a riff that burrows into your chest and opens your consciousness.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/155247790″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/155247790″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Since its reunion at ATP London in 2009, Sleep has been active on the live circuit here and there, with \u003ca href=\"http://www.npr.org/artists/161494305/neurosis\" target=\"_blank\" rel=\"noopener\">Neurosis\u003c/a>‘ Jason Roeder taking over the drums. But now Sleep is a full-on band again, and its members say that “The Clarity” has inspired a new full-length album. That said, as the band emails in a brief interview exchange (“answers are from Sleep,” it writes), “It would be impossible to describe any new material from Sleep that does not yet exist.”\u003c/p>\n\u003cp>\u003cstrong>Reunion shows aren’t uncommon these days, often welcome to those of us who missed an artist the first time around. New recordings are a different story. After the \u003ca href=\"https://www.youtube.com/watch?v=OIyj--J43R0\" target=\"_blank\" rel=\"noopener\">legal nightmare\u003c/a> that was \u003cem>Dopesmoker\u003c/em>, did you ever think Sleep would record again?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>What inspired and encouraged “The Clarity,” nearly 20 years after \u003cem>Dopesmoker\u003c/em> was originally written? Were you approached by Adult Swim first, or was the song gestating before?\u003c/strong>\u003c/p>\n\u003cp>Sleep has been sporadically writing riffs for a while now. When Adult Swim approached Sleep about a single, Sleep set aside those riffs and wrote the single in a couple days. “The Clarity” is an exercise in musical stream of thought, as all proper music should be.\u003c/p>\n\u003cp>\u003cstrong>I hear there’s a new album in the works. When do you think that will come out and where? With the experience of post-Sleep bands (High on Fire, Om, Shrinebuilder) and Jason Roeder (Neurosis), what does a new Sleep album sound like?\u003c/strong>\u003c/p>\n\u003cp>It would be impossible to describe any new material from Sleep that does not yet exist. There is no preconceived idea of what the new material should be. It would be an amalgamated effort of decades of riff immersion.\u003c/p>\n\u003cp>\u003cstrong>I couldn’t help but notice the \u003ca href=\"http://rock.genius.com/Sleep-dopesmoker-lyrics#note-2703922\" target=\"_blank\" rel=\"noopener\">Sinsemillian reference\u003c/a> in this new song. Is “The Clarity” a lyrical follow-up to \u003cem>Dopesmoker\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The Clarity” is a lyrical follow-up to a lifetime of marijuana enjoyment. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Viking%27s+Choice%3A+Sleep%2C+%27The+Clarity%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Elaine Stritch — one of Broadway’s boldest and brassiest performers — has died. With that gravelly voice — and those long legs — and that utter command of the stage, Stritch was a bona fide Broadway star. Not as a classic leading lady, necessarily, but as the hardened-yet-vulnerable performer audiences couldn’t forget. Stritch died of natural causes Thursday morning at her home in Birmingham, Mich. She was 89.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.npr.org/2014/03/01/280715944/elaine-stritch-volatile-and-vulnerable-in-shoot-me\" target=\"_blank\" rel=\"noopener\">an interview with Stritch\u003c/a> in March 2014, NPR’s Scott Simon observed that the stage and screen legend “may be her own greatest character.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Stritch’s interview on \u003ci>Weekend Edition\u003c/i> back in March: \u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/wesat/2014/03/20140301_wesat_elaine_stritch_volatile_and_vulnerable_in_shoot_me.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cfigure id=\"attachment_10139241\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap5501010929_custom-d76a7bd75fab7a20dfd3ae2232640f94bd8d36fd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap5501010929_custom-d76a7bd75fab7a20dfd3ae2232640f94bd8d36fd.jpg\" alt=\"Stritch first appeared on Broadway in 1944 -- and was still performing occasionally even at age 89. She is pictured above in 1955\" width=\"200\" height=\"255\" class=\"size-full wp-image-10139241\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stritch first appeared on Broadway in 1944 — and was still performing occasionally even at age 89. She is pictured above in 1955\u003c/figcaption>\u003c/figure>\n\u003cp>In a career that stretched back to the 1940s, Stritch did it all: theater, TV, movies. She was nominated for several Tony Awards and won three Emmys. She starred in the 1961 Noel Coward musical \u003cem>Sail Away\u003c/em>\u003cem> \u003c/em>and the 1970 Stephen Sondheim musical \u003cem>Company.\u003c/em> (With her performance of \u003ca href=\"http://youtu.be/virv-1o2KjE?t=7s\" target=\"_blank\" rel=\"noopener\">“Ladies Who Lunch,”\u003c/a> Sondheim said Stritch turned what he thought was “just a simple saloon song” into a “piece of theater.”\u003c/p>\n\u003cp>Stritch was born in Detroit, where her father was a rubber company executive. She was raised Roman Catholic and when she first moved to New York City, she went to a finishing school at the Convent of the Sacred Heart. Years later, Broadway producer Hal Prince said Stritch had “the guts of a jailbird” but “the convent girl is still there.”\u003c/p>\n\u003cp>It’s been said that Stritch could always play older than she really was. She was 20 when she sang Zip in \u003cem>Pal Joey\u003c/em> but Stritch herself said she looked 40. She had a terrific sense of humor about her looks — and her age. In 1988, Stritch told NPR’s Susan Stamberg that she didn’t mind the word “aging” at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It applies to everyone,” she said. “I saw a kid 16 on the street and he was aging. We’re all aging but somehow the press loves to say it when you’re over 40.”\u003c/p>\n\u003cfigure id=\"attachment_10139242\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap541122042_enl-ead9878c3997a67b93b92eeb8596a008803656d7-e1405642663572.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap541122042_enl-ead9878c3997a67b93b92eeb8596a008803656d7-1153x1440.jpg\" alt=\"Stritch blows up balloons as a voice training exercise in November 1954.\" width=\"640\" height=\"799\" class=\"size-large wp-image-10139242\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stritch blows up balloons as a voice training exercise in November 1954.\u003c/figcaption>\u003c/figure>\n\u003cp>Stritch was candid about everything — her age, her alcoholism, her diabetes. In her book \u003cem>Am I Blue?: Living with Diabetes and, Dammit, Having Fun!,\u003c/em> she wrote about being diagnosed with the disease at the peak of her career.\u003c/p>\n\u003cp>“More than with any other condition I know of,” she wrote, “the diabetic simply has to understand the nature of the illness and become intimately involved in treating it.” But with her trademark wit she also said: “Diabetes is great because I can say ‘My blood sugar is off. I have to go.'”\u003c/p>\n\u003cp>In 2002, when she was in her late 70s, she launched a Tony Award-winning, one-woman show called \u003cem>Elaine Stritch at the Liberty. \u003c/em>She continued performing well into her 80s. In 2008 Stritch won an Emmy — her third — for her role as character Jack Donaghy’s mother on NBC’s \u003cem>30 Rock\u003c/em>.\u003c/p>\n\u003cp>Stritch once said, “I just pray that I can be at least amusing.” \u003c/p>\n\u003cp>And was she ever. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s own \u003ca href=\"http://ww2.kqed.org/arts/author/marktaylor-2/\" target=\"_blank\" rel=\"noopener\">Mark Taylor\u003c/a> first wrote about Stritch’s passing this morning. \u003ca href=\"http://ww2.kqed.org/arts/2014/07/17/heres-to-the-ladies-who-lunch-elaine-stritch-dead-at-89/\" target=\"_blank\" rel=\"noopener\"> Read his article\u003c/a> for more video and anecdotes.\u003c/i>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Actress+Elaine+Stritch%2C+%27Her+Own+Greatest+Character%2C%27+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elaine Stritch — one of Broadway’s boldest and brassiest performers — has died. With that gravelly voice — and those long legs — and that utter command of the stage, Stritch was a bona fide Broadway star. Not as a classic leading lady, necessarily, but as the hardened-yet-vulnerable performer audiences couldn’t forget. Stritch died of natural causes Thursday morning at her home in Birmingham, Mich. She was 89.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.npr.org/2014/03/01/280715944/elaine-stritch-volatile-and-vulnerable-in-shoot-me\" target=\"_blank\" rel=\"noopener\">an interview with Stritch\u003c/a> in March 2014, NPR’s Scott Simon observed that the stage and screen legend “may be her own greatest character.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Stritch’s interview on \u003ci>Weekend Edition\u003c/i> back in March: \u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/wesat/2014/03/20140301_wesat_elaine_stritch_volatile_and_vulnerable_in_shoot_me.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cfigure id=\"attachment_10139241\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap5501010929_custom-d76a7bd75fab7a20dfd3ae2232640f94bd8d36fd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap5501010929_custom-d76a7bd75fab7a20dfd3ae2232640f94bd8d36fd.jpg\" alt=\"Stritch first appeared on Broadway in 1944 -- and was still performing occasionally even at age 89. She is pictured above in 1955\" width=\"200\" height=\"255\" class=\"size-full wp-image-10139241\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stritch first appeared on Broadway in 1944 — and was still performing occasionally even at age 89. She is pictured above in 1955\u003c/figcaption>\u003c/figure>\n\u003cp>In a career that stretched back to the 1940s, Stritch did it all: theater, TV, movies. She was nominated for several Tony Awards and won three Emmys. She starred in the 1961 Noel Coward musical \u003cem>Sail Away\u003c/em>\u003cem> \u003c/em>and the 1970 Stephen Sondheim musical \u003cem>Company.\u003c/em> (With her performance of \u003ca href=\"http://youtu.be/virv-1o2KjE?t=7s\" target=\"_blank\" rel=\"noopener\">“Ladies Who Lunch,”\u003c/a> Sondheim said Stritch turned what he thought was “just a simple saloon song” into a “piece of theater.”\u003c/p>\n\u003cp>Stritch was born in Detroit, where her father was a rubber company executive. She was raised Roman Catholic and when she first moved to New York City, she went to a finishing school at the Convent of the Sacred Heart. Years later, Broadway producer Hal Prince said Stritch had “the guts of a jailbird” but “the convent girl is still there.”\u003c/p>\n\u003cp>It’s been said that Stritch could always play older than she really was. She was 20 when she sang Zip in \u003cem>Pal Joey\u003c/em> but Stritch herself said she looked 40. She had a terrific sense of humor about her looks — and her age. In 1988, Stritch told NPR’s Susan Stamberg that she didn’t mind the word “aging” at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It applies to everyone,” she said. “I saw a kid 16 on the street and he was aging. We’re all aging but somehow the press loves to say it when you’re over 40.”\u003c/p>\n\u003cfigure id=\"attachment_10139242\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap541122042_enl-ead9878c3997a67b93b92eeb8596a008803656d7-e1405642663572.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap541122042_enl-ead9878c3997a67b93b92eeb8596a008803656d7-1153x1440.jpg\" alt=\"Stritch blows up balloons as a voice training exercise in November 1954.\" width=\"640\" height=\"799\" class=\"size-large wp-image-10139242\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stritch blows up balloons as a voice training exercise in November 1954.\u003c/figcaption>\u003c/figure>\n\u003cp>Stritch was candid about everything — her age, her alcoholism, her diabetes. In her book \u003cem>Am I Blue?: Living with Diabetes and, Dammit, Having Fun!,\u003c/em> she wrote about being diagnosed with the disease at the peak of her career.\u003c/p>\n\u003cp>“More than with any other condition I know of,” she wrote, “the diabetic simply has to understand the nature of the illness and become intimately involved in treating it.” But with her trademark wit she also said: “Diabetes is great because I can say ‘My blood sugar is off. I have to go.'”\u003c/p>\n\u003cp>In 2002, when she was in her late 70s, she launched a Tony Award-winning, one-woman show called \u003cem>Elaine Stritch at the Liberty. \u003c/em>She continued performing well into her 80s. In 2008 Stritch won an Emmy — her third — for her role as character Jack Donaghy’s mother on NBC’s \u003cem>30 Rock\u003c/em>.\u003c/p>\n\u003cp>Stritch once said, “I just pray that I can be at least amusing.” \u003c/p>\n\u003cp>And was she ever. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s own \u003ca href=\"http://ww2.kqed.org/arts/author/marktaylor-2/\" target=\"_blank\" rel=\"noopener\">Mark Taylor\u003c/a> first wrote about Stritch’s passing this morning. \u003ca href=\"http://ww2.kqed.org/arts/2014/07/17/heres-to-the-ladies-who-lunch-elaine-stritch-dead-at-89/\" target=\"_blank\" rel=\"noopener\"> Read his article\u003c/a> for more video and anecdotes.\u003c/i>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Actress+Elaine+Stritch%2C+%27Her+Own+Greatest+Character%2C%27+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Weird Al' Yankovic on Parody in the Age of YouTube",
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"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\" target=\"_blank\" rel=\"noopener\">“Weird Al” Yankovic\u003c/a> has been the king of parody for 30 years, outlasting and, in some cases, outselling the artists he’s sent up. He also mastered the genre pastiche — original songs that nail a famous artist’s style — long before Jimmy Fallon made the practice a viral phenomenon.\u003c/p>\n\u003cp>Yankovic is about to release his fourteenth album,\u003cem> \u003c/em>\u003cem>Mandatory Fun\u003c/em>, and he’s taking that title seriously: Starting Monday, he will release eight new music videos in eight days. He spoke with NPR’s Tamara Keith about testing song ideas on his teenaged daughter, how YouTube has forced him to focus his craft, and why \u003cem>Mandatory Fun\u003c/em> is likely his last proper album. Hear the radio version at the audio link, and read more of their conversation below.\u003c/p>\n\u003cp>\u003cstrong>Tamara Keith: \u003cem>Mandatory Fun\u003c/em> is the name of your album. Is that how you’d describe your approach to life?\u003c/strong>\u003c/p>\n\u003cp>“\u003cstrong>Weird Al” Yankovic: \u003c/strong>That was just an oxymoron that I’ve always been amused by. It’s used a lot in corporate retreats and, I’m told, in the military. Also, this is the last album of a 32-year-long record contract, so some fans have theorized that that might have something to do with it as well, but I can’t really comment on that.\u003c/p>\n\u003cp>\u003cstrong>You’ve kept a pretty tight lock on this album, but one thing we know is coming is a song called “Word Crimes,” a parody of Robin Thicke’s “Blurred Lines.”\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s correct. When I do my parodies, because of YouTube, I’m never the first person to do a parody of a certain song. And all the obvious ideas seem to be taken already, so nowadays when I do a parody I try to think of an angle that might be a little bit different or left-of-center that somebody else hasn’t thought of already. And I don’t think anybody, to this point, had done a “Blurred Lines” parody about proper use of grammar.\u003c/p>\n\u003cp>\u003cstrong>The original song was pretty controversial, and so many of the parodies that I’ve found on YouTube play on the misogyny angle. Your parody doesn’t; in fact, it almost makes it wholesome. Are you a wholesome person by nature?\u003c/strong>\u003c/p>\n\u003cp>Well, I guess I kind of am. It’s sort of the way I was raised, and my art and my comedy and my music is sort of an extension of my personality. I didn’t set out to be a family-friendly recording artist but that’s sort of the way it happened, and it’s a wonderful thing. When I look out into my concert audience, it’s all generations out there. It’s sort of a family bonding experience.\u003c/p>\n\u003cp>\u003cstrong>Have you ever been slapped with one of those parental warnings?\u003c/strong>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>I haven’t ever gotten a parental warning sticker, although my song “\u003ca href=\"https://www.youtube.com/watch?v=hEcjgJSqSRU\" target=\"_blank\" rel=\"noopener\">The Saga Begins\u003c/a>” got censored by Radio Disney when it came out. There was a line about, ‘Did you see me hitting on the queen?’ That was apparently too risqué for Radio Disney, so I think it was changed to ‘talking to the queen,’ which is more acceptable.\u003c/p>\n\u003cp>\u003cstrong>There was a time the “Weird Al” parody was it. And now, \u003ca href=\"https://www.youtube.com/watch?v=-qTIGg3I5y8\" target=\"_blank\" rel=\"noopener\">Cookie Monster has done a version\u003c/a> of Carly Rae Jepsen’s “Call Me Maybe.” \u003c/strong>\u003c/p>\n\u003cp>Yeah, Cookie Monster is my No. 1 competition right now. Actually, I don’t view it as a competition at all. I think it’s wonderful that there’s a level playing field now. Anybody can upload their videos to YouTube and you don’t have to get the blessing of some record executive somewhere to get your stuff heard. If your stuff is good, chances are people will hear it.\u003c/p>\n\u003cp>I did have the field to myself pretty much throughout the 80s and 90s, and it’s more of a challenge now because I have to make sure my material rises above on its own merits. I can’t just say “Well, I’m the only person with a major label recording deal.” Now I have to compete with the thousands and thousands of people that are also putting out comedic songs and parodies.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>And MTV is sort of a different thing than it was. “Eat It” was an anthem of my childhood more than “Beat It” was; it was in such heavy rotation on MTV.\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZcJjMnHoIBI\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Well, MTV is a completely different animal now, obviously. Back when I was first starting out in the 80s, people watched it for hours on end, and they would memorize every tiny detail of every music video. When I came along and I just tweaked those little video moments, people understood and got the humor immediately. Nowadays, MTV is more of a reality show channel, and I’m not really focused on that, and they’re certainly not focused on me. So the internet is the new MTV, at least as far as I’m concerned.\u003c/p>\n\u003cp>\u003cstrong>You are going to be releasing eight music videos in eight days for this album. Why did you decide to do it this way?\u003c/strong>\u003c/p>\n\u003cp>I wanted to really do what is ostensibly my last album with a big splash. I wanted the first week to be big; I wanted every single day of release week to be an event. I wanted a video to go viral for an entire day and have people talking about that video, and then the next day they’re talking about a new video. I just thought that would be a really fun way to do it, to make a big deal out of release week.\u003c/p>\n\u003cp>\u003cstrong>Is this in any way an homage to \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s sort of unorthodox release of her album late last year?\u003c/strong>\u003c/p>\n\u003cp>You know, a few people have said that. My last album, which came out three years ago, I had a video for every single song, and they all came out at once. And nobody said to Beyoncé, “Hey, you’re doing a Weird Al, aren’t ya?” So for the record, I was first.\u003c/p>\n\u003cp>\u003cstrong>I want to ask you about the accordion, which you’ve been playing since you were a little boy. Was that your first instrument?\u003c/strong>\u003c/p>\n\u003cp>It was, yeah. My parents decided that I should take accordion lessons, because they obviously wanted me to be really popular in school: Who doesn’t love an accordion player? Who doesn’t want an accordion player at their party? It’s the life of the party, come on!\u003c/p>\n\u003cp>\u003cstrong>It is like an entire orchestra in one big, obnoxious instrument.\u003c/strong> \u003cstrong>\u003c/strong>\u003cstrong>Did you struggle with that?\u003c/strong>\u003c/p>\n\u003cp>I didn’t think it was an un-hip instrument until I started asking my friends if I could join their rock bands, and I learned pretty quickly that wasn’t really going to fly. My friends didn’t seem to have a need for that for some odd reason, and I found out pretty early on that if I wanted to play my accordion I had to kind of go down my own path.\u003c/p>\n\u003cp>\u003cstrong>Which you have. When did you start hearing funny lyrics? Did you just hear them in your mind just as you were listening to songs?\u003c/strong>\u003c/p>\n\u003cp>I got into the Dr. Demento radio show in my early teens, but I think my brain was warped even before that. I went through some old [notebooks], with accordion sheet music of the popular songs of the day, and even as a small child, 8, 9 years old, I saw that I had re-written some of the words to the pop songs. And it was horrible — it was about as clever as an 8-year-old could write a parody. But my brain was thinking in those patterns even back then.\u003c/p>\n\u003cp>\u003cstrong>What did your parents think? Did you say, “Hey Mom! Hey Dad! I’ve got this great new song!”?\u003c/strong>\u003c/p>\n\u003cp>If I did, I’m sure they humored me, but I don’t think they ever really thought that that was the way my life was headed. I was a straight-A student, and I always was very adult minded. I went to college and got my degree in architecture, and I thought that someday I would be an adult and have a real job.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>I guess that didn’t work out?\u003c/strong>\u003c/p>\n\u003cp>It didn’t quite work out like that, so I’m still going through my prolonged adolescence.\u003c/p>\n\u003cp>\u003cstrong>What’s your process like? Are there songs where you’re like ‘I just have to do that one’? Is it ever a struggle?\u003c/strong>\u003c/p>\n\u003cp>Well, I start with a list of possible candidates. I go through the Billboard charts, I listen to the radio, I keep my finger on the pulse of what’s happening online and I make a master list of songs that I think would be reasonable targets. Then I’ll go down that list and do variations on a theme. I’ll think, ‘What are all the possible ways I could go with this song to make if funny? What are the puns based on the title? What are the directions I can go?’\u003c/p>\n\u003cp>I’ll generate ideas, and 99 percent of those ideas are horrible. I have no problem coming up with ideas, but good ideas are hard to come by. When I do find a good idea, then I’ll start riffing on concepts based on that idea, and come up with pages and pages of notes based on that. When I came up with the idea for “Word Crimes” I thought, “That’s great, because I’m pretty obsessed with grammar anyway.” I’m always correcting peoples’ grammar. In fact I’ve done some videos for YouTube where I’m correcting road signs and making the grammar better, on the highway and in the supermarket. “Twelve items or \u003cem>fewer\u003c/em>,” that kind of thing.\u003c/p>\n\u003cp>\u003cstrong>That must make you popular at parties.\u003c/strong>\u003c/p>\n\u003cp>It makes me a hero among a small subset of the population.\u003c/p>\n\u003cp>\u003cstrong>Do you run these by anybody? Test them on a small audience?\u003c/strong>\u003c/p>\n\u003cp>My daughter is going into sixth grade, so she is sort of my ears to the ground. A couple months ago I said, “Are they talking about Iggy Azalea at school?” And she says, “Well, not so much.” I asked the same thing two weeks later and she said, ‘Oh yeah, that’s all they’re talking about now! They won’t shut up about Iggy Azalea!’ So, that was the tipping point. That’s when I knew it was okay to do it.\u003c/p>\n\u003cp>\u003cstrong>Your original songs, I’ve read that you feel like they don’t get as much attention as you’d like them to.\u003c/strong>\u003c/p>\n\u003cp>Well, that’s true. Certainly among the general population I’m known as the parody guy, and to this day, after 30 years, a lot of people still say, “Do you ever write your own songs?” And I can’t blame them for saying that, because virtually all of my hits have been parodies. But the fans, the people that listen to the whole album, know that half of my material is original — although most of those are style parodies or pastiches.\u003c/p>\n\u003cp>\u003cstrong>Can we ever expect an album of all originals from you?\u003c/strong>\u003c/p>\n\u003cp>I don’t think that’s really necessary. If fans want to make their own all-original albums based on what I’ve put out already, they can burn their own. I love doing the parodies as well as the originals, so it’s not like I’d ever give up one in favor of the other. And in fact, I don’t know that I’m going to be doing any more traditional albums after this point, now that my record label deal is over. I think that digital distribution is more the way for me to go: putting out a single at a time, possibly two or three tracks or an EP. I don’t know that putting out 12 songs at once in this day and age is the best way for me to get my music out there, because if I’m waiting that long, chances are a lot of the material is going to be somewhat dated by the time it comes out.\u003c/p>\n\u003cp>\u003cstrong>Wow, so this is the last “Weird Al” album?\u003c/strong>\u003c/p>\n\u003cp>Well, I have to be careful about that, because a lot of people listen to that and say “Oh, Al’s retiring!” I am not retiring, I intend to keep making music like I have in the past. All I’m saying is, there’s a pretty good chance this is the last conventional album.\u003c/p>\n\u003cp>\u003cstrong>Or you could do one of those comeback tours in like six months.\u003c/strong>\u003c/p>\n\u003cp>Every tour I do is a comeback tour. People really perceive it that way: Every album I put out: “Oh, Al’s back!”\u003c/p>\n\u003cp>\u003cstrong>Is it true that you don’t need permission to do a parody of a song?\u003c/strong>\u003c/p>\n\u003cp>Legally, I say it’s a gray area. I could get away with not getting permission, but I’ve never wanted to get away with that. I think it’s more taking the high road to make sure that the artist feels like they’re in on the joke. I want them to know that it is in fact an homage, it’s a tribute. Like I say, it’s more a poke in the ribs that a kick in the butt.\u003c/p>\n\u003cp>\u003cstrong> What’s the favorite reaction you’ve gotten from an artist?\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N9qYF9DZPdw\u003c/p>\n\u003cp>There have been so many. One of my favorites was Chamillionaire, who of course did “\u003ca href=\"https://www.youtube.com/watch?v=CtwJvgPJ9xw\" target=\"_blank\" rel=\"noopener\">Ridin\u003c/a>‘,'” which I did the parody “White and Nerdy” off of. He ran into me at the Grammys a couple years ago, right after he’d won the Grammy for Best Rap Song. He approached me on the red carpet and said, “Thank you for this. I think your parody is a big reason why I won this Grammy, because you made it undeniable that my song was the rap song of the year.”\u003c/p>\n\u003cp>\u003cstrong>Are you going to be Weird Al forever?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. If you had asked me 30 years ago if I’d still be doing it today, I’d say that’s pretty unlikely. But I love doing this. I can’t imagine a job I’d rather have. I love comedy, I love music. I’m sure people will let me know when it’s time to hang up the accordion and call it quits, but it’s a lot of fun for me still, and as long as people don’t mind, I’ll keep doing it. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>For a bit of extra Al fun, read this \u003ca href=\"http://yerdoingreat.wordpress.com/2014/07/17/the-greatest-interview-of-all-time-grand-royal-talks-to-weird-al-yankovic/\" target=\"_blank\" rel=\"noopener\">amazing interview\u003c/a> conducted by Russell Simins, drummer for the \u003ca href=\"http://thejonspencerbluesexplosion.com/\" target=\"_blank\" rel=\"noopener\">Jon Spencer Blues Explosion,\u003c/a> that ran in Grand Royal magazine back in 1996.\u003c/i>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27Weird+Al%27+Yankovic+On+Parody+In+The+Age+Of+YouTube&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Yankovic says the new digital democracy has forced him to focus his craft and reconsider his release strategy — but where pop parody is concerned, \"as long as people don't mind, I'll keep doing it.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\" target=\"_blank\" rel=\"noopener\">“Weird Al” Yankovic\u003c/a> has been the king of parody for 30 years, outlasting and, in some cases, outselling the artists he’s sent up. He also mastered the genre pastiche — original songs that nail a famous artist’s style — long before Jimmy Fallon made the practice a viral phenomenon.\u003c/p>\n\u003cp>Yankovic is about to release his fourteenth album,\u003cem> \u003c/em>\u003cem>Mandatory Fun\u003c/em>, and he’s taking that title seriously: Starting Monday, he will release eight new music videos in eight days. He spoke with NPR’s Tamara Keith about testing song ideas on his teenaged daughter, how YouTube has forced him to focus his craft, and why \u003cem>Mandatory Fun\u003c/em> is likely his last proper album. Hear the radio version at the audio link, and read more of their conversation below.\u003c/p>\n\u003cp>\u003cstrong>Tamara Keith: \u003cem>Mandatory Fun\u003c/em> is the name of your album. Is that how you’d describe your approach to life?\u003c/strong>\u003c/p>\n\u003cp>“\u003cstrong>Weird Al” Yankovic: \u003c/strong>That was just an oxymoron that I’ve always been amused by. It’s used a lot in corporate retreats and, I’m told, in the military. Also, this is the last album of a 32-year-long record contract, so some fans have theorized that that might have something to do with it as well, but I can’t really comment on that.\u003c/p>\n\u003cp>\u003cstrong>You’ve kept a pretty tight lock on this album, but one thing we know is coming is a song called “Word Crimes,” a parody of Robin Thicke’s “Blurred Lines.”\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s correct. When I do my parodies, because of YouTube, I’m never the first person to do a parody of a certain song. And all the obvious ideas seem to be taken already, so nowadays when I do a parody I try to think of an angle that might be a little bit different or left-of-center that somebody else hasn’t thought of already. And I don’t think anybody, to this point, had done a “Blurred Lines” parody about proper use of grammar.\u003c/p>\n\u003cp>\u003cstrong>The original song was pretty controversial, and so many of the parodies that I’ve found on YouTube play on the misogyny angle. Your parody doesn’t; in fact, it almost makes it wholesome. Are you a wholesome person by nature?\u003c/strong>\u003c/p>\n\u003cp>Well, I guess I kind of am. It’s sort of the way I was raised, and my art and my comedy and my music is sort of an extension of my personality. I didn’t set out to be a family-friendly recording artist but that’s sort of the way it happened, and it’s a wonderful thing. When I look out into my concert audience, it’s all generations out there. It’s sort of a family bonding experience.\u003c/p>\n\u003cp>\u003cstrong>Have you ever been slapped with one of those parental warnings?\u003c/strong>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>I haven’t ever gotten a parental warning sticker, although my song “\u003ca href=\"https://www.youtube.com/watch?v=hEcjgJSqSRU\" target=\"_blank\" rel=\"noopener\">The Saga Begins\u003c/a>” got censored by Radio Disney when it came out. There was a line about, ‘Did you see me hitting on the queen?’ That was apparently too risqué for Radio Disney, so I think it was changed to ‘talking to the queen,’ which is more acceptable.\u003c/p>\n\u003cp>\u003cstrong>There was a time the “Weird Al” parody was it. And now, \u003ca href=\"https://www.youtube.com/watch?v=-qTIGg3I5y8\" target=\"_blank\" rel=\"noopener\">Cookie Monster has done a version\u003c/a> of Carly Rae Jepsen’s “Call Me Maybe.” \u003c/strong>\u003c/p>\n\u003cp>Yeah, Cookie Monster is my No. 1 competition right now. Actually, I don’t view it as a competition at all. I think it’s wonderful that there’s a level playing field now. Anybody can upload their videos to YouTube and you don’t have to get the blessing of some record executive somewhere to get your stuff heard. If your stuff is good, chances are people will hear it.\u003c/p>\n\u003cp>I did have the field to myself pretty much throughout the 80s and 90s, and it’s more of a challenge now because I have to make sure my material rises above on its own merits. I can’t just say “Well, I’m the only person with a major label recording deal.” Now I have to compete with the thousands and thousands of people that are also putting out comedic songs and parodies.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>And MTV is sort of a different thing than it was. “Eat It” was an anthem of my childhood more than “Beat It” was; it was in such heavy rotation on MTV.\u003c/strong>\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/ZcJjMnHoIBI'\n title='//www.youtube.com/embed/ZcJjMnHoIBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003c/strong>Well, MTV is a completely different animal now, obviously. Back when I was first starting out in the 80s, people watched it for hours on end, and they would memorize every tiny detail of every music video. When I came along and I just tweaked those little video moments, people understood and got the humor immediately. Nowadays, MTV is more of a reality show channel, and I’m not really focused on that, and they’re certainly not focused on me. So the internet is the new MTV, at least as far as I’m concerned.\u003c/p>\n\u003cp>\u003cstrong>You are going to be releasing eight music videos in eight days for this album. Why did you decide to do it this way?\u003c/strong>\u003c/p>\n\u003cp>I wanted to really do what is ostensibly my last album with a big splash. I wanted the first week to be big; I wanted every single day of release week to be an event. I wanted a video to go viral for an entire day and have people talking about that video, and then the next day they’re talking about a new video. I just thought that would be a really fun way to do it, to make a big deal out of release week.\u003c/p>\n\u003cp>\u003cstrong>Is this in any way an homage to \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s sort of unorthodox release of her album late last year?\u003c/strong>\u003c/p>\n\u003cp>You know, a few people have said that. My last album, which came out three years ago, I had a video for every single song, and they all came out at once. And nobody said to Beyoncé, “Hey, you’re doing a Weird Al, aren’t ya?” So for the record, I was first.\u003c/p>\n\u003cp>\u003cstrong>I want to ask you about the accordion, which you’ve been playing since you were a little boy. Was that your first instrument?\u003c/strong>\u003c/p>\n\u003cp>It was, yeah. My parents decided that I should take accordion lessons, because they obviously wanted me to be really popular in school: Who doesn’t love an accordion player? Who doesn’t want an accordion player at their party? It’s the life of the party, come on!\u003c/p>\n\u003cp>\u003cstrong>It is like an entire orchestra in one big, obnoxious instrument.\u003c/strong> \u003cstrong>\u003c/strong>\u003cstrong>Did you struggle with that?\u003c/strong>\u003c/p>\n\u003cp>I didn’t think it was an un-hip instrument until I started asking my friends if I could join their rock bands, and I learned pretty quickly that wasn’t really going to fly. My friends didn’t seem to have a need for that for some odd reason, and I found out pretty early on that if I wanted to play my accordion I had to kind of go down my own path.\u003c/p>\n\u003cp>\u003cstrong>Which you have. When did you start hearing funny lyrics? Did you just hear them in your mind just as you were listening to songs?\u003c/strong>\u003c/p>\n\u003cp>I got into the Dr. Demento radio show in my early teens, but I think my brain was warped even before that. I went through some old [notebooks], with accordion sheet music of the popular songs of the day, and even as a small child, 8, 9 years old, I saw that I had re-written some of the words to the pop songs. And it was horrible — it was about as clever as an 8-year-old could write a parody. But my brain was thinking in those patterns even back then.\u003c/p>\n\u003cp>\u003cstrong>What did your parents think? Did you say, “Hey Mom! Hey Dad! I’ve got this great new song!”?\u003c/strong>\u003c/p>\n\u003cp>If I did, I’m sure they humored me, but I don’t think they ever really thought that that was the way my life was headed. I was a straight-A student, and I always was very adult minded. I went to college and got my degree in architecture, and I thought that someday I would be an adult and have a real job.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>I guess that didn’t work out?\u003c/strong>\u003c/p>\n\u003cp>It didn’t quite work out like that, so I’m still going through my prolonged adolescence.\u003c/p>\n\u003cp>\u003cstrong>What’s your process like? Are there songs where you’re like ‘I just have to do that one’? Is it ever a struggle?\u003c/strong>\u003c/p>\n\u003cp>Well, I start with a list of possible candidates. I go through the Billboard charts, I listen to the radio, I keep my finger on the pulse of what’s happening online and I make a master list of songs that I think would be reasonable targets. Then I’ll go down that list and do variations on a theme. I’ll think, ‘What are all the possible ways I could go with this song to make if funny? What are the puns based on the title? What are the directions I can go?’\u003c/p>\n\u003cp>I’ll generate ideas, and 99 percent of those ideas are horrible. I have no problem coming up with ideas, but good ideas are hard to come by. When I do find a good idea, then I’ll start riffing on concepts based on that idea, and come up with pages and pages of notes based on that. When I came up with the idea for “Word Crimes” I thought, “That’s great, because I’m pretty obsessed with grammar anyway.” I’m always correcting peoples’ grammar. In fact I’ve done some videos for YouTube where I’m correcting road signs and making the grammar better, on the highway and in the supermarket. “Twelve items or \u003cem>fewer\u003c/em>,” that kind of thing.\u003c/p>\n\u003cp>\u003cstrong>That must make you popular at parties.\u003c/strong>\u003c/p>\n\u003cp>It makes me a hero among a small subset of the population.\u003c/p>\n\u003cp>\u003cstrong>Do you run these by anybody? Test them on a small audience?\u003c/strong>\u003c/p>\n\u003cp>My daughter is going into sixth grade, so she is sort of my ears to the ground. A couple months ago I said, “Are they talking about Iggy Azalea at school?” And she says, “Well, not so much.” I asked the same thing two weeks later and she said, ‘Oh yeah, that’s all they’re talking about now! They won’t shut up about Iggy Azalea!’ So, that was the tipping point. That’s when I knew it was okay to do it.\u003c/p>\n\u003cp>\u003cstrong>Your original songs, I’ve read that you feel like they don’t get as much attention as you’d like them to.\u003c/strong>\u003c/p>\n\u003cp>Well, that’s true. Certainly among the general population I’m known as the parody guy, and to this day, after 30 years, a lot of people still say, “Do you ever write your own songs?” And I can’t blame them for saying that, because virtually all of my hits have been parodies. But the fans, the people that listen to the whole album, know that half of my material is original — although most of those are style parodies or pastiches.\u003c/p>\n\u003cp>\u003cstrong>Can we ever expect an album of all originals from you?\u003c/strong>\u003c/p>\n\u003cp>I don’t think that’s really necessary. If fans want to make their own all-original albums based on what I’ve put out already, they can burn their own. I love doing the parodies as well as the originals, so it’s not like I’d ever give up one in favor of the other. And in fact, I don’t know that I’m going to be doing any more traditional albums after this point, now that my record label deal is over. I think that digital distribution is more the way for me to go: putting out a single at a time, possibly two or three tracks or an EP. I don’t know that putting out 12 songs at once in this day and age is the best way for me to get my music out there, because if I’m waiting that long, chances are a lot of the material is going to be somewhat dated by the time it comes out.\u003c/p>\n\u003cp>\u003cstrong>Wow, so this is the last “Weird Al” album?\u003c/strong>\u003c/p>\n\u003cp>Well, I have to be careful about that, because a lot of people listen to that and say “Oh, Al’s retiring!” I am not retiring, I intend to keep making music like I have in the past. All I’m saying is, there’s a pretty good chance this is the last conventional album.\u003c/p>\n\u003cp>\u003cstrong>Or you could do one of those comeback tours in like six months.\u003c/strong>\u003c/p>\n\u003cp>Every tour I do is a comeback tour. People really perceive it that way: Every album I put out: “Oh, Al’s back!”\u003c/p>\n\u003cp>\u003cstrong>Is it true that you don’t need permission to do a parody of a song?\u003c/strong>\u003c/p>\n\u003cp>Legally, I say it’s a gray area. I could get away with not getting permission, but I’ve never wanted to get away with that. I think it’s more taking the high road to make sure that the artist feels like they’re in on the joke. I want them to know that it is in fact an homage, it’s a tribute. Like I say, it’s more a poke in the ribs that a kick in the butt.\u003c/p>\n\u003cp>\u003cstrong> What’s the favorite reaction you’ve gotten from an artist?\u003c/strong>\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/N9qYF9DZPdw'\n title='//www.youtube.com/embed/N9qYF9DZPdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There have been so many. One of my favorites was Chamillionaire, who of course did “\u003ca href=\"https://www.youtube.com/watch?v=CtwJvgPJ9xw\" target=\"_blank\" rel=\"noopener\">Ridin\u003c/a>‘,'” which I did the parody “White and Nerdy” off of. He ran into me at the Grammys a couple years ago, right after he’d won the Grammy for Best Rap Song. He approached me on the red carpet and said, “Thank you for this. I think your parody is a big reason why I won this Grammy, because you made it undeniable that my song was the rap song of the year.”\u003c/p>\n\u003cp>\u003cstrong>Are you going to be Weird Al forever?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. If you had asked me 30 years ago if I’d still be doing it today, I’d say that’s pretty unlikely. But I love doing this. I can’t imagine a job I’d rather have. I love comedy, I love music. I’m sure people will let me know when it’s time to hang up the accordion and call it quits, but it’s a lot of fun for me still, and as long as people don’t mind, I’ll keep doing it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>For a bit of extra Al fun, read this \u003ca href=\"http://yerdoingreat.wordpress.com/2014/07/17/the-greatest-interview-of-all-time-grand-royal-talks-to-weird-al-yankovic/\" target=\"_blank\" rel=\"noopener\">amazing interview\u003c/a> conducted by Russell Simins, drummer for the \u003ca href=\"http://thejonspencerbluesexplosion.com/\" target=\"_blank\" rel=\"noopener\">Jon Spencer Blues Explosion,\u003c/a> that ran in Grand Royal magazine back in 1996.\u003c/i>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27Weird+Al%27+Yankovic+On+Parody+In+The+Age+Of+YouTube&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Without Tommy, There's No Ramones'",
"headTitle": "‘Without Tommy, There’s No Ramones’ | KQED",
"content": "\u003cp>Punk rock music has lost one of its earliest pioneers.\u003c/p>\n\u003cp>Tommy Ramone \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/07/12/330893277/tommy-ramone-last-original-member-of-the-ramones-dies-at-62\" target=\"_blank\" rel=\"noopener\">died of cancer on Friday\u003c/a> at his home in Queens, N.Y. He was the last surviving member of the original Ramones.\u003c/p>\n\u003cp>Tommy Ramone was Tamás Erdélyi before he became a “Ramone” and produced punk rock classics like “Rockaway Beach.”\u003c/p>\n\u003cp>He was born in Budapest, where, as kid, he once had a memorable trip to see a movie about America.\u003c/p>\n\u003cp>“What they showed was a bunch of teenagers going absolutely crazy and wild over boogie-woogie music,” Ramone \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4180686\" target=\"_blank\" rel=\"noopener\">recalled in 2004\u003c/a> at the Hungarian Embassy. “And I was watching this thing, going, ‘Boy, that’s good music!’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ramone wanted to recapture that good music from the early days of rock ‘n’ roll and take in a new direction. So in 1974, he joined up with three friends from Queens with bowl haircuts, leather jackets, and a mission.\u003c/p>\n\u003cfigure id=\"attachment_10139005\" class=\"wp-caption alignright\" style=\"max-width: 554px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ramones.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ramones.jpg\" alt='\"Ramones on Subway, \"NYC. 1975. By Bob Gruen (American, born 1945). ' width=\"554\" height=\"441\" class=\"size-full wp-image-10139005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones-300x238.jpg 300w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Ramones on Subway, “NYC. 1975. By Bob Gruen (American, born 1945). \u003ccite>(The Museum of Modern Art Library.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The bands I listened to on my radio when I was a kid, when I came to the United States, that … quick energy, the sexuality, the excitement,” he said in 2004. “We wanted to bring that back. And we wanted to bring back short songs, and we wanted to play them fast.”\u003c/p>\n\u003cp>Filmmaker Jim Fields spent eight years following the Ramones for his 2003 documentary \u003cem>End of the Century: The Story of the Ramones\u003c/em>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“This band was so influential, so innovative, and led to so much change in music, and influenced so many generations,” Fields says. “They thought they were going to be the Rolling Stones. You know, they thought they were going to be huge.”\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>But they never had a bona fide hit.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“That’s the weird thing about the Ramones,” says \u003cem>Punk\u003c/em> magazine co-founder John Holmstrom. “You know, their music has been in movie soundtracks and TV commercials. But it was never on the radio.”\u003c/p>\n\u003cp>Holmstrom, who designed album covers for the Ramones, says Tommy Ramone wasn’t just the group’s original drummer. He was their first manager and an important producer in the studio.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“Without Tommy, there’s no Ramones. Because at first, they were not very good musicians, and I think Tommy whipped them into shape,” Holmstrom says.\u003c/p>\n\u003cp>Photographer Frances Pelzman Liscio calls Ramone a “big-picture person.” Liscio first met Ramone in 1975 while working for one of the group’s former managers, Danny Fields.\u003c/p>\n\u003cp>Ramone was “almost like the father of the family,” she says. “He would eat healthy food and show up every place on time.”\u003c/p>\n\u003cp>Liscio says the brash, loud sound of the Ramones was ahead of its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is art,” Tommy Ramone wrote in the liner notes for the Ramones’ compilation album \u003cem>Hey Ho Let’s Go\u003c/em>. “Sometimes it doesn’t sell at first. Sometimes it takes a while for the world to catch on.”\u003cstrong>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27Without+Tommy%2C+There%27s+No+Ramones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Drummer Tommy Ramone died at the age of 65 on Friday. He was the last original member of the punk band that gave him his name. Their music was influential, but ahead of its time.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Punk rock music has lost one of its earliest pioneers.\u003c/p>\n\u003cp>Tommy Ramone \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/07/12/330893277/tommy-ramone-last-original-member-of-the-ramones-dies-at-62\" target=\"_blank\" rel=\"noopener\">died of cancer on Friday\u003c/a> at his home in Queens, N.Y. He was the last surviving member of the original Ramones.\u003c/p>\n\u003cp>Tommy Ramone was Tamás Erdélyi before he became a “Ramone” and produced punk rock classics like “Rockaway Beach.”\u003c/p>\n\u003cp>He was born in Budapest, where, as kid, he once had a memorable trip to see a movie about America.\u003c/p>\n\u003cp>“What they showed was a bunch of teenagers going absolutely crazy and wild over boogie-woogie music,” Ramone \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4180686\" target=\"_blank\" rel=\"noopener\">recalled in 2004\u003c/a> at the Hungarian Embassy. “And I was watching this thing, going, ‘Boy, that’s good music!’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ramone wanted to recapture that good music from the early days of rock ‘n’ roll and take in a new direction. So in 1974, he joined up with three friends from Queens with bowl haircuts, leather jackets, and a mission.\u003c/p>\n\u003cfigure id=\"attachment_10139005\" class=\"wp-caption alignright\" style=\"max-width: 554px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ramones.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ramones.jpg\" alt='\"Ramones on Subway, \"NYC. 1975. By Bob Gruen (American, born 1945). ' width=\"554\" height=\"441\" class=\"size-full wp-image-10139005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones-300x238.jpg 300w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Ramones on Subway, “NYC. 1975. By Bob Gruen (American, born 1945). \u003ccite>(The Museum of Modern Art Library.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The bands I listened to on my radio when I was a kid, when I came to the United States, that … quick energy, the sexuality, the excitement,” he said in 2004. “We wanted to bring that back. And we wanted to bring back short songs, and we wanted to play them fast.”\u003c/p>\n\u003cp>Filmmaker Jim Fields spent eight years following the Ramones for his 2003 documentary \u003cem>End of the Century: The Story of the Ramones\u003c/em>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“This band was so influential, so innovative, and led to so much change in music, and influenced so many generations,” Fields says. “They thought they were going to be the Rolling Stones. You know, they thought they were going to be huge.”\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>But they never had a bona fide hit.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“That’s the weird thing about the Ramones,” says \u003cem>Punk\u003c/em> magazine co-founder John Holmstrom. “You know, their music has been in movie soundtracks and TV commercials. But it was never on the radio.”\u003c/p>\n\u003cp>Holmstrom, who designed album covers for the Ramones, says Tommy Ramone wasn’t just the group’s original drummer. He was their first manager and an important producer in the studio.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“Without Tommy, there’s no Ramones. Because at first, they were not very good musicians, and I think Tommy whipped them into shape,” Holmstrom says.\u003c/p>\n\u003cp>Photographer Frances Pelzman Liscio calls Ramone a “big-picture person.” Liscio first met Ramone in 1975 while working for one of the group’s former managers, Danny Fields.\u003c/p>\n\u003cp>Ramone was “almost like the father of the family,” she says. “He would eat healthy food and show up every place on time.”\u003c/p>\n\u003cp>Liscio says the brash, loud sound of the Ramones was ahead of its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is art,” Tommy Ramone wrote in the liner notes for the Ramones’ compilation album \u003cem>Hey Ho Let’s Go\u003c/em>. “Sometimes it doesn’t sell at first. Sometimes it takes a while for the world to catch on.”\u003cstrong>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27Without+Tommy%2C+There%27s+No+Ramones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Jazz legend Charlie Haden has died. Polio damaged Haden’s voice when he was young, but as a bassist and composer, Haden helped shape the sound of jazz and still spanned country and gospel. For more on Haden’s life and music, you can hear Melissa Block speak with \u003c/em>Slate\u003cem> columnist and jazz critic Fred Kaplan at the audio link on this page.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Bassist and composer Charlie Haden, whose resonant playing and penetrating melodic craft influenced generations of jazz musicians, died this morning in Los Angeles, after a prolonged illness. He was 76.\u003c/p>\n\u003cp>Haden’s death was announced by his record label, ECM Records.\u003c/p>\n\u003cblockquote>\n\u003cp>It is with deep sorrow that we announce that Charlie Haden, born August 6, 1937 in Shenandoah, Iowa, passed away today at 10:11 Pacific time in Los Angeles after a prolonged illness. Ruth Cameron, his wife of 30 years, and his children Josh Haden, Tanya Haden, Rachel Haden and Petra Haden were all by his side.\u003c/p>\n\u003c/blockquote>\n\u003cp>Born and raised in the rural Midwestern United States, Haden grew up in a family which hosted a country and western music radio program. He sang on air in the family band from before the age of 2. At age 15, he contracted polio, damaging his vocal cords, and turned instead to learning bass.\u003c/p>\n\u003cp>In 1957, Haden moved to Los Angeles, where he integrated quickly into the West Coast jazz community — including saxophonist and composer Ornette Coleman. Their collaboration over decades, on stage and on record, not only anchored Coleman’s innovations in harmony and melody, but also generated new possibilities for his own instrument in group improvisation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His work with Ornette Coleman made him an icon of avant-garde jazz, but in a career that spanned over 50 years, Haden worked in many and varied contexts. His Liberation Music Orchestra large ensemble, a collaboration with composer-arranger Carla Bley, performed and recorded political protest songs for over 30 years. His Quartet West ensemble, featuring pianist Alan Broadbent and saxophonist Ernie Watts, provided avenues for more traditional hard bop and backing vocalists. And in 2008, he revisited his country roots with an album called \u003cem>Rambling Boy\u003c/em>, gathering his wife, son and triplet daughters in a new family band.\u003c/p>\n\u003cp>In 2012, he spoke of the connections between the music he grew up with and the music he was known for. “When you think about the art form jazz coming from this country and you think about the Underground Railroad and all the music that came from that struggle, and then you think about all the music coming over from Scotland and Ireland and England into the Appalachian Mountains and the Ozark Mountains where I was born and raised, you know, it’s all one really,” he told NPR’s Rachel Martin. “We can only have been born here in this country.”\u003c/p>\n\u003cp>As a sideman, Haden was the bassist for many of pianist Keith Jarrett’s bands of the 1960s and ’70s. The group Old and New Dreams reunited Ornette Coleman’s sidemen, sometimes to reinterpret Coleman’s compositions. He frequently performed in duet settings, which brought him into close contact with fellow jazz greats like Hank Jones, Alice Coltrane and Pat Metheny. And in 1982, he introduced jazz studies to CalArts, now one of the premier programs of its kind.\u003c/p>\n\u003cp>In interviews and on stage, he spoke often about the artist’s duty to introduce beauty into a conflicted world. “That’s what I tell my students at California Institute of the Arts where I teach for 27 years,” he said to Martin. “I tell them if you strive to be a good person, maybe you might become a great jazz musician.”\u003c/p>\n\u003cp>Earlier this year, Charlie Haden released his latest album, a collection of duets with pianist Keith Jarrett. It ends with the two standards “Every Time We Say Goodbye” and “Goodbye,” and is titled \u003cem>Last Dance.\u003c/em> \u003c/p>\n\u003cp>\u003cem>Below is a clip of Haden playing in the Ginger Baker Trio with guitarist Bill Frisell.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XEpMLiqzZd8\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Remembering+Jazz+Legend+Charlie+Haden%2C+Who+Crafted+His+Voice+In+Bass&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Jazz legend Charlie Haden has died. Polio damaged Haden’s voice when he was young, but as a bassist and composer, Haden helped shape the sound of jazz and still spanned country and gospel. For more on Haden’s life and music, you can hear Melissa Block speak with \u003c/em>Slate\u003cem> columnist and jazz critic Fred Kaplan at the audio link on this page.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Bassist and composer Charlie Haden, whose resonant playing and penetrating melodic craft influenced generations of jazz musicians, died this morning in Los Angeles, after a prolonged illness. He was 76.\u003c/p>\n\u003cp>Haden’s death was announced by his record label, ECM Records.\u003c/p>\n\u003cblockquote>\n\u003cp>It is with deep sorrow that we announce that Charlie Haden, born August 6, 1937 in Shenandoah, Iowa, passed away today at 10:11 Pacific time in Los Angeles after a prolonged illness. Ruth Cameron, his wife of 30 years, and his children Josh Haden, Tanya Haden, Rachel Haden and Petra Haden were all by his side.\u003c/p>\n\u003c/blockquote>\n\u003cp>Born and raised in the rural Midwestern United States, Haden grew up in a family which hosted a country and western music radio program. He sang on air in the family band from before the age of 2. At age 15, he contracted polio, damaging his vocal cords, and turned instead to learning bass.\u003c/p>\n\u003cp>In 1957, Haden moved to Los Angeles, where he integrated quickly into the West Coast jazz community — including saxophonist and composer Ornette Coleman. Their collaboration over decades, on stage and on record, not only anchored Coleman’s innovations in harmony and melody, but also generated new possibilities for his own instrument in group improvisation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His work with Ornette Coleman made him an icon of avant-garde jazz, but in a career that spanned over 50 years, Haden worked in many and varied contexts. His Liberation Music Orchestra large ensemble, a collaboration with composer-arranger Carla Bley, performed and recorded political protest songs for over 30 years. His Quartet West ensemble, featuring pianist Alan Broadbent and saxophonist Ernie Watts, provided avenues for more traditional hard bop and backing vocalists. And in 2008, he revisited his country roots with an album called \u003cem>Rambling Boy\u003c/em>, gathering his wife, son and triplet daughters in a new family band.\u003c/p>\n\u003cp>In 2012, he spoke of the connections between the music he grew up with and the music he was known for. “When you think about the art form jazz coming from this country and you think about the Underground Railroad and all the music that came from that struggle, and then you think about all the music coming over from Scotland and Ireland and England into the Appalachian Mountains and the Ozark Mountains where I was born and raised, you know, it’s all one really,” he told NPR’s Rachel Martin. “We can only have been born here in this country.”\u003c/p>\n\u003cp>As a sideman, Haden was the bassist for many of pianist Keith Jarrett’s bands of the 1960s and ’70s. The group Old and New Dreams reunited Ornette Coleman’s sidemen, sometimes to reinterpret Coleman’s compositions. He frequently performed in duet settings, which brought him into close contact with fellow jazz greats like Hank Jones, Alice Coltrane and Pat Metheny. And in 1982, he introduced jazz studies to CalArts, now one of the premier programs of its kind.\u003c/p>\n\u003cp>In interviews and on stage, he spoke often about the artist’s duty to introduce beauty into a conflicted world. “That’s what I tell my students at California Institute of the Arts where I teach for 27 years,” he said to Martin. “I tell them if you strive to be a good person, maybe you might become a great jazz musician.”\u003c/p>\n\u003cp>Earlier this year, Charlie Haden released his latest album, a collection of duets with pianist Keith Jarrett. It ends with the two standards “Every Time We Say Goodbye” and “Goodbye,” and is titled \u003cem>Last Dance.\u003c/em> \u003c/p>\n\u003cp>\u003cem>Below is a clip of Haden playing in the Ginger Baker Trio with guitarist Bill Frisell.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XEpMLiqzZd8'\n title='//www.youtube.com/embed/XEpMLiqzZd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2014 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=Remembering+Jazz+Legend+Charlie+Haden%2C+Who+Crafted+His+Voice+In+Bass&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Fly Like an Eagle: Site Picks the Best Aerial Drone Photos",
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"content": "\u003cp>An eagle soars above a national park in Bali, Indonesia. A waterfall in Mexico is seen from above its shelf of cascading water. Those are the top two finishers in a contest held to find the best images captured by cameras mounted on aerial drones. The winners were recently unveiled by the site \u003ca href=\"http://www.dronestagr.am/\" target=\"_blank\" rel=\"noopener\">Dronestagram\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10138957\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/tamulconcurso-960x540_wide-2c48bd5ea82311d6466e20d847fadf4e07e1d14b-e1405107209472.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138957\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/tamulconcurso-960x540_wide-2c48bd5ea82311d6466e20d847fadf4e07e1d14b-e1405107209472.jpg\" alt=\"The Tamul waterfall in San Luis Potosí, Mexico, is seen in this image taken with the help of a drone aircraft. The water reportedly falls more than 340 feet\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Tamul waterfall in San Luis Potosí, Mexico, is seen in this image taken with the help of a drone aircraft. The water reportedly falls \u003ca href=\"http://travel.nationalgeographic.com/travel/365-photos/tamul-waterfall-mexico/\">more than 340 feet\u003c/a> \u003ccite>(postandfly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The website chose winners by two methods: a juried competition, and the images’ popularity among the site’s visitors (see the \u003ca href=\"http://www.dronestagr.am/contest/rewards/\">top three images\u003c/a> in each category). The contest was sponsored by \u003ca href=\"http://www.nationalgeographic.fr/\" target=\"_blank\" rel=\"noopener\">National Geographic France\u003c/a>.\u003c/p>\n\u003cp>One image, taken at low altitude in Manila, Philippines, captured the smiles of kids and others watching a drone hover above them.\u003c/p>\n\u003cfigure id=\"attachment_10138958\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/philippines_wide-8af4ffb81dc66d888c1e67820de8deab953a73df-e1405107266179.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138958\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/philippines_wide-8af4ffb81dc66d888c1e67820de8deab953a73df-e1405107266179.jpg\" alt=\"The drone operator who took this photo normally takes images from far above this height. But a trip to a park in Manila drew a crowd.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The drone operator who took this photo normally takes images from far above this height. But a trip to a park in Manila drew a crowd. \u003ccite>(jericsaniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Went back to my hometown in the Philippines,” the photographer, identified as jericsaniel, wrote. “I was flying in the park one Sunday morning when suddenly people had become really interested with my drone.”\u003c/p>\n\u003cp>Another image captures the sunset over the picturesque French town of Annecy, south of Geneva, Switzerland.\u003c/p>\n\u003cfigure id=\"attachment_10138959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/annecy_wide-326889f79ca8a0ed931b698d5fc0b53c9e04edb5-e1405107151730.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138959 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/annecy_wide-326889f79ca8a0ed931b698d5fc0b53c9e04edb5-e1405107151730.jpg\" alt=\"The sun sets behind the buildings of the old city of Annecy, France.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The sun sets behind the buildings of the old city of Annecy, France. \u003ccite>(drone-cs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Fly+Like+An+Eagle%3A+Site+Picks+The+Best+Aerial+Drone+Photos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An eagle soars above a national park in Bali, Indonesia. A waterfall in Mexico is seen from above its shelf of cascading water. Those are the top two finishers in a contest held to find the best images captured by cameras mounted on aerial drones. The winners were recently unveiled by the site \u003ca href=\"http://www.dronestagr.am/\" target=\"_blank\" rel=\"noopener\">Dronestagram\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10138957\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/tamulconcurso-960x540_wide-2c48bd5ea82311d6466e20d847fadf4e07e1d14b-e1405107209472.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138957\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/tamulconcurso-960x540_wide-2c48bd5ea82311d6466e20d847fadf4e07e1d14b-e1405107209472.jpg\" alt=\"The Tamul waterfall in San Luis Potosí, Mexico, is seen in this image taken with the help of a drone aircraft. The water reportedly falls more than 340 feet\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Tamul waterfall in San Luis Potosí, Mexico, is seen in this image taken with the help of a drone aircraft. The water reportedly falls \u003ca href=\"http://travel.nationalgeographic.com/travel/365-photos/tamul-waterfall-mexico/\">more than 340 feet\u003c/a> \u003ccite>(postandfly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The website chose winners by two methods: a juried competition, and the images’ popularity among the site’s visitors (see the \u003ca href=\"http://www.dronestagr.am/contest/rewards/\">top three images\u003c/a> in each category). The contest was sponsored by \u003ca href=\"http://www.nationalgeographic.fr/\" target=\"_blank\" rel=\"noopener\">National Geographic France\u003c/a>.\u003c/p>\n\u003cp>One image, taken at low altitude in Manila, Philippines, captured the smiles of kids and others watching a drone hover above them.\u003c/p>\n\u003cfigure id=\"attachment_10138958\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/philippines_wide-8af4ffb81dc66d888c1e67820de8deab953a73df-e1405107266179.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138958\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/philippines_wide-8af4ffb81dc66d888c1e67820de8deab953a73df-e1405107266179.jpg\" alt=\"The drone operator who took this photo normally takes images from far above this height. But a trip to a park in Manila drew a crowd.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The drone operator who took this photo normally takes images from far above this height. But a trip to a park in Manila drew a crowd. \u003ccite>(jericsaniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Went back to my hometown in the Philippines,” the photographer, identified as jericsaniel, wrote. “I was flying in the park one Sunday morning when suddenly people had become really interested with my drone.”\u003c/p>\n\u003cp>Another image captures the sunset over the picturesque French town of Annecy, south of Geneva, Switzerland.\u003c/p>\n\u003cfigure id=\"attachment_10138959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/annecy_wide-326889f79ca8a0ed931b698d5fc0b53c9e04edb5-e1405107151730.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138959 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/annecy_wide-326889f79ca8a0ed931b698d5fc0b53c9e04edb5-e1405107151730.jpg\" alt=\"The sun sets behind the buildings of the old city of Annecy, France.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The sun sets behind the buildings of the old city of Annecy, France. \u003ccite>(drone-cs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Fly+Like+An+Eagle%3A+Site+Picks+The+Best+Aerial+Drone+Photos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Apes' for a New Age, with Little Use for Us",
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"content": "\u003cp>It’s the end of the world as we know it, and the apes feel fine. As for humanity? Not so much, but \u003cem>Dawn of the Planet of the Apes\u003c/em> doesn’t care so much about their feelings. This dawn is well past mankind’s twilight.\u003c/p>\n\u003cp>The excellent 2011 reboot of the \u003cem>Planet of the Apes\u003c/em> series ended with a map hinting at the worldwide spread of a man-made contagion. The retrovirus used to make lab apes smart in that film was, it turned out, deadly to humans. A more generic Hollywood franchise might have followed that film up with mankind’s collapse, focusing on the chaos of our desperate attempts to keep society intact as the apes grew stronger and smarter and more organized, hidden away in the forests. But this sequel is anything but generic.\u003c/p>\n\u003cp>In fact, the film skips over the specifics of that collapse almost entirely, only referencing it through an opening credits audio montage of news reports describing society’s rapid spiral into radio silence. Then director Matt Reeves, taking over the franchise from \u003cem>Rise of the Planet of the Apes\u003c/em> director Rupert Wyatt, drops us into a now well-established ape society a decade down the line.\u003c/p>\n\u003cp>http://youtu.be/3sHMCRaS3ao\u003c/p>\n\u003cp>What few humans are left are scattered in desperate colonies in the remains of quarantine centers, such as the one run by Dreyfus (Gary Oldman) in San Francisco. Things are about to get a whole lot more desperate if they can’t get a dam back online to provide power once their fuel runs out, so an exploratory team is sent to check on the dam, led by Malcolm and Ellie (Jason Clarke and Keri Russell).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But that human story is only important inasmuch as it impacts the beings living in the redwoods north of the city, between the humans and the dam. There, Caesar (Andy Serkis), the previous installment’s prodigal chimp, leads a massive, thriving ape colony, with classes and leadership structures already intact. Communication is largely via sign language, as only a few of them — Caesar most of all — have yet developed any capacity for speech. \u003cbr> That ends up being the first in a series of gutsy storytelling choices in \u003cem>Dawn of the Planet the Apes\u003c/em>, for it means that the opening of the movie — as well as large portions thereafter — has no human characters onscreen, and a whole lot more subtitles than one might expect from a summer blockbuster.\u003c/p>\n\u003cp>But this is blockbuster counterprogramming to the numbing mindlessness of a movie like \u003cem>Transformers\u003c/em> just as surely as the less extensively released \u003cem>Snowpiercer\u003c/em> was two weeks ago. Not only that, but even amid strong entries in this summer season like \u003cem>Godzilla\u003c/em> and \u003cem>Edge of Tomorrow\u003c/em>, it’s the first big tent-pole film of 2014 that nails everything from start to finish, blending thoughtful allegory, meaningful science fiction and dazzling action spectacle without a hitch.\u003c/p>\n\u003cp>That success is built on CGI wizardry that takes the motion capture performances by Serkis and the other actors playing apes, and transforms them into characters that look and feel just as real as the humans. Rarely does any ape seem like anything other than flesh, blood and fur. But as impressive as the technical aspects of the filmmaking are, and the performances of the digitized actors, they never exist as simply eye candy: They’re always in service of story.\u003c/p>\n\u003cp>That story is able to relegate humans to supporting roles because the apes, as the about-to-be-dominant species on the planet, face the same choices as any human society themselves, with regard to how they treat one another, and how they treat their enemies — and what even constitutes an enemy.\u003c/p>\n\u003cp>If the prior installment dealt allegorically with, among other things, the right to revolution of violently repressed minorities, this one deals just as pointedly with the ethics of war and vengeance, and the rewards of mercy. War isn’t just inevitable in \u003cem>Dawn of the Planet of the Apes\u003c/em> because it makes for a lot of explosions. It’s inevitable because it’s the first reaction to fear for both humans and apes; only those able to find trust beyond their fear of the other are able to develop the tools for peace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s headier stuff than one might expect for a movie that also features chimpanzees firing dual machine guns while on horseback, or breathtakingly acrobatic hand-to-hand combat atop an unfinished skyscraper. But two chapters into its new life, that’s exactly what can be expected from this resurrection of the Planet of the Apes. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27Apes%27+For+A+New+Age%2C+With+Little+Use+For+Us&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the end of the world as we know it, and the apes feel fine. As for humanity? Not so much, but \u003cem>Dawn of the Planet of the Apes\u003c/em> doesn’t care so much about their feelings. This dawn is well past mankind’s twilight.\u003c/p>\n\u003cp>The excellent 2011 reboot of the \u003cem>Planet of the Apes\u003c/em> series ended with a map hinting at the worldwide spread of a man-made contagion. The retrovirus used to make lab apes smart in that film was, it turned out, deadly to humans. A more generic Hollywood franchise might have followed that film up with mankind’s collapse, focusing on the chaos of our desperate attempts to keep society intact as the apes grew stronger and smarter and more organized, hidden away in the forests. But this sequel is anything but generic.\u003c/p>\n\u003cp>In fact, the film skips over the specifics of that collapse almost entirely, only referencing it through an opening credits audio montage of news reports describing society’s rapid spiral into radio silence. Then director Matt Reeves, taking over the franchise from \u003cem>Rise of the Planet of the Apes\u003c/em> director Rupert Wyatt, drops us into a now well-established ape society a decade down the line.\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/3sHMCRaS3ao'\n title='//www.youtube.com/embed/3sHMCRaS3ao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What few humans are left are scattered in desperate colonies in the remains of quarantine centers, such as the one run by Dreyfus (Gary Oldman) in San Francisco. Things are about to get a whole lot more desperate if they can’t get a dam back online to provide power once their fuel runs out, so an exploratory team is sent to check on the dam, led by Malcolm and Ellie (Jason Clarke and Keri Russell).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that human story is only important inasmuch as it impacts the beings living in the redwoods north of the city, between the humans and the dam. There, Caesar (Andy Serkis), the previous installment’s prodigal chimp, leads a massive, thriving ape colony, with classes and leadership structures already intact. Communication is largely via sign language, as only a few of them — Caesar most of all — have yet developed any capacity for speech. \u003cbr> That ends up being the first in a series of gutsy storytelling choices in \u003cem>Dawn of the Planet the Apes\u003c/em>, for it means that the opening of the movie — as well as large portions thereafter — has no human characters onscreen, and a whole lot more subtitles than one might expect from a summer blockbuster.\u003c/p>\n\u003cp>But this is blockbuster counterprogramming to the numbing mindlessness of a movie like \u003cem>Transformers\u003c/em> just as surely as the less extensively released \u003cem>Snowpiercer\u003c/em> was two weeks ago. Not only that, but even amid strong entries in this summer season like \u003cem>Godzilla\u003c/em> and \u003cem>Edge of Tomorrow\u003c/em>, it’s the first big tent-pole film of 2014 that nails everything from start to finish, blending thoughtful allegory, meaningful science fiction and dazzling action spectacle without a hitch.\u003c/p>\n\u003cp>That success is built on CGI wizardry that takes the motion capture performances by Serkis and the other actors playing apes, and transforms them into characters that look and feel just as real as the humans. Rarely does any ape seem like anything other than flesh, blood and fur. But as impressive as the technical aspects of the filmmaking are, and the performances of the digitized actors, they never exist as simply eye candy: They’re always in service of story.\u003c/p>\n\u003cp>That story is able to relegate humans to supporting roles because the apes, as the about-to-be-dominant species on the planet, face the same choices as any human society themselves, with regard to how they treat one another, and how they treat their enemies — and what even constitutes an enemy.\u003c/p>\n\u003cp>If the prior installment dealt allegorically with, among other things, the right to revolution of violently repressed minorities, this one deals just as pointedly with the ethics of war and vengeance, and the rewards of mercy. War isn’t just inevitable in \u003cem>Dawn of the Planet of the Apes\u003c/em> because it makes for a lot of explosions. It’s inevitable because it’s the first reaction to fear for both humans and apes; only those able to find trust beyond their fear of the other are able to develop the tools for peace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s headier stuff than one might expect for a movie that also features chimpanzees firing dual machine guns while on horseback, or breathtakingly acrobatic hand-to-hand combat atop an unfinished skyscraper. But two chapters into its new life, that’s exactly what can be expected from this resurrection of the Planet of the Apes. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27Apes%27+For+A+New+Age%2C+With+Little+Use+For+Us&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This is the season for news stories about shark bites. It’s also the season when some theater somewhere will play \u003cem>Jaws,\u003c/em> the 1975 thriller in which three men go hunting for a man-eating shark. One of them is a marine biologist played by Richard Dreyfuss, whose daughter, journalist \u003ca href=\"https://twitter.com/EmilyDreyfuss\" target=\"_blank\" rel=\"noopener\">Emily Dreyfuss\u003c/a>, rewatched the movie just the other day.\u003c/p>\n\u003cp>Afterward, she talked about her impressions with her brother, \u003ca href=\"https://twitter.com/bendreyfuss\" target=\"_blank\" rel=\"noopener\">Ben Dreyfuss\u003c/a>, also a journalist, and the two published their chat \u003ca href=\"http://www.motherjones.com/mixed-media/2014/07/jaws-ridiculous-say-kids-who-owe-everything-jaws\" target=\"_blank\" rel=\"noopener\">on Mother Jones\u003c/a>. Their conclusion? Between their dad’s character’s laughable attempt to kill the shark and the shark hunters’ insistence on using a rickety old boat instead of one that was sonar-equipped, the film doesn’t make a whole lot of sense.\u003c/p>\n\u003cp>They tell NPR’s Steve Inskeep that, as it turns out, the movie is quite different from what they remembered.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_10138858\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/jaws-dreyfuss_custom-2f1d443a474bb8ca69898052f2d638fd4ee81595-e1404856006312.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/jaws-dreyfuss_custom-2f1d443a474bb8ca69898052f2d638fd4ee81595-1440x953.jpg\" alt=\"Robert Shaw (from left), Roy Scheider and Richard Dreyfuss play a shark hunter, a police chief and a marine biologist in 1975's <em>Jaws</em>.\" width=\"640\" height=\"423\" class=\"size-large wp-image-10138858\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Shaw (from left), Roy Scheider and Richard Dreyfuss play a shark hunter, a police chief and a marine biologist in 1975’s \u003cem>Jaws\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On forgetting who really said, “You’re gonna need a bigger boat.”\u003c/strong>\u003c/p>\n\u003cp>Emily: When [people] hear that my dad is Richard Dreyfuss, they love to say that line to me and tweak it, like: “We’re gonna need a bigger taxi.” And so because I hear it so much, I really did assume it was \u003cem>his\u003c/em> line.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ben: Our entire lives, when people come up to my dad, that’s the line they quote. … They don’t say, “This was no boating accident”; they always say Scheider’s line. And it’s a running joke with my dad that he’s like, “I imagine that Roy Scheider [is] just constantly rolling his eyes and going like, ‘God, Richard!’ ” …\u003c/p>\n\u003cp>He’s always clarified and been like, “Oh, thank you, I appreciate it, that’s lovely. Um, that was Roy Scheider. I was the fellow with the beard.” One time he and I were in Miami and he corrected someone and the person looked at him and said, “No, you said it,” and walked away.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2I91DJZKRxs#t=16\u003c/p>\n\u003cp>\u003cstrong>On how it all ends [Editor’s note: Spoiler alert. Obviously.]\u003c/strong>\u003c/p>\n\u003cp>Emily: I really thought my dad was the hero. Not that he wasn’t heroic, but I thought he killed the shark basically single-handedly and then swam home.\u003c/p>\n\u003cp>Ben: I had just seen \u003cem>Jaws\u003c/em> last year when my mother had said, “Oh, look, \u003cem>Jaws\u003c/em> is on. My favorite part is when dad kills the shark.” And I was like, “Dad didn’t kill the shark.” And, she was like, “Shut up, Ben. I was married to him. He killed Jaws.” And so we watched it and, of course, he doesn’t kill Jaws. And she was like, “Oh, wow, I guess he doesn’t kill Jaws. I’ve been telling people I’ve been married to \u003ca href=\"http://www.imdb.com/name/nm0001702/\" target=\"_blank\" rel=\"noopener\">Roy Scheider\u003c/a>, I guess.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FpxOLhuNXfM#t=120\u003c/p>\n\u003cp>\u003cstrong>On whether — if he didn’t kill the shark or deliver the film’s most famous line — their dad’s character is still a hero\u003c/strong>\u003c/p>\n\u003cp>Emily: I would say he definitely is. Because he’s the only person who takes it seriously, and without him the beaches would have never have been closed and they never would have set out to kill the shark at all. So after rethinking … it, I would say he is definitely a hero.\u003c/p>\n\u003cp>Ben: When he goes down in the cage, that’s the most brave act of the whole film. Like, he’s in the water, they basically all know he’s probably going to get killed in that situation. He made the brave act of going to fight that shark with a pole. And I mean, that takes chutzpah.\u003c/p>\n\u003cp>Emily: He was gonna shoot it with a tiny needle!\u003c/p>\n\u003cp>Ben: Yeah, with a little stick pole!\u003c/p>\n\u003cp>\u003cstrong>On what their dad thought of their review of \u003cem>Jaws\u003c/em> \u003c/strong>\u003c/p>\n\u003cp>Ben: Well he \u003ca href=\"https://twitter.com/RichardDreyfuss/statuses/484905862230601728\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> … ” ‘Jaws’ Is Ridiculous, Say [Kids] Who Are [Now] Out Of The Will.” But I think that was with love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Emily: The truth is our dad is so incredibly supportive of anything we do ever. I spoke to him and he was just tickled. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Richard+Dreyfuss%27+Kids+Revisit+%27Jaws%2C%27+Conclude+It+Makes+No+Sense&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is the season for news stories about shark bites. It’s also the season when some theater somewhere will play \u003cem>Jaws,\u003c/em> the 1975 thriller in which three men go hunting for a man-eating shark. One of them is a marine biologist played by Richard Dreyfuss, whose daughter, journalist \u003ca href=\"https://twitter.com/EmilyDreyfuss\" target=\"_blank\" rel=\"noopener\">Emily Dreyfuss\u003c/a>, rewatched the movie just the other day.\u003c/p>\n\u003cp>Afterward, she talked about her impressions with her brother, \u003ca href=\"https://twitter.com/bendreyfuss\" target=\"_blank\" rel=\"noopener\">Ben Dreyfuss\u003c/a>, also a journalist, and the two published their chat \u003ca href=\"http://www.motherjones.com/mixed-media/2014/07/jaws-ridiculous-say-kids-who-owe-everything-jaws\" target=\"_blank\" rel=\"noopener\">on Mother Jones\u003c/a>. Their conclusion? Between their dad’s character’s laughable attempt to kill the shark and the shark hunters’ insistence on using a rickety old boat instead of one that was sonar-equipped, the film doesn’t make a whole lot of sense.\u003c/p>\n\u003cp>They tell NPR’s Steve Inskeep that, as it turns out, the movie is quite different from what they remembered.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_10138858\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/jaws-dreyfuss_custom-2f1d443a474bb8ca69898052f2d638fd4ee81595-e1404856006312.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/jaws-dreyfuss_custom-2f1d443a474bb8ca69898052f2d638fd4ee81595-1440x953.jpg\" alt=\"Robert Shaw (from left), Roy Scheider and Richard Dreyfuss play a shark hunter, a police chief and a marine biologist in 1975's <em>Jaws</em>.\" width=\"640\" height=\"423\" class=\"size-large wp-image-10138858\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Shaw (from left), Roy Scheider and Richard Dreyfuss play a shark hunter, a police chief and a marine biologist in 1975’s \u003cem>Jaws\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On forgetting who really said, “You’re gonna need a bigger boat.”\u003c/strong>\u003c/p>\n\u003cp>Emily: When [people] hear that my dad is Richard Dreyfuss, they love to say that line to me and tweak it, like: “We’re gonna need a bigger taxi.” And so because I hear it so much, I really did assume it was \u003cem>his\u003c/em> line.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ben: Our entire lives, when people come up to my dad, that’s the line they quote. … They don’t say, “This was no boating accident”; they always say Scheider’s line. And it’s a running joke with my dad that he’s like, “I imagine that Roy Scheider [is] just constantly rolling his eyes and going like, ‘God, Richard!’ ” …\u003c/p>\n\u003cp>He’s always clarified and been like, “Oh, thank you, I appreciate it, that’s lovely. Um, that was Roy Scheider. I was the fellow with the beard.” One time he and I were in Miami and he corrected someone and the person looked at him and said, “No, you said it,” and walked away.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2I91DJZKRxs#t=16\u003c/p>\n\u003cp>\u003cstrong>On how it all ends [Editor’s note: Spoiler alert. Obviously.]\u003c/strong>\u003c/p>\n\u003cp>Emily: I really thought my dad was the hero. Not that he wasn’t heroic, but I thought he killed the shark basically single-handedly and then swam home.\u003c/p>\n\u003cp>Ben: I had just seen \u003cem>Jaws\u003c/em> last year when my mother had said, “Oh, look, \u003cem>Jaws\u003c/em> is on. My favorite part is when dad kills the shark.” And I was like, “Dad didn’t kill the shark.” And, she was like, “Shut up, Ben. I was married to him. He killed Jaws.” And so we watched it and, of course, he doesn’t kill Jaws. And she was like, “Oh, wow, I guess he doesn’t kill Jaws. I’ve been telling people I’ve been married to \u003ca href=\"http://www.imdb.com/name/nm0001702/\" target=\"_blank\" rel=\"noopener\">Roy Scheider\u003c/a>, I guess.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FpxOLhuNXfM#t=120\u003c/p>\n\u003cp>\u003cstrong>On whether — if he didn’t kill the shark or deliver the film’s most famous line — their dad’s character is still a hero\u003c/strong>\u003c/p>\n\u003cp>Emily: I would say he definitely is. Because he’s the only person who takes it seriously, and without him the beaches would have never have been closed and they never would have set out to kill the shark at all. So after rethinking … it, I would say he is definitely a hero.\u003c/p>\n\u003cp>Ben: When he goes down in the cage, that’s the most brave act of the whole film. Like, he’s in the water, they basically all know he’s probably going to get killed in that situation. He made the brave act of going to fight that shark with a pole. And I mean, that takes chutzpah.\u003c/p>\n\u003cp>Emily: He was gonna shoot it with a tiny needle!\u003c/p>\n\u003cp>Ben: Yeah, with a little stick pole!\u003c/p>\n\u003cp>\u003cstrong>On what their dad thought of their review of \u003cem>Jaws\u003c/em> \u003c/strong>\u003c/p>\n\u003cp>Ben: Well he \u003ca href=\"https://twitter.com/RichardDreyfuss/statuses/484905862230601728\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> … ” ‘Jaws’ Is Ridiculous, Say [Kids] Who Are [Now] Out Of The Will.” But I think that was with love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Emily: The truth is our dad is so incredibly supportive of anything we do ever. I spoke to him and he was just tickled. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Richard+Dreyfuss%27+Kids+Revisit+%27Jaws%2C%27+Conclude+It+Makes+No+Sense&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s frenetic rock group Cold Beat pummels the senses in this strobe-lit new video for the song “UV.” Directed by frontwoman Hannah Lew, the candles, chains and band members flicker behind a throbbing, multi-colored strobe light as drummer Bianca Sparta, deadpan behind a pair of sunglasses, slingshots the band through a three-minute burst of post-punk fury.\u003c/p>\n\u003cp>“UV” appears on Cold Beat’s upcoming debut, \u003cem>Over Me\u003c/em>, due out July 8 on Lew’s \u003ca href=\"http://crimeonthemoon.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Crime On The Moon\u003c/a> label.\u003c/p>\n\u003cp>Below is a review of Cold Beat’s new album, \u003cem>Over Me\u003c/em>, from NPR’s Katie Presley:\u003c/p>\n\u003cp>“New wave” is a much more precise descriptor than it gets credit for. Originally a space-filler genre title when “punk” was deemed bad for sales — when bands like \u003ca href=\"http://www.npr.org/artists/15778481/television\">Television\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener\">Talking Heads\u003c/a> were nodding to but branching away from nose-bloodying Sex Pistols mayhem — “new wave” has left its interstitial 1970s origins and been refined to a point. A wave itself is an apt illustration of the combination of forces at work in much of the genre’s music, particularly in the marriage of two superficially opposed new-wave cornerstones: bubblegum pop and garage punk. Cold Beat, the new project of \u003ca href=\"http://www.npr.org/blogs/allsongs/2010/12/10/131910158/carrie-brownstein-s-top-10-plus-one-for-2010\" target=\"_blank\" rel=\"noopener\">Grass Widow\u003c/a> bassist Hannah Lew, represents the best of new wave — in title, metaphor and roster of influences alike.\u003c/p>\n\u003cfigure id=\"attachment_10138817\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/coldbeat-57c765e6318168c5d0f663bbb9787aa83e30008f-e1404776410545.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/coldbeat-57c765e6318168c5d0f663bbb9787aa83e30008f-e1404776398969-1440x809.jpg\" alt=\"Cold Beat's new album, Over Me, comes out July 8\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138817\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cold Beat’s new album, \u003cem>Over Me\u003c/em>, comes out July 8\u003c/figcaption>\u003c/figure>\n\u003cp>Waves are visible as peaks above sea level, but propelled by forces beneath the water’s surface. The capacity is always in them to spin out of control; to move too much energy at once; to become tsunamis. But when everything works in balance, the ebb and flow is mesmerizing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This sense of controlled chaos is immediately apparent on Cold Beat’s first full-length album, \u003cem>Over Me\u003c/em>. Lew’s ethereal vocals, which are sometimes indistinguishable from synthesizers, are layered over shaggy guitars by Kyle King, frenetic drums by Bianca Sparta (Erase Errata), and Lew’s own relentless bass. Fortified by stacked harmonies, she provides the bubblegum barrier against the tug of punky inertia present in her backing band. Even time is a system of checks and balances: More than half the songs on \u003cem>Over Me\u003c/em> last less than three minutes, lending urgency and a drive toward resolution to every chord and every word. The dance between dissolution and danceability is inherent to Cold Beat, as are its references, both oblique and obvious, to its genre predecessors. Lew’s coo in “Abandon” recalls \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=16737465\">Debbie Harry\u003c/a>‘s in her Blondie days, and the band’s staccato shouting in “UV” has \u003ca href=\"http://www.npr.org/artists/15784835/the-b-52-s\">The B-52’s\u003c/a> written into its DNA.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>New wave may have started as a marketing ploy 40 years ago, but it’s undeniably a credible genre today. Cold Beat has set, with its first record, an ambitious and satisfying alignment of itself with one of recent music’s most fascinating ontological origin stories. To listen to the album, visit \u003ca href=\"http://www.npr.org/2014/06/29/324892936/first-listen-cold-beat-over-me#playlist\" target=\"_blank\" rel=\"noopener\">NPR’s First Listen.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Cold+Beat%2C+%27Over+Me%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s frenetic rock group Cold Beat pummels the senses in this strobe-lit new video for the song “UV.” Directed by frontwoman Hannah Lew, the candles, chains and band members flicker behind a throbbing, multi-colored strobe light as drummer Bianca Sparta, deadpan behind a pair of sunglasses, slingshots the band through a three-minute burst of post-punk fury.\u003c/p>\n\u003cp>“UV” appears on Cold Beat’s upcoming debut, \u003cem>Over Me\u003c/em>, due out July 8 on Lew’s \u003ca href=\"http://crimeonthemoon.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Crime On The Moon\u003c/a> label.\u003c/p>\n\u003cp>Below is a review of Cold Beat’s new album, \u003cem>Over Me\u003c/em>, from NPR’s Katie Presley:\u003c/p>\n\u003cp>“New wave” is a much more precise descriptor than it gets credit for. Originally a space-filler genre title when “punk” was deemed bad for sales — when bands like \u003ca href=\"http://www.npr.org/artists/15778481/television\">Television\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener\">Talking Heads\u003c/a> were nodding to but branching away from nose-bloodying Sex Pistols mayhem — “new wave” has left its interstitial 1970s origins and been refined to a point. A wave itself is an apt illustration of the combination of forces at work in much of the genre’s music, particularly in the marriage of two superficially opposed new-wave cornerstones: bubblegum pop and garage punk. Cold Beat, the new project of \u003ca href=\"http://www.npr.org/blogs/allsongs/2010/12/10/131910158/carrie-brownstein-s-top-10-plus-one-for-2010\" target=\"_blank\" rel=\"noopener\">Grass Widow\u003c/a> bassist Hannah Lew, represents the best of new wave — in title, metaphor and roster of influences alike.\u003c/p>\n\u003cfigure id=\"attachment_10138817\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/coldbeat-57c765e6318168c5d0f663bbb9787aa83e30008f-e1404776410545.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/coldbeat-57c765e6318168c5d0f663bbb9787aa83e30008f-e1404776398969-1440x809.jpg\" alt=\"Cold Beat's new album, Over Me, comes out July 8\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138817\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cold Beat’s new album, \u003cem>Over Me\u003c/em>, comes out July 8\u003c/figcaption>\u003c/figure>\n\u003cp>Waves are visible as peaks above sea level, but propelled by forces beneath the water’s surface. The capacity is always in them to spin out of control; to move too much energy at once; to become tsunamis. But when everything works in balance, the ebb and flow is mesmerizing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This sense of controlled chaos is immediately apparent on Cold Beat’s first full-length album, \u003cem>Over Me\u003c/em>. Lew’s ethereal vocals, which are sometimes indistinguishable from synthesizers, are layered over shaggy guitars by Kyle King, frenetic drums by Bianca Sparta (Erase Errata), and Lew’s own relentless bass. Fortified by stacked harmonies, she provides the bubblegum barrier against the tug of punky inertia present in her backing band. Even time is a system of checks and balances: More than half the songs on \u003cem>Over Me\u003c/em> last less than three minutes, lending urgency and a drive toward resolution to every chord and every word. The dance between dissolution and danceability is inherent to Cold Beat, as are its references, both oblique and obvious, to its genre predecessors. Lew’s coo in “Abandon” recalls \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=16737465\">Debbie Harry\u003c/a>‘s in her Blondie days, and the band’s staccato shouting in “UV” has \u003ca href=\"http://www.npr.org/artists/15784835/the-b-52-s\">The B-52’s\u003c/a> written into its DNA.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>New wave may have started as a marketing ploy 40 years ago, but it’s undeniably a credible genre today. Cold Beat has set, with its first record, an ambitious and satisfying alignment of itself with one of recent music’s most fascinating ontological origin stories. To listen to the album, visit \u003ca href=\"http://www.npr.org/2014/06/29/324892936/first-listen-cold-beat-over-me#playlist\" target=\"_blank\" rel=\"noopener\">NPR’s First Listen.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Cold+Beat%2C+%27Over+Me%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"soldout": {
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"tagline": "A new future for housing",
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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