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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jon Polito, the prolific and raspy-voiced character actor whose more than 200 credits ranged from \u003cem>Homicide: Life on the Street\u003c/em> and \u003cem>Modern Family\u003c/em> to the Coen Brother films \u003cem>Barton Fink\u003c/em> and \u003cem>The Big Lebowski\u003c/em>, has died.\u003c/p>\n\u003cp>Polito died Thursday at City of Hope Hospital in Duarte. California, according to his manager, Maryellen Mulcahy. Polito was 65 and was being treated for multiple myeloma, Mulcahy told The Associated Press on Friday. He is survived by his partner, Darryl Armbruster.\u003c/p>\n\u003cp>A native of Philadelphia and graduate of Villanova University, the short, mustachioed Polito had loved movies and television since childhood and was inspired by the over-the-top acting he first spotted in old horror films and melodramas. With no pretentions to being a leading man, he became one of the busiest TV and movie actors of the past three decades, averaging several projects a year since the mid-1980s. He worked in crime stories (\u003cem>Homicide: Life on the Street\u003c/em>, \u003cem>The Gangster Chronicles\u003c/em>), drama (\u003cem>Flags of Our Fathers\u003c/em>), comedies (\u003cem>The Freshman\u003c/em>, \u003cem>Modern Family\u003c/em>) and in the Coens’ genre-defying projects. He also was a award-winning stage actor, winning an Obie in 1980 for his performances with two different theater companies.\u003c/p>\n\u003cp>Mulcahy said he continued to act right up to the end of his life.\u003c/p>\n\u003cp>Even if you didn’t know his name, you probably saw his face, whether as the “private snoop” confronting Jeff Bridges in \u003cem>The Big Lebowski\u003c/em> or as the agitated landlord with the strands of hair across his forehead in the “Reverse Peephole” episode of \u003cem>Seinfeld\u003c/em>. He was dressed as a woman on “The Chris Isaak Show” and turned up once on “Late Night With David Letterman,” posing as CBS promotions man Phil Carmichael and explaining why Letterman’s recent heart problems were good for business.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People think you’re going to die, Dave: Boom! Double your viewership.”\u003c/p>\n\u003cp>On the ground-breaking NBC drama \u003cem>Homicide: Life on the Street\u003c/em>, Polito played fussy, beleaguered Baltimore Police Detective Steve Crosetti. Partnered with Meldrick Lewis (played by Clark Johnson), Crosetti was on the force only for the first two seasons of the series’ seven-season run in the 1990s.\u003c/p>\n\u003cp>Creative revamping of the show prompted Crosetti to be written out at the start of season 3 — though only temporarily, the producers vowed — which spurred an angry Polito to complain to the media. For that, he was fired, which led to further outrage by the actor when his character, after several episodes’ unexplained absence, was said to have been found: A depressed Crosetti had committed suicide.\u003c/p>\n\u003cp>On several episodes of \u003cem>Modern Family\u003c/em>, Polito played the business archrival of Jay Pritchett (series regular Ed O’Neill).\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press television writer Frazier Moore in New York contributed to this story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Janus Island, despite its rocky hilltops, patches of farmland, and ample beaches, can’t be found on a map. That’s because it doesn’t exist. But to be fair to Janus, most real-life remote islands aren’t easy to find on maps either, unless you know what you’re looking for.\u003c/p>\n\u003cp>The gorgeous new period drama \u003cem>The Light Between Oceans\u003c/em> does know what it’s looking for. Set on the fictitious Janus, which lies some distance from the Australian coast, the film understands the romance and the mystique that arises from picturesque isolation. Literature’s greatest names have long routed their heroes to islands, and the movie demonstrates the setting’s great durability. It builds a gripping morality play, with characters as fierce and hardened as the choppy waves that crash onto the shore from all directions.\u003c/p>\n\u003cp>https://youtu.be/w51IR_BFGyc\u003c/p>\n\u003cp>The lighthouse keeper on this godforsaken paradise is Tom, played by Michael Fassbender with tight lips and a weary stare. He’s a stoic WWI veteran with no family and a fat ton of survivor’s remorse. These qualities would seem to make him the ideal candidate for such a solitary gig, but lighthouse keepers, we’re told, fare better when they have companions to help tend to the chores. (The previous one had conjured images of his dead wife to keep him company.) So it’s good for work when Tom quickly falls for Isabel (Alicia Vikander), the pretty young woman in the closest port town who’s OK with the isolation—and the broken piano in the keeper’s house—but desperately wants a family. Two heartbreaking miscarriages follow, with silent funerals as the island wind rattles the plain wooden crosses. The edge of the world seems to reject all attempts to populate it.\u003c/p>\n\u003cp>An unexpected gift soon washes ashore. It would be foolish to give away too much of what follows this divine intervention, but don’t believe the ads for this movie billing it as a mere romance. Readers of the novel by M.L. Stedman, from which the film is adapted, will know what sorts of decisions await Tom and Isabel, both out on Janus where only God is around to judge, and back in town where the repercussions will grow over the years. The story is airtight, with not an action or background detail wasted. As a grieving mother on the mainland (Rachel Weisz) begins to factor into things, a fascinating spiritual element takes shape: What is the just and righteous decision, and what is the self-serving decision, and what if they are secretly the same?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The skill of the leads is such that we can ask these questions without straying too far from the film itself. Any number of readings are possible in the performances of the red-hot, perfectly cast Fassbender and Vikander, who each depict their characters as withdrawn even when they’re being intimate, and who can open up deep rifts in their relationship without saying a word. At one crucial moment Vikander lets out a scream of such primal fury, a wail of possession, that it shatters the bones. It’s a selfish, even childlike reaction to something she herself did wrong, yet we never think of Isabel as a cheat. She’s human, and her wounds are deep, and she’s chosen the wrong way to fill them.\u003c/p>\n\u003cp>Director Derek Cianfrance previously made \u003cem>Blue Valentine\u003c/em>, a time-scrambled tale of love gone wrong,\u003cem> \u003c/em>and \u003ca href=\"http://www.npr.org/2013/03/28/175284851/the-place-beyond-the-pines-its-a-far-piece\" target=\"_blank\" rel=\"noopener\">\u003cem>The Place Beyond the Pines\u003c/em>\u003c/a>, a multi-generational crime saga. In the past, he has favored an intense, often furious brand of imagery that uses showy technique to approximate deep human emotion without ever quite arriving at real humanity. (Feel Ryan Gosling’s pain! \u003cem>Feel\u003c/em> it!) But here, Cianfrance has found material that complements him well, because the stripped-down story forces him to put his visual style to good use. He does wonders with close-ups from behind, in three-quarter profile, setting the relationships between his leads off-kilter in subtle ways. And because setting your movie on an island is a waste if you can’t bathe everything in natural light, he turns the film (shot on Tasmania and New Zealand) into magic-hour playtime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Light Between Oceans\u003c/em> drifts off-course in the ending, which drags on for one epilogue too many and operates under the ancient Hollywood sailor’s mistaken belief that a touch of schmaltz cures all wounds. Yet the film remains an uncharted island of gripping narrative power and visual splendor, beckoning us to dock at its shore.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Janus Island, despite its rocky hilltops, patches of farmland, and ample beaches, can’t be found on a map. That’s because it doesn’t exist. But to be fair to Janus, most real-life remote islands aren’t easy to find on maps either, unless you know what you’re looking for.\u003c/p>\n\u003cp>The gorgeous new period drama \u003cem>The Light Between Oceans\u003c/em> does know what it’s looking for. Set on the fictitious Janus, which lies some distance from the Australian coast, the film understands the romance and the mystique that arises from picturesque isolation. Literature’s greatest names have long routed their heroes to islands, and the movie demonstrates the setting’s great durability. It builds a gripping morality play, with characters as fierce and hardened as the choppy waves that crash onto the shore from all directions.\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/w51IR_BFGyc'\n title='//www.youtube.com/embed/w51IR_BFGyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The lighthouse keeper on this godforsaken paradise is Tom, played by Michael Fassbender with tight lips and a weary stare. He’s a stoic WWI veteran with no family and a fat ton of survivor’s remorse. These qualities would seem to make him the ideal candidate for such a solitary gig, but lighthouse keepers, we’re told, fare better when they have companions to help tend to the chores. (The previous one had conjured images of his dead wife to keep him company.) So it’s good for work when Tom quickly falls for Isabel (Alicia Vikander), the pretty young woman in the closest port town who’s OK with the isolation—and the broken piano in the keeper’s house—but desperately wants a family. Two heartbreaking miscarriages follow, with silent funerals as the island wind rattles the plain wooden crosses. The edge of the world seems to reject all attempts to populate it.\u003c/p>\n\u003cp>An unexpected gift soon washes ashore. It would be foolish to give away too much of what follows this divine intervention, but don’t believe the ads for this movie billing it as a mere romance. Readers of the novel by M.L. Stedman, from which the film is adapted, will know what sorts of decisions await Tom and Isabel, both out on Janus where only God is around to judge, and back in town where the repercussions will grow over the years. The story is airtight, with not an action or background detail wasted. As a grieving mother on the mainland (Rachel Weisz) begins to factor into things, a fascinating spiritual element takes shape: What is the just and righteous decision, and what is the self-serving decision, and what if they are secretly the same?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The skill of the leads is such that we can ask these questions without straying too far from the film itself. Any number of readings are possible in the performances of the red-hot, perfectly cast Fassbender and Vikander, who each depict their characters as withdrawn even when they’re being intimate, and who can open up deep rifts in their relationship without saying a word. At one crucial moment Vikander lets out a scream of such primal fury, a wail of possession, that it shatters the bones. It’s a selfish, even childlike reaction to something she herself did wrong, yet we never think of Isabel as a cheat. She’s human, and her wounds are deep, and she’s chosen the wrong way to fill them.\u003c/p>\n\u003cp>Director Derek Cianfrance previously made \u003cem>Blue Valentine\u003c/em>, a time-scrambled tale of love gone wrong,\u003cem> \u003c/em>and \u003ca href=\"http://www.npr.org/2013/03/28/175284851/the-place-beyond-the-pines-its-a-far-piece\" target=\"_blank\" rel=\"noopener\">\u003cem>The Place Beyond the Pines\u003c/em>\u003c/a>, a multi-generational crime saga. In the past, he has favored an intense, often furious brand of imagery that uses showy technique to approximate deep human emotion without ever quite arriving at real humanity. (Feel Ryan Gosling’s pain! \u003cem>Feel\u003c/em> it!) But here, Cianfrance has found material that complements him well, because the stripped-down story forces him to put his visual style to good use. He does wonders with close-ups from behind, in three-quarter profile, setting the relationships between his leads off-kilter in subtle ways. And because setting your movie on an island is a waste if you can’t bathe everything in natural light, he turns the film (shot on Tasmania and New Zealand) into magic-hour playtime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Light Between Oceans\u003c/em> drifts off-course in the ending, which drags on for one epilogue too many and operates under the ancient Hollywood sailor’s mistaken belief that a touch of schmaltz cures all wounds. Yet the film remains an uncharted island of gripping narrative power and visual splendor, beckoning us to dock at its shore.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Human beings are the only ones who have to worry about a zombie apocalypse. In the stop-motion short \u003cem>Expiration Date\u003c/em>, a group of fridge foods fight to survive as a toxic mold takes over. Will they make it out alive?\u003c/p>\n\u003cp>Made by \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/filmmakers/sarah-tejeda/\" rel=\"noopener\">Sarah Tejeda\u003c/a>, \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/08/30/stop-motion-short-expiration-date-is-a-lot-like-sausage-party-without-the-dirty-jokes/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/08/30/stop-motion-short-expiration-date-is-a-lot-like-sausage-party-without-the-dirty-jokes/\" target=\"_blank\" title=\"Stop-Motion Short ‘Expiration Date’ is a lot like ‘Sausage Party’ (Without the Dirty Jokes)\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Human beings are the only ones who have to worry about a zombie apocalypse. In the stop-motion short \u003cem>Expiration Date\u003c/em>, a group of fridge foods fight to survive as a toxic mold takes over. Will they make it out alive?\u003c/p>\n\u003cp>Made by \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/filmmakers/sarah-tejeda/\" rel=\"noopener\">Sarah Tejeda\u003c/a>, \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/08/30/stop-motion-short-expiration-date-is-a-lot-like-sausage-party-without-the-dirty-jokes/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/08/30/stop-motion-short-expiration-date-is-a-lot-like-sausage-party-without-the-dirty-jokes/\" target=\"_blank\" title=\"Stop-Motion Short ‘Expiration Date’ is a lot like ‘Sausage Party’ (Without the Dirty Jokes)\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Gene Wilder, the frizzy-haired actor who brought his deft comedic touch to such unforgettable roles as the neurotic accountant in “The Producers” and the deranged animator of “Young Frankenstein,” has died. He was 83.\u003c/p>\n\u003cp>Wilder’s nephew said Monday that the actor and writer died late Sunday at his home in Stamford, Connecticut, from complications from Alzheimer’s disease.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Gene Wilder in \u003ca href=\"https://ww2.kqed.org/forum/2005/04/11/gene-wilder/\" target=\"_blank\" rel=\"noopener\">a 2005 interview\u003c/a> with Michael Krasny on KQED’s ‘Forum’ \u003ca href=\"https://ww2.kqed.org/forum/2005/04/11/gene-wilder/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/h4>\n\u003c/aside>\n\u003cp>Jordan Walker-Pearlman said in a statement that Wilder was diagnosed with the disease three years ago, but kept the condition private so as not to disappoint fans. “He simply couldn’t bear the idea of one less smile in the world,” Walker-Pearlman said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SVi3-PrQ0pY\u003c/p>\n\u003cp>Wilder started his acting career on the stage, but millions knew him from his work in the movies, especially his collaborations with Mel Brooks on “The Producers,” ”Blazing Saddles” and “Young Frankenstein.” The last film — with Wilder playing a California-born descendant of the mad scientist, insisting that his name is pronounced “Frahn-ken-SHTEEN” — was co-written by Brooks and Wilder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the truly great talents of our time,” Mel Brooks tweeted. “He blessed every film we did with his magic & he blessed me with his friendship.”\u003c/p>\n\u003cp>With his unkempt hair and big, buggy eyes, Wilder was a master at playing panicked characters caught up in schemes that only a madman such as Brooks could devise, whether reviving a monster in “Young Frankenstein” or bilking Broadway in “The Producers.” Brooks would call him “God’s perfect prey, the victim in all of us.”\u003c/p>\n\u003cfigure id=\"attachment_11996947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Gene.Producers-800x429.jpg\" alt=\"Gene Wilder with co-star Zero Mostel in 'The Producers.'\" width=\"800\" height=\"429\" class=\"size-medium wp-image-11996947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Producers-800x429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Producers-400x215.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Producers-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Producers-1180x633.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Producers-960x515.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Producers.jpg 1225w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gene Wilder with co-star Zero Mostel in ‘The Producers.’\u003c/figcaption>\u003c/figure>\n\u003cp>But he also knew how to keep it cool as the boozy gunslinger in “Blazing Saddles” or the charming candy man in the children’s favorite “Willy Wonka and the Chocolate Factory.” His craziest role: the therapist having an affair with a sheep in Woody Allen’s “Everything You Wanted to Know About Sex.”\u003c/p>\n\u003cp>He was close friends with Richard Pryor and their contrasting personas — Wilder uptight, Pryor loose — were ideal for comedy. They co-starred in four films: “Silver Streak,” ”Stir Crazy,” ”See No Evil, Hear No Evil” and “Another You.” And they created several memorable scenes, particularly when Pryor provided Wilder with directions on how to “act black” as they tried to avoid police in “Silver Streak.”\u003c/p>\n\u003cp>In 1968, Wilder received an Oscar nomination for his work in Brooks’ “The Producers.” He played the introverted Leo Bloom, an accountant who discovers the liberating joys of greed and corruption as he and Max Bialystock (Zero Mostel) conceive a Broadway flop titled “Springtime For Hitler” and plan to flee with the money raised for the show’s production.\u003c/p>\n\u003cp>Matthew Broderick played Wilder’s role in the 2001 Broadway stage revival of the show.\u003c/p>\n\u003cp>Though they collaborated on film, Wilder and Brooks met through the theater. Wilder was in a play with Brooks’ then-future wife, Anne Bancroft, who introduced the pair backstage in 1963.\u003c/p>\n\u003cfigure id=\"attachment_11996948\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Gene.Wonka_-800x450.jpg\" alt=\"Gene Wilder as the eccentric chocolatier Willy Wonka.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11996948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Wonka_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Wonka_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Wonka_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Wonka_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Wonka_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Wonka_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gene Wilder as the eccentric chocolatier Willy Wonka.\u003c/figcaption>\u003c/figure>\n\u003cp>Wilder, a Milwaukee native, was born Jerome Silberman on June 11, 1935. His father was a Russian emigre, his mother was of Polish descent. When he was 6, Wilder’s mother suffered a heart attack that left her a semi-invalid. He soon began improvising comedy skits to entertain her, the first indication of his future career.\u003c/p>\n\u003cp>He started taking acting classes at age 12 and continued performing and taking lesson through college. In 1961, Wilder became a member of Lee Strasberg’s prestigious Actor’s Studio in Manhattan.\u003c/p>\n\u003cp>That same year, he made both his off-Broadway and Broadway debuts. He won the Clarence Derwent Award, given to promising newcomers, for the Broadway work in Graham Greene’s comedy “The Complaisant Lover.”\u003c/p>\n\u003cp>He used his new name, Gene Wilder, for the off-Broadway and Broadway roles. He lifted the first name from the character Eugene Gant in Thomas Wolfe’s “Look Back, Homeward Angel,” while the last name was clipped from playwright Thornton Wilder. A key break came when he co-starred with Bancroft in Bertolt Brecht’s “Mother Courage,” and met Brooks, her future husband.\u003c/p>\n\u003cfigure id=\"attachment_11996949\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder-800x431.jpg\" alt=\"Gene Wilder in 'Young Frankenstein.'\" width=\"800\" height=\"431\" class=\"size-medium wp-image-11996949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder-400x215.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder.jpg 1274w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gene Wilder in ‘Young Frankenstein.’\u003c/figcaption>\u003c/figure>\n\u003cp>“I was having trouble with one little section of the play, and he gave me tips on how to act. He said, ‘That’s a song and dance. He’s proselytizing about communism. Just skip over it, sing and dance over it, and get on to the good stuff.’ And he was right,” Wilder later explained.\u003c/p>\n\u003cp>Before starring in “The Producers,” he had a small role as the hostage of gangsters in the 1967 classic “Bonnie and Clyde.” He peaked in the mid-1970s with the twin Brooks hits “Blazing Saddles” and “Young Frankenstein.”\u003c/p>\n\u003cp>He went on to write several screenplays and direct several films. In 1982, while making the generally forgettable “Hanky-Panky,” he fell in love with co-star Gilda Radner. They were married in 1984, and co-starred in two Wilder-penned films: “The Lady in Red” and “Haunted Honeymoon.”\u003c/p>\n\u003cp>After Radner died of ovarian cancer in 1989, Wilder spent much of his time after promoting cancer research. He opened a support facility for cancer patients called “Gilda’s Place.” In 1991, he testified before Congress about the need for increased testing for cancer.\u003c/p>\n\u003cp>Wilder is survived by his wife, Karen, whom he married in 1991.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Former AP reporter Larry McShane contributed to this story.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"excerpt": "The star of the enduring children's film 'Willy Wonka and the Chocolate Factory' and comedy classics as 'The Producers' and 'Young Frankenstein,' has died. He was 83.",
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"title": "Gene Wilder, Comedic Star with Gentle Touch, Dies at 83 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gene Wilder, the frizzy-haired actor who brought his deft comedic touch to such unforgettable roles as the neurotic accountant in “The Producers” and the deranged animator of “Young Frankenstein,” has died. He was 83.\u003c/p>\n\u003cp>Wilder’s nephew said Monday that the actor and writer died late Sunday at his home in Stamford, Connecticut, from complications from Alzheimer’s disease.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Gene Wilder in \u003ca href=\"https://ww2.kqed.org/forum/2005/04/11/gene-wilder/\" target=\"_blank\" rel=\"noopener\">a 2005 interview\u003c/a> with Michael Krasny on KQED’s ‘Forum’ \u003ca href=\"https://ww2.kqed.org/forum/2005/04/11/gene-wilder/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/h4>\n\u003c/aside>\n\u003cp>Jordan Walker-Pearlman said in a statement that Wilder was diagnosed with the disease three years ago, but kept the condition private so as not to disappoint fans. “He simply couldn’t bear the idea of one less smile in the world,” Walker-Pearlman said.\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/SVi3-PrQ0pY'\n title='//www.youtube.com/embed/SVi3-PrQ0pY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wilder started his acting career on the stage, but millions knew him from his work in the movies, especially his collaborations with Mel Brooks on “The Producers,” ”Blazing Saddles” and “Young Frankenstein.” The last film — with Wilder playing a California-born descendant of the mad scientist, insisting that his name is pronounced “Frahn-ken-SHTEEN” — was co-written by Brooks and Wilder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the truly great talents of our time,” Mel Brooks tweeted. “He blessed every film we did with his magic & he blessed me with his friendship.”\u003c/p>\n\u003cp>With his unkempt hair and big, buggy eyes, Wilder was a master at playing panicked characters caught up in schemes that only a madman such as Brooks could devise, whether reviving a monster in “Young Frankenstein” or bilking Broadway in “The Producers.” Brooks would call him “God’s perfect prey, the victim in all of us.”\u003c/p>\n\u003cfigure id=\"attachment_11996947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Gene.Producers-800x429.jpg\" alt=\"Gene Wilder with co-star Zero Mostel in 'The Producers.'\" width=\"800\" height=\"429\" class=\"size-medium wp-image-11996947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Producers-800x429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Producers-400x215.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Producers-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Producers-1180x633.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Producers-960x515.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Producers.jpg 1225w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gene Wilder with co-star Zero Mostel in ‘The Producers.’\u003c/figcaption>\u003c/figure>\n\u003cp>But he also knew how to keep it cool as the boozy gunslinger in “Blazing Saddles” or the charming candy man in the children’s favorite “Willy Wonka and the Chocolate Factory.” His craziest role: the therapist having an affair with a sheep in Woody Allen’s “Everything You Wanted to Know About Sex.”\u003c/p>\n\u003cp>He was close friends with Richard Pryor and their contrasting personas — Wilder uptight, Pryor loose — were ideal for comedy. They co-starred in four films: “Silver Streak,” ”Stir Crazy,” ”See No Evil, Hear No Evil” and “Another You.” And they created several memorable scenes, particularly when Pryor provided Wilder with directions on how to “act black” as they tried to avoid police in “Silver Streak.”\u003c/p>\n\u003cp>In 1968, Wilder received an Oscar nomination for his work in Brooks’ “The Producers.” He played the introverted Leo Bloom, an accountant who discovers the liberating joys of greed and corruption as he and Max Bialystock (Zero Mostel) conceive a Broadway flop titled “Springtime For Hitler” and plan to flee with the money raised for the show’s production.\u003c/p>\n\u003cp>Matthew Broderick played Wilder’s role in the 2001 Broadway stage revival of the show.\u003c/p>\n\u003cp>Though they collaborated on film, Wilder and Brooks met through the theater. Wilder was in a play with Brooks’ then-future wife, Anne Bancroft, who introduced the pair backstage in 1963.\u003c/p>\n\u003cfigure id=\"attachment_11996948\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Gene.Wonka_-800x450.jpg\" alt=\"Gene Wilder as the eccentric chocolatier Willy Wonka.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11996948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Wonka_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Wonka_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Wonka_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Wonka_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Wonka_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Gene.Wonka_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gene Wilder as the eccentric chocolatier Willy Wonka.\u003c/figcaption>\u003c/figure>\n\u003cp>Wilder, a Milwaukee native, was born Jerome Silberman on June 11, 1935. His father was a Russian emigre, his mother was of Polish descent. When he was 6, Wilder’s mother suffered a heart attack that left her a semi-invalid. He soon began improvising comedy skits to entertain her, the first indication of his future career.\u003c/p>\n\u003cp>He started taking acting classes at age 12 and continued performing and taking lesson through college. In 1961, Wilder became a member of Lee Strasberg’s prestigious Actor’s Studio in Manhattan.\u003c/p>\n\u003cp>That same year, he made both his off-Broadway and Broadway debuts. He won the Clarence Derwent Award, given to promising newcomers, for the Broadway work in Graham Greene’s comedy “The Complaisant Lover.”\u003c/p>\n\u003cp>He used his new name, Gene Wilder, for the off-Broadway and Broadway roles. He lifted the first name from the character Eugene Gant in Thomas Wolfe’s “Look Back, Homeward Angel,” while the last name was clipped from playwright Thornton Wilder. A key break came when he co-starred with Bancroft in Bertolt Brecht’s “Mother Courage,” and met Brooks, her future husband.\u003c/p>\n\u003cfigure id=\"attachment_11996949\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder-800x431.jpg\" alt=\"Gene Wilder in 'Young Frankenstein.'\" width=\"800\" height=\"431\" class=\"size-medium wp-image-11996949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder-400x215.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/030-Gene-Wilder.jpg 1274w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gene Wilder in ‘Young Frankenstein.’\u003c/figcaption>\u003c/figure>\n\u003cp>“I was having trouble with one little section of the play, and he gave me tips on how to act. He said, ‘That’s a song and dance. He’s proselytizing about communism. Just skip over it, sing and dance over it, and get on to the good stuff.’ And he was right,” Wilder later explained.\u003c/p>\n\u003cp>Before starring in “The Producers,” he had a small role as the hostage of gangsters in the 1967 classic “Bonnie and Clyde.” He peaked in the mid-1970s with the twin Brooks hits “Blazing Saddles” and “Young Frankenstein.”\u003c/p>\n\u003cp>He went on to write several screenplays and direct several films. In 1982, while making the generally forgettable “Hanky-Panky,” he fell in love with co-star Gilda Radner. They were married in 1984, and co-starred in two Wilder-penned films: “The Lady in Red” and “Haunted Honeymoon.”\u003c/p>\n\u003cp>After Radner died of ovarian cancer in 1989, Wilder spent much of his time after promoting cancer research. He opened a support facility for cancer patients called “Gilda’s Place.” In 1991, he testified before Congress about the need for increased testing for cancer.\u003c/p>\n\u003cp>Wilder is survived by his wife, Karen, whom he married in 1991.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Former AP reporter Larry McShane contributed to this story.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003cp>How to apportion the last movie-going hours of summer? Seeking out Hollywood hits that slipped by, like \u003cem>The Secret Life of Pets\u003c/em>, or August dregs such as \u003cem>Ben-Hur\u003c/em>? Slipping into the mood for fall’s serious dramas by catching thoughtful films like \u003cem>Indignation\u003c/em>, \u003cem>Little Men\u003c/em> or \u003cem>A Tale of Love and Darkness\u003c/em> that are lingering at the art houses? Or disdaining new releases altogether, and disappearing into past masterpieces whose insights into human behavior and nature, remarkably, are as piercing and poignant as the day they debuted?\u003c/p>\n\u003cfigure id=\"attachment_11984134\" class=\"wp-caption alignright\" style=\"max-width: 443px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11984134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/latespring.jpg\" alt=\"Yasujiro Ozu's 'Late Spring.'\" width=\"443\" height=\"312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/latespring.jpg 443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/latespring-400x282.jpg 400w\" sizes=\"(max-width: 443px) 100vw, 443px\">\u003cfigcaption class=\"wp-caption-text\">Yasujiro Ozu’s ‘Late Spring.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that last option has the most allure, you must set your GPS this week for the \u003ca href=\"http://www.bampfa.berkeley.edu/visit/calendar/2016-08\" target=\"_blank\" rel=\"noopener\">Pacific Film Archive\u003c/a>. The riches alternate between the sublimely intimate — Yasujiro Ozu’s \u003cem>\u003ca href=\"http://bampfa.org/event/late-spring-4\" target=\"_blank\" rel=\"noopener\">Late Spring\u003c/a>\u003c/em> on Thursday, Sept. 1 and \u003cem>\u003ca href=\"http://bampfa.org/event/tokyo-story-9\" target=\"_blank\" rel=\"noopener\">Tokyo Story\u003c/a>\u003c/em> on Saturday, Sept. 3 — and the sublimely epic — Sergio Leone’s \u003cem>\u003ca href=\"http://bampfa.org/event/good-bad-and-ugly-1\" target=\"_blank\" rel=\"noopener\">The Good, the Bad, and the Ugly\u003c/a>\u003c/em> on Friday, Sept. 2 and \u003cem>\u003ca href=\"http://bampfa.org/event/fistful-dollars-1\" target=\"_blank\" rel=\"noopener\">A Fistful of Dollars\u003c/a>\u003c/em> on Sunday, Sept. 4. If you crave something lighter, Max Ophuls’ elegant and unapologetically adult 1950 adaptation of Arthur Schnitzler’s play, \u003cem>\u003ca href=\"http://bampfa.org/event/la-ronde-5\" target=\"_blank\" rel=\"noopener\">La Ronde\u003c/a>\u003c/em> (Saturday, Sept. 3), portrays the convergence of infatuation and sex (and, it must be noted, venereal disease) with smarts and style to burn.\u003c/p>\n\u003cfigure id=\"attachment_11984135\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11984135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/afewdollarsmore2.jpg\" alt=\"Sergio Leone's 'For a Few Dollars More.'\" width=\"1280\" height=\"940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/afewdollarsmore2.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/afewdollarsmore2-400x294.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/afewdollarsmore2-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/afewdollarsmore2-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/afewdollarsmore2-1180x867.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/afewdollarsmore2-960x705.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">‘Sergio Leone’s ‘For a Few Dollars More.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003cp>How to apportion the last movie-going hours of summer? Seeking out Hollywood hits that slipped by, like \u003cem>The Secret Life of Pets\u003c/em>, or August dregs such as \u003cem>Ben-Hur\u003c/em>? Slipping into the mood for fall’s serious dramas by catching thoughtful films like \u003cem>Indignation\u003c/em>, \u003cem>Little Men\u003c/em> or \u003cem>A Tale of Love and Darkness\u003c/em> that are lingering at the art houses? Or disdaining new releases altogether, and disappearing into past masterpieces whose insights into human behavior and nature, remarkably, are as piercing and poignant as the day they debuted?\u003c/p>\n\u003cfigure id=\"attachment_11984134\" class=\"wp-caption alignright\" style=\"max-width: 443px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11984134\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/latespring.jpg\" alt=\"Yasujiro Ozu's 'Late Spring.'\" width=\"443\" height=\"312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/latespring.jpg 443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/latespring-400x282.jpg 400w\" sizes=\"(max-width: 443px) 100vw, 443px\">\u003cfigcaption class=\"wp-caption-text\">Yasujiro Ozu’s ‘Late Spring.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that last option has the most allure, you must set your GPS this week for the \u003ca href=\"http://www.bampfa.berkeley.edu/visit/calendar/2016-08\" target=\"_blank\" rel=\"noopener\">Pacific Film Archive\u003c/a>. The riches alternate between the sublimely intimate — Yasujiro Ozu’s \u003cem>\u003ca href=\"http://bampfa.org/event/late-spring-4\" target=\"_blank\" rel=\"noopener\">Late Spring\u003c/a>\u003c/em> on Thursday, Sept. 1 and \u003cem>\u003ca href=\"http://bampfa.org/event/tokyo-story-9\" target=\"_blank\" rel=\"noopener\">Tokyo Story\u003c/a>\u003c/em> on Saturday, Sept. 3 — and the sublimely epic — Sergio Leone’s \u003cem>\u003ca href=\"http://bampfa.org/event/good-bad-and-ugly-1\" target=\"_blank\" rel=\"noopener\">The Good, the Bad, and the Ugly\u003c/a>\u003c/em> on Friday, Sept. 2 and \u003cem>\u003ca href=\"http://bampfa.org/event/fistful-dollars-1\" target=\"_blank\" rel=\"noopener\">A Fistful of Dollars\u003c/a>\u003c/em> on Sunday, Sept. 4. If you crave something lighter, Max Ophuls’ elegant and unapologetically adult 1950 adaptation of Arthur Schnitzler’s play, \u003cem>\u003ca href=\"http://bampfa.org/event/la-ronde-5\" target=\"_blank\" rel=\"noopener\">La Ronde\u003c/a>\u003c/em> (Saturday, Sept. 3), portrays the convergence of infatuation and sex (and, it must be noted, venereal disease) with smarts and style to burn.\u003c/p>\n\u003cfigure id=\"attachment_11984135\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11984135\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/afewdollarsmore2.jpg\" alt=\"Sergio Leone's 'For a Few Dollars More.'\" width=\"1280\" height=\"940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/afewdollarsmore2.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/afewdollarsmore2-400x294.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/afewdollarsmore2-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/afewdollarsmore2-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/afewdollarsmore2-1180x867.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/afewdollarsmore2-960x705.jpg 960w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">‘Sergio Leone’s ‘For a Few Dollars More.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "At 81, Disney's First African-American Animator is Still in the Studio",
"headTitle": "At 81, Disney’s First African-American Animator is Still in the Studio | KQED",
"content": "\u003cp>If you’ve seen \u003cem>Sleeping Beauty,\u003c/em> \u003cem>The Jungle Book\u003c/em> or the Toy Story movies, you’ve seen the work of animator Floyd Norman; for decades, he has helped bring Disney and Pixar classics to life.\u003c/p>\n\u003cp>Now 81, Norman still works for Disney, where he has plied his trade, on and off, since he became the studio’s first African-American animator in the 1950s.\u003c/p>\n\u003cp>Norman’s love of art began long before his Disney job, as he reveals in a new documentary, \u003cem>An Animated Life. \u003c/em>“Any empty surface was a blank canvas for me,” he says. His mother was constantly scrubbing scribbles off the walls. “I was drawing on everything,” he recalls.\u003c/p>\n\u003cp>Norman grew up in Santa Barbara, Calif., a place that, he says, sheltered him from much of the racial tension and segregation of the time. He tells NPR’s David Greene he experienced no racism — “none whatsoever.”\u003c/p>\n\u003cfigure id=\"attachment_11983558\" class=\"wp-caption alignright\" style=\"max-width: 651px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e.jpg\" alt='Norman says he did not think of himself as a trailblazer. \"We were just a bunch of kids looking for a job,\" he says.' width=\"651\" height=\"800\" class=\"size-full wp-image-11983558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e.jpg 651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e-400x492.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e-488x600.jpg 488w\" sizes=\"(max-width: 651px) 100vw, 651px\">\u003cfigcaption class=\"wp-caption-text\">Norman says he did not think of himself as a trailblazer. “We were just a bunch of kids looking for a job,” he says. \u003ccite>(Photo: Michael Flore Films/Falco Ink.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We lived in a Pacific paradise,” he says. “I didn’t know it at the time, but my experience as a child was probably a good deal different from many, many people. We had access to everything — good schools, concert, theater.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thanks to that upbringing, it never occurred to Norman that he\u003cem> couldn’t\u003c/em> apply for a job as a Disney animator.\u003c/p>\n\u003cp>“I think the thought just never occurred to a lot of young black talent to apply for a job in the film industry,” he says. “And it wasn’t just Walt Disney. I’m sure the same thing happened at other film studios as well. There was a perception that opportunities were not available for people of color.”\u003c/p>\n\u003cp>So he applied, and in the mid-1950s he became Disney’s first black animator. Many saw that as a big deal — but not Norman.\u003c/p>\n\u003cp>“There were about half dozen of us came to work at Disney that same week,” he says. “We came from different parts of the country. We were all from different backgrounds. … We were Asian, we were Latino, we were black, we were white. Nobody thought about that because that was not the issue at hand. Nobody thought of themselves as being a trailblazer for their race or their group. We were just a bunch of young kids looking for a job.”\u003c/p>\n\u003cp>Still, many have accused Walt Disney and his studio of making racist films, often lampooning minority groups, including African-Americans. Norman downplays that view.\u003c/p>\n\u003cp>“There just wasn’t the same sensitivity there as we have today,” he says. “A lot of this happened, it’s unfortunate, but that was just the times in which we lived. I don’t think we should go back and try to erase the past. This was part of our history, this is part of what happened, and so we should be able to deal with that.”\u003c/p>\n\u003cp>Norman also worked on the animated series \u003cem>Fat Albert and the Cosby Kids\u003c/em>, which aired in the 1970s and ’80s. It was based around Bill Cosby’s memories of growing up in Philadelphia and featured a cast of African-American characters.\u003c/p>\n\u003cp>“Keep in mind that Bill Cosby, who created \u003cem>Fat Albert,\u003c/em> was simply reflecting on his childhood …” Norman says. “It was just making fun of ourselves and there’s nothing wrong with that … I think when others do it, it might be viewed as insensitive, but I see nothing wrong with poking fun at yourself, and as a cartoonist that’s what I do every day.\u003c/p>\n\u003cfigure id=\"attachment_11983559\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-1180x787.jpg\" alt=\"Norman, now 81, was not interested in retirement. "I wanted to continue to work," he says. "You see, creative people don't hang it up.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11983559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Norman, now 81, was not interested in retirement. “I wanted to continue to work,” he says. “You see, creative people don’t hang it up. \u003ccite>(Photo: Michael Flore Films/Falco Ink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Norman turned 65, he says Disney tried to force him to retire, but he wouldn’t have it. “I wanted to continue to work,” he says. “You see, creative people don’t hang it up. We don’t walk away, we don’t want to sit in a lawn chair, we don’t want to go out and play golf, we don’t want to travel the world. We want to continue to work.”\u003c/p>\n\u003cp>And so he did — given the opportunity to contribute as a freelancer, Norman found his way back into the studio. Most freelancers work at home and only come into the office once the job is complete, but not Norman.\u003c/p>\n\u003cp>“I decided I didn’t want to work at home,” he says. “I missed the camaraderie of the big studio. I missed talking to people. I miss being around the action. And so … I found an empty office and I moved in. I was probably in violation of some rule or law or whatever, but there I was.”\u003c/p>\n\u003cp>He continued to work in the office, and his colleagues affectionately coined the term “Floydering” — it rhymes with loitering — in his honor.\u003c/p>\n\u003cp>Norman — who has met and worked with Tom Hanks — has been compared to Hanks’ famous character, Forrest Gump. Norman says it’s not so far off:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Forrest was the guy who just sort of showed up everywhere,” he says. “So a lot of people have looked at me when it came to the animation business where I was the guy … just popping up all over the place. That’s because I love this business, and I never wanted to be apart from it.” \u003c/p>\n\u003cfigure id=\"attachment_11983560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-800x450.jpg\" alt=\"Norman pitches his storyboards to Disney executives in fall 2014.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11983560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Norman pitches his storyboards to Disney executives in fall 2014. \u003ccite>(Photo: Michael Flore Films/Falco Ink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=At+81%2C+Disney%27s+First+African-American+Animator+Is+Still+In+The+Studio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve seen \u003cem>Sleeping Beauty,\u003c/em> \u003cem>The Jungle Book\u003c/em> or the Toy Story movies, you’ve seen the work of animator Floyd Norman; for decades, he has helped bring Disney and Pixar classics to life.\u003c/p>\n\u003cp>Now 81, Norman still works for Disney, where he has plied his trade, on and off, since he became the studio’s first African-American animator in the 1950s.\u003c/p>\n\u003cp>Norman’s love of art began long before his Disney job, as he reveals in a new documentary, \u003cem>An Animated Life. \u003c/em>“Any empty surface was a blank canvas for me,” he says. His mother was constantly scrubbing scribbles off the walls. “I was drawing on everything,” he recalls.\u003c/p>\n\u003cp>Norman grew up in Santa Barbara, Calif., a place that, he says, sheltered him from much of the racial tension and segregation of the time. He tells NPR’s David Greene he experienced no racism — “none whatsoever.”\u003c/p>\n\u003cfigure id=\"attachment_11983558\" class=\"wp-caption alignright\" style=\"max-width: 651px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e.jpg\" alt='Norman says he did not think of himself as a trailblazer. \"We were just a bunch of kids looking for a job,\" he says.' width=\"651\" height=\"800\" class=\"size-full wp-image-11983558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e.jpg 651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e-400x492.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-at-disney-1956_enl-8061ea53e61122f883758ba82d806df42c73253e-488x600.jpg 488w\" sizes=\"(max-width: 651px) 100vw, 651px\">\u003cfigcaption class=\"wp-caption-text\">Norman says he did not think of himself as a trailblazer. “We were just a bunch of kids looking for a job,” he says. \u003ccite>(Photo: Michael Flore Films/Falco Ink.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We lived in a Pacific paradise,” he says. “I didn’t know it at the time, but my experience as a child was probably a good deal different from many, many people. We had access to everything — good schools, concert, theater.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thanks to that upbringing, it never occurred to Norman that he\u003cem> couldn’t\u003c/em> apply for a job as a Disney animator.\u003c/p>\n\u003cp>“I think the thought just never occurred to a lot of young black talent to apply for a job in the film industry,” he says. “And it wasn’t just Walt Disney. I’m sure the same thing happened at other film studios as well. There was a perception that opportunities were not available for people of color.”\u003c/p>\n\u003cp>So he applied, and in the mid-1950s he became Disney’s first black animator. Many saw that as a big deal — but not Norman.\u003c/p>\n\u003cp>“There were about half dozen of us came to work at Disney that same week,” he says. “We came from different parts of the country. We were all from different backgrounds. … We were Asian, we were Latino, we were black, we were white. Nobody thought about that because that was not the issue at hand. Nobody thought of themselves as being a trailblazer for their race or their group. We were just a bunch of young kids looking for a job.”\u003c/p>\n\u003cp>Still, many have accused Walt Disney and his studio of making racist films, often lampooning minority groups, including African-Americans. Norman downplays that view.\u003c/p>\n\u003cp>“There just wasn’t the same sensitivity there as we have today,” he says. “A lot of this happened, it’s unfortunate, but that was just the times in which we lived. I don’t think we should go back and try to erase the past. This was part of our history, this is part of what happened, and so we should be able to deal with that.”\u003c/p>\n\u003cp>Norman also worked on the animated series \u003cem>Fat Albert and the Cosby Kids\u003c/em>, which aired in the 1970s and ’80s. It was based around Bill Cosby’s memories of growing up in Philadelphia and featured a cast of African-American characters.\u003c/p>\n\u003cp>“Keep in mind that Bill Cosby, who created \u003cem>Fat Albert,\u003c/em> was simply reflecting on his childhood …” Norman says. “It was just making fun of ourselves and there’s nothing wrong with that … I think when others do it, it might be viewed as insensitive, but I see nothing wrong with poking fun at yourself, and as a cartoonist that’s what I do every day.\u003c/p>\n\u003cfigure id=\"attachment_11983559\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-1180x787.jpg\" alt=\"Norman, now 81, was not interested in retirement. "I wanted to continue to work," he says. "You see, creative people don't hang it up.\" width=\"640\" height=\"427\" class=\"size-large wp-image-11983559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman_today_enl-62ab18200a08bbf1d4847f25b5b66f9ef9070e08-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Norman, now 81, was not interested in retirement. “I wanted to continue to work,” he says. “You see, creative people don’t hang it up. \u003ccite>(Photo: Michael Flore Films/Falco Ink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Norman turned 65, he says Disney tried to force him to retire, but he wouldn’t have it. “I wanted to continue to work,” he says. “You see, creative people don’t hang it up. We don’t walk away, we don’t want to sit in a lawn chair, we don’t want to go out and play golf, we don’t want to travel the world. We want to continue to work.”\u003c/p>\n\u003cp>And so he did — given the opportunity to contribute as a freelancer, Norman found his way back into the studio. Most freelancers work at home and only come into the office once the job is complete, but not Norman.\u003c/p>\n\u003cp>“I decided I didn’t want to work at home,” he says. “I missed the camaraderie of the big studio. I missed talking to people. I miss being around the action. And so … I found an empty office and I moved in. I was probably in violation of some rule or law or whatever, but there I was.”\u003c/p>\n\u003cp>He continued to work in the office, and his colleagues affectionately coined the term “Floydering” — it rhymes with loitering — in his honor.\u003c/p>\n\u003cp>Norman — who has met and worked with Tom Hanks — has been compared to Hanks’ famous character, Forrest Gump. Norman says it’s not so far off:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Forrest was the guy who just sort of showed up everywhere,” he says. “So a lot of people have looked at me when it came to the animation business where I was the guy … just popping up all over the place. That’s because I love this business, and I never wanted to be apart from it.” \u003c/p>\n\u003cfigure id=\"attachment_11983560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-800x450.jpg\" alt=\"Norman pitches his storyboards to Disney executives in fall 2014.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11983560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/floyd-norman-pitching-his-storyboards-at-disney_fall-2014_enl-77325a15d8a31f8bbc306a02cd0bb8af2cef8a75.jpg 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Norman pitches his storyboards to Disney executives in fall 2014. \u003ccite>(Photo: Michael Flore Films/Falco Ink)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=At+81%2C+Disney%27s+First+African-American+Animator+Is+Still+In+The+Studio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In A Sweet Coming-Of-Age Tale, 'Morris From America' Brings Hip-Hop To Heidelberg",
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"content": "\u003cp>We have become so used to movie characters who always do and say the expected movie things that it’s a shock to watch a film and encounter genuine humans. The new coming-of-age comedy \u003cem>Morris From America\u003c/em> centers around a 13-year-old aspiring rapper played with astonishing magnetism by first-time actor Markees Christmas. What’s remarkable about the film is that it sets up what could have been a bunch of pat, dumb culture-clash jokes about a black New York kid in Europe, yet never takes the easy way out. Instead, it explores and resolutely preserves its hero’s humanity.\u003c/p>\n\u003cp>https://youtu.be/AKhFNgFdbDk\u003c/p>\n\u003cp>Morris lives in Heidelberg, Germany, a picturesque old-Europe town situated midway between Frankfurt, Stuttgart, and the border with France. It’s a place with more standing Middle-Ages structures than black people, and indeed Morris is one of two: the other is his dad, Curtis (Craig Robinson), who works as a soccer coach for the local team. Morris struggles with the language, and, as Americans of any age or creed who’ve lived abroad will tell you, this is only compounded by the fact that everyone around him already speaks excellent English: imagine an older kid resorting to his second language just to bully you.\u003c/p>\n\u003cp>But on a much more elemental level, the short and slightly pudgy young man struggles with his sense of belonging, his complete inability to relate to his tall, thin, lily-white peers in the summer youth program. Racial questions bubble just underneath the surface of every scene, which the camera emphasizes by frequently isolating Morris in the frame, as though he’s constantly trying to will himself away from every uncomfortable situation. (Christmas is so natural in the role that it feels like the filmmakers really found him wandering around Heidelberg by himself.)\u003c/p>\n\u003cp>Though Morris develops a crush on the pretty Katrin (Lina Keller), who sports a “New York” T-shirt, she’s both too old for him and too pitying of him to offer much hope of fulfilling his romantic ambitions. The kid can only do that in his bedroom at night, when he throws on headphones and spits out his own rap lyrics that are hilarious in their complete sexual inexperience. (The fact that the movie is rated R, the same as last week’s absurdly filthy \u003cem>Sausage Party\u003c/em>, is further argument for the Motion Picture Association of America to start a Big Think about the \u003cem>context\u003c/em> of bad words, not just their quantity.) Another bedroom scene, late in the film, finds Morris trying out moves on his pillowcase, a tender duet that’s filmed with the care and subtlety of a traditional love scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chad Hartigan, the film’s gifted writer-director, has dealt with themes of loneliness and forced relocation before, in his 2013 micro-budget masterpiece \u003cem>This Is Martin Bonner\u003c/em>. That movie, a drama about the bond between a man just released from prison and his rehabilitation social worker, also expertly captured an incomplete sense of place, and a halfhearted attempt to spark human connection. Similar to the role that the city of Heidelberg plays here, \u003cem>Bonner\u003c/em>‘s alien setting (Reno, Nevada, where the prison is located) threatens to swallow its heroes whole.\u003c/p>\n\u003cp>Morris is a far lighter affair, swapping out the serious crime at \u003cem>Bonner\u003c/em>‘s center for the more nebulous alienating factors of race, language, and adolescence. It’s also more traditionally structured and provides ample moments of joy, most notably when Morris visits Heidelberg Castle and imagines the surrounding statues bobbing their heads in time with the music only he can hear. But a muted sadness remains. You can see it on the face of Robinson, who’s mostly known for his deadpan one-liners in the margins of pretty much every American studio comedy of the last ten years. He gets some good ones here — and a hysterical Notorious B.I.G. cover — but also digs into a revealing new melancholy side as a father who’s sacrificed everything for a second-rate version of the career calling he’s always wanted. A still-grieving widower, Curtis is fiercely protective of Morris, to the point where he lashes out at the language tutor (the excellent Carla Juri, who starred in the 2013 German film \u003cem>Wetlands\u003c/em>) for jumping to the wrong conclusions when she stumbles on his explicit writings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those writings play a role in Morris’s stirring, bittersweet victory, when his crush and her musician boyfriend invite him on a road trip to spit some verses in a club for an adoring crowd. Modern European youth culture fetishizes American hip-hop from a distance, much like Morris himself does — though Hartigan is smart about portraying the difference between loving something as a novelty and as a sense of belonging. It is hard not to feel a similar sense of belonging when watching \u003cem>Morris From America\u003c/em>, no matter how far removed we may feel from this kid’s dilemma. After all, we’re only human.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We have become so used to movie characters who always do and say the expected movie things that it’s a shock to watch a film and encounter genuine humans. The new coming-of-age comedy \u003cem>Morris From America\u003c/em> centers around a 13-year-old aspiring rapper played with astonishing magnetism by first-time actor Markees Christmas. What’s remarkable about the film is that it sets up what could have been a bunch of pat, dumb culture-clash jokes about a black New York kid in Europe, yet never takes the easy way out. Instead, it explores and resolutely preserves its hero’s humanity.\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/AKhFNgFdbDk'\n title='//www.youtube.com/embed/AKhFNgFdbDk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Morris lives in Heidelberg, Germany, a picturesque old-Europe town situated midway between Frankfurt, Stuttgart, and the border with France. It’s a place with more standing Middle-Ages structures than black people, and indeed Morris is one of two: the other is his dad, Curtis (Craig Robinson), who works as a soccer coach for the local team. Morris struggles with the language, and, as Americans of any age or creed who’ve lived abroad will tell you, this is only compounded by the fact that everyone around him already speaks excellent English: imagine an older kid resorting to his second language just to bully you.\u003c/p>\n\u003cp>But on a much more elemental level, the short and slightly pudgy young man struggles with his sense of belonging, his complete inability to relate to his tall, thin, lily-white peers in the summer youth program. Racial questions bubble just underneath the surface of every scene, which the camera emphasizes by frequently isolating Morris in the frame, as though he’s constantly trying to will himself away from every uncomfortable situation. (Christmas is so natural in the role that it feels like the filmmakers really found him wandering around Heidelberg by himself.)\u003c/p>\n\u003cp>Though Morris develops a crush on the pretty Katrin (Lina Keller), who sports a “New York” T-shirt, she’s both too old for him and too pitying of him to offer much hope of fulfilling his romantic ambitions. The kid can only do that in his bedroom at night, when he throws on headphones and spits out his own rap lyrics that are hilarious in their complete sexual inexperience. (The fact that the movie is rated R, the same as last week’s absurdly filthy \u003cem>Sausage Party\u003c/em>, is further argument for the Motion Picture Association of America to start a Big Think about the \u003cem>context\u003c/em> of bad words, not just their quantity.) Another bedroom scene, late in the film, finds Morris trying out moves on his pillowcase, a tender duet that’s filmed with the care and subtlety of a traditional love scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chad Hartigan, the film’s gifted writer-director, has dealt with themes of loneliness and forced relocation before, in his 2013 micro-budget masterpiece \u003cem>This Is Martin Bonner\u003c/em>. That movie, a drama about the bond between a man just released from prison and his rehabilitation social worker, also expertly captured an incomplete sense of place, and a halfhearted attempt to spark human connection. Similar to the role that the city of Heidelberg plays here, \u003cem>Bonner\u003c/em>‘s alien setting (Reno, Nevada, where the prison is located) threatens to swallow its heroes whole.\u003c/p>\n\u003cp>Morris is a far lighter affair, swapping out the serious crime at \u003cem>Bonner\u003c/em>‘s center for the more nebulous alienating factors of race, language, and adolescence. It’s also more traditionally structured and provides ample moments of joy, most notably when Morris visits Heidelberg Castle and imagines the surrounding statues bobbing their heads in time with the music only he can hear. But a muted sadness remains. You can see it on the face of Robinson, who’s mostly known for his deadpan one-liners in the margins of pretty much every American studio comedy of the last ten years. He gets some good ones here — and a hysterical Notorious B.I.G. cover — but also digs into a revealing new melancholy side as a father who’s sacrificed everything for a second-rate version of the career calling he’s always wanted. A still-grieving widower, Curtis is fiercely protective of Morris, to the point where he lashes out at the language tutor (the excellent Carla Juri, who starred in the 2013 German film \u003cem>Wetlands\u003c/em>) for jumping to the wrong conclusions when she stumbles on his explicit writings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those writings play a role in Morris’s stirring, bittersweet victory, when his crush and her musician boyfriend invite him on a road trip to spit some verses in a club for an adoring crowd. Modern European youth culture fetishizes American hip-hop from a distance, much like Morris himself does — though Hartigan is smart about portraying the difference between loving something as a novelty and as a sense of belonging. It is hard not to feel a similar sense of belonging when watching \u003cem>Morris From America\u003c/em>, no matter how far removed we may feel from this kid’s dilemma. After all, we’re only human.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Department of Homeland Security investigators said Thursday they are investigating the hack of Leslie Jones’ website that revealed several private details of the actress-comedian’s life.\u003c/p>\n\u003cp>U.S. Immigration and Customs Enforcement, part of Homeland Security Investigations, said Thursday that its New York office is investigating the hack that exposed the driver’s license, passport and intimate photos of the \u003cem>Saturday Night Live\u003c/em> star, along with hateful and racist images.\u003c/p>\n\u003cp>ICE Public Affairs Officer Rachael Yong Yow said the agency does not release information related to active investigations. Jones’ website was taken offline after the hack was exposed Wednesday.\u003c/p>\n\u003cp>The \u003cem>Ghostbusters\u003c/em> actress was also targeted on Twitter last month with a barrage of racial slurs and obscene photos. She called on the social networking service to do more to curb harassment, and Twitter banned several users as a result.\u003c/p>\n\u003cp>In recent years, Jennifer Lawrence, Scarlett Johansson, Mila Kunis, Christina Aguilera and Kate Upton have been among Hollywood actresses who’ve had stolen nude images of themselves posted online.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No charges have been filed against those who hacked and posted images of Lawrence, Upton and numerous other celebrities in a massive dump of intimate images of celebrities in August 2014.\u003c/p>\n\u003cp>Two men were recently convicted after federal prosecutors charged them with hacking into the accounts of several celebrities and stealing images and other personal information. However, neither of the men, Andrew Helton of Astoria, Oregon, or Ryan Collins of Lancaster, Pennsylvania, are suspected of posting the stolen images online.\u003c/p>\n\u003cp>Helton was sentenced to six months in federal prison in July, half of the sentence prosecutors had sought. Helton pleaded guilty to stealing 161 nude or explicit photos from 13 people, including unidentified celebrities, and said his arrest forced him to confront his mental health issues. He is due to report to prison in October.\u003c/p>\n\u003cp>Collins’ sentencing date has not been set.\u003c/p>\n\u003cp>Johansson, Kunis and Aguilera were hacked by a Florida man, Christopher Chaney, who used publicly available information to obtain access to the email accounts of more than 50 people in the entertainment industry. Chaney was sentenced to 10 years and remains in a low-security federal prison in Mississippi.\u003c/p>\n\u003cp>“I have been truly humiliated and embarrassed,” Johansson said in a tearful videotaped statement played in court before Chaney was sentenced to 10 years in federal prison in December 2012.\u003c/p>\n\u003cp>Private information and images of celebrities are frequent targets for hackers. In 2012 a site posted credit reports, Social Security numbers and other financial info on celebrities, including Jay Z and his wife Beyonce, Mel Gibson, Ashton Kutcher and many others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Department of Homeland Security investigators said Thursday they are investigating the hack of Leslie Jones’ website that revealed several private details of the actress-comedian’s life.\u003c/p>\n\u003cp>U.S. Immigration and Customs Enforcement, part of Homeland Security Investigations, said Thursday that its New York office is investigating the hack that exposed the driver’s license, passport and intimate photos of the \u003cem>Saturday Night Live\u003c/em> star, along with hateful and racist images.\u003c/p>\n\u003cp>ICE Public Affairs Officer Rachael Yong Yow said the agency does not release information related to active investigations. Jones’ website was taken offline after the hack was exposed Wednesday.\u003c/p>\n\u003cp>The \u003cem>Ghostbusters\u003c/em> actress was also targeted on Twitter last month with a barrage of racial slurs and obscene photos. She called on the social networking service to do more to curb harassment, and Twitter banned several users as a result.\u003c/p>\n\u003cp>In recent years, Jennifer Lawrence, Scarlett Johansson, Mila Kunis, Christina Aguilera and Kate Upton have been among Hollywood actresses who’ve had stolen nude images of themselves posted online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No charges have been filed against those who hacked and posted images of Lawrence, Upton and numerous other celebrities in a massive dump of intimate images of celebrities in August 2014.\u003c/p>\n\u003cp>Two men were recently convicted after federal prosecutors charged them with hacking into the accounts of several celebrities and stealing images and other personal information. However, neither of the men, Andrew Helton of Astoria, Oregon, or Ryan Collins of Lancaster, Pennsylvania, are suspected of posting the stolen images online.\u003c/p>\n\u003cp>Helton was sentenced to six months in federal prison in July, half of the sentence prosecutors had sought. Helton pleaded guilty to stealing 161 nude or explicit photos from 13 people, including unidentified celebrities, and said his arrest forced him to confront his mental health issues. He is due to report to prison in October.\u003c/p>\n\u003cp>Collins’ sentencing date has not been set.\u003c/p>\n\u003cp>Johansson, Kunis and Aguilera were hacked by a Florida man, Christopher Chaney, who used publicly available information to obtain access to the email accounts of more than 50 people in the entertainment industry. Chaney was sentenced to 10 years and remains in a low-security federal prison in Mississippi.\u003c/p>\n\u003cp>“I have been truly humiliated and embarrassed,” Johansson said in a tearful videotaped statement played in court before Chaney was sentenced to 10 years in federal prison in December 2012.\u003c/p>\n\u003cp>Private information and images of celebrities are frequent targets for hackers. In 2012 a site posted credit reports, Social Security numbers and other financial info on celebrities, including Jay Z and his wife Beyonce, Mel Gibson, Ashton Kutcher and many others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tommy Chaos and Stacey Danger may have escaped North Korea, destroyed Russian submarines, and dodged laser-shooting dinosaurs, but that doesn’t mean they’re immune to the difficulties of a long-term relationship.\u003c/p>\n\u003cp>\u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/the-life-and-death-of-tommy-chaos-and-stacey-danger/\" rel=\"noopener\">The Life and Death of Tommy Chaos and Stacey Danger\u003c/a> \u003c/em>is a visually spectacular 10-minute sci-fi adventure directed by <a target=\"_blank\" \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/08/24/jurassic-park-meets-blue-valentine-in-the-life-and-death-of-tommy-chaos-and-stacey-danger/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/08/24/jurassic-park-meets-blue-valentine-in-the-life-and-death-of-tommy-chaos-and-stacey-danger/\" target=\"_blank\" title=\"Jurassic Park Meets Blue Valentine in ‘The Life and Death of Tommy Chaos and Stacey Danger’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tommy Chaos and Stacey Danger may have escaped North Korea, destroyed Russian submarines, and dodged laser-shooting dinosaurs, but that doesn’t mean they’re immune to the difficulties of a long-term relationship.\u003c/p>\n\u003cp>\u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/the-life-and-death-of-tommy-chaos-and-stacey-danger/\" rel=\"noopener\">The Life and Death of Tommy Chaos and Stacey Danger\u003c/a> \u003c/em>is a visually spectacular 10-minute sci-fi adventure directed by <a target=\"_blank\" \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/08/24/jurassic-park-meets-blue-valentine-in-the-life-and-death-of-tommy-chaos-and-stacey-danger/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/08/24/jurassic-park-meets-blue-valentine-in-the-life-and-death-of-tommy-chaos-and-stacey-danger/\" target=\"_blank\" title=\"Jurassic Park Meets Blue Valentine in ‘The Life and Death of Tommy Chaos and Stacey Danger’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Bette Davis v. Joan Crawford: The Hateful History Behind Old Hollywood's Nastiest Feud",
"title": "Bette Davis v. Joan Crawford: The Hateful History Behind Old Hollywood's Nastiest Feud",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>, KQED's weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/05/BetteDavisJoanCrawford.mp3\" title=\"Bette Davis vs. Joan Crawford, The Shadiest Hollywood Feud of All Time\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Fresh off hits like \u003cem>American Crime Story\u003c/em> and \u003cem>The People v. OJ Simpson\u003c/em>, Ryan Murphy recently announced his next project. Tentatively titled \u003cem>Feud\u003c/em>, the 8-episode season will focus on the rivalry between Bette Davis and Joan Crawford. Susan Sarandon will play Ms. Davis and Jessica Lange will star as Ms. Crawford. If you are familiar with this historic feud, you know the series will be must-see juiciness. But for those of you who aren’t up on your Old Hollywood drama, let me take you on a shade retrospective of Davis v. Crawford.\u003c/p>\n\u003cp>But before we get to the barbed one-liners, let's get some backstory:\u003c/p>\n\u003cfigure id=\"attachment_33507\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/joan-dance-fools-dance-1931.jpg\">\u003cimg class=\"wp-image-33507 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/joan-dance-fools-dance-1931-400x574.jpg\" alt=\"Joan Crawford cuts a rug.\" width=\"400\" height=\"574\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/joan-dance-fools-dance-1931-400x574.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/joan-dance-fools-dance-1931.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joan Crawford cuts a rug.\u003c/figcaption>\u003c/figure>\n\u003cp>Lucille Fay LeSueur was born to a single mother in Texas and spent her childhood moving from state to state, struggling to get a proper education. She dreamed of a better life as a famous dancer. After some time in various chorus lines, Lucille decided to switch gears and landed a $75 a week gig as an actress at MGM. The studio publicist didn't like the sound of her name (too close to \"sewer\") so he organized a \"Name the Star\" magazine contest. And a star (named Joan Crawford) was born!\u003c/p>\n\u003cfigure id=\"attachment_33505\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Bette_davis_of_human_bondage.jpg\">\u003cimg class=\"wp-image-33505 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Bette_davis_of_human_bondage-400x495.jpg\" alt=\"Bette Davis, slaying in Of Human Bondage.\" width=\"400\" height=\"495\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette_davis_of_human_bondage-400x495.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette_davis_of_human_bondage.jpg 558w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bette Davis, slaying in \u003cem>Of Human Bondage\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>Ruth Elizabeth Davis, known early on as \"Betty,\" grew up in New England and had an easier upbringing. She was fortunate enough to attend boarding schools and receive theater training, which led to time on Broadway. Eventually, she made her way to LA, where success didn't seem likely at first. Upon arrival, the driver who was meant to pick her up left without her because he didn't see anyone that \"looked like an actress.\" Hollywood big wigs didn't think she was sexy enough. But Bette persisted and got her big break two years later with a lead role in \u003cem>The Man Who Played God. \u003c/em>Two years after that, her performance as a no-nonsense waitress in \u003cem>Of Human Bondage \u003c/em>got so much fanfare that, when she was snubbed at the Oscars, there was such an uproar that the Academy had to change their voting rules.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the '30s and '40s, both Joan and Bette were at the top of their game. Joan was the movie star, better known for her looks and off-screen hook-ups (she was married to Douglass Fairbanks Jr. and had a thing with Clark Gable, among other notable men), while Bette was considered a serious character actress, intensely focused on her craft.\u003c/p>\n\u003cp>Back in the day, actors were more or less owned by a studio and couldn’t work on any other productions, unless specifically loaned out. Crawford was part of MGM and Davis was part of Warner Bros. so, even though they were competing for America’s attention, they rarely had to compete for the same roles.\u003c/p>\n\u003cfigure id=\"attachment_33465\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/franchot-tone-and-bette-davis-in-dangerous-1935.jpg\">\u003cimg class=\"size-thumbnail wp-image-33465\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/franchot-tone-and-bette-davis-in-dangerous-1935-400x305.jpg\" alt=\"Franchot and Bette on the set of Dangerous.\" width=\"400\" height=\"305\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/franchot-tone-and-bette-davis-in-dangerous-1935-400x305.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/franchot-tone-and-bette-davis-in-dangerous-1935.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Franchot and Bette on the set of \u003cem>Dangerous\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>Things started to bubble in 1935 when Bette was filming \u003cem>Dangerous\u003c/em> with a hot(ish) guy named Franchot Tone. She developed a crush on him. \"I fell in love with Franchot, professionally and privately. Everything about him reflected his elegance, from his name to his manners,\" Bette said.\u003c/p>\n\u003cfigure id=\"attachment_33509\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/BLOG-franchot.jpg\">\u003cimg class=\"size-thumbnail wp-image-33509\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/BLOG-franchot-400x498.jpg\" alt=\"Franchot and Joan get hot and heavy.\" width=\"400\" height=\"498\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/BLOG-franchot-400x498.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/BLOG-franchot.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Franchot and Joan, connoisseurs in PDA.\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately for her, Joan got to him first. Rumor has it that she invited Tone to her home and met him naked in the solarium. It wasn't long before Joan started visiting the set, much to Bette's chagrin. “He was madly in love with her. They met each day for lunch. He would return to the set, his face covered in lipstick. I was jealous of course.” Joan and Franchot married once filming wrapped.\u003c/p>\n\u003cp>Decades later, Bette would open up about this time in her life to journalist Michael Thorton: \"She took him from me. She did it coldly, deliberately and with complete ruthlessness. I have never forgiven her for that and never will.\"\u003c/p>\n\u003cp>\u003cem>Dangerous\u003c/em> was met with critical acclaim and\u003cem> \u003c/em>Bette Davis was nominated for an Oscar. Because she was relatively new to the game and didn't believe she would win, Bette wore a simple navy blue dress to the ceremony. The voters proved her wrong and her name was called. According to legend, Franchot got up and embraced her, while his now-wife Joan refused to get up and had her back to Bette. After being called out for her rude behavior by Franchot, Joan allegedly looked Bette up and down and snidely said \"Dear Bette! What a \u003cem>lovely\u003c/em> frock.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160.gif\">\u003cimg class=\"aligncenter size-full wp-image-33471\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160.gif\" alt=\"Bette-Movie-Quotes-bette-davis-33800643-160-160\" width=\"160\" height=\"160\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160.gif 160w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160-50x50.gif 50w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160-150x150.gif 150w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160.gif\">\u003cimg class=\"aligncenter size-full wp-image-33472\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160.gif\" alt=\"Bette-Movie-Quotes-bette-davis-33800618-160-160\" width=\"160\" height=\"160\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160.gif 160w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160-50x50.gif 50w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160-150x150.gif 150w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/a>\u003c/p>\n\u003cp>All was quiet on the western front for a while after that...until Joan left MGM and got hired -- where else? -- Warner Bros! Now Bette and Joan were directly competing for the same roles. Around this time, Bette was considering the titular role in \u003cem>Mildred Pierce\u003c/em>, which she eventually turned down. Joan ended up snagging it and won an Oscar for her work.\u003c/p>\n\u003cfigure id=\"attachment_33474\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_nhk0j1K4DS1rdfgw4o1_500.gif\">\u003cimg class=\"wp-image-33474 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_nhk0j1K4DS1rdfgw4o1_500.gif\" alt=\"joan crawford twirl gif\" width=\"500\" height=\"376\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joan is feeling herself.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_33473\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-33473 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy.gif\" alt=\"giphy\" width=\"500\" height=\"338\">\u003cfigcaption class=\"wp-caption-text\">Bette is not here for it.\u003c/figcaption>\u003c/figure>\n\u003cp>Years of competition and sh*t talk ensued. Here are some highlights:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Joan on Bette:\u003c/strong>\u003c/p>\n\u003cp>“Poor Bette! She looks like she’s never had a happy day... or night!... in her life.”\u003c/p>\n\u003cp>“Miss Davis was always partial to covering up her face in motion pictures. She called it ‘art.’ Others might call it camouflage, a cover-up for the absence of any real beauty.”\u003c/p>\n\u003cp>“I don’t hate Bette Davis, even though the press wants me to; I resent her. I don’t see how she built a career out of mannerisms instead of real acting ability. She’s a phony, but I guess the public likes that.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/joan1.gif\">\u003cimg class=\"aligncenter size-full wp-image-33475\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/joan1.gif\" alt=\"joan crawford kennel gif\" width=\"500\" height=\"355\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bette on Joan:\u003c/strong>\u003c/p>\n\u003cp>\"She has slept with every male star at MGM except Lassie.\"\u003c/p>\n\u003cp>\"I wouldn't piss on Joan Crawford if she were on fire.\"\u003c/p>\n\u003cp>\"Why am I so good at playing bitches? I think it’s because I’m not a bitch. Maybe that’s why Miss Crawford always plays ladies.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_mp7twaJ6tZ1qaad4ao1_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-33477\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_mp7twaJ6tZ1qaad4ao1_500.gif\" alt=\"tumblr_mp7twaJ6tZ1qaad4ao1_500\" width=\"500\" height=\"300\">\u003c/a>\u003c/p>\n\u003cp>Eventually, due to Hollywood being grossed out by the idea of women over 29, both actors weren’t in such demand anymore. Work was so hard to come by that Bette resorted to putting out an ad in \u003cem>Variety\u003c/em> that read:\u003c/p>\n\u003cblockquote>\u003cp>\"Thirty years experience as an actress in motion pictures. Mobile still and more affable than rumor would have it. Wants steady employment in Hollywood (Has had Broadway).\"\u003c/p>\u003c/blockquote>\n\u003cp>In 1961, now in her fifties, Bette was performing on Broadway in Tennessee Williams’ \u003cem>\u003cspan class=\"italic\">The Night of the Iguana\u003c/span>\u003c/em>\u003cspan class=\"italic\">. One night, an unexpected Joan showed up backstage, gave Bette a novel called\u003c/span> \u003cem>\u003cspan class=\"italic\">Whatever Happened to Baby Jane? \u003c/span>\u003c/em>\u003cspan class=\"italic\">and proposed that they star in the adaptation. \u003c/span>They would play two has-been child star sisters living together. Bette’s character spends the entire film tormenting Joan’s character, who is paralyzed and can't defend herself, so it's no wonder that Bette said \u003cem>Hell yes.\u003c/em>\u003c/p>\n\u003cp>Getting Bette to sign on was the first challenge. The more daunting task was getting someone in Hollywood to finance a movie starring older women. Studio after studio, including Bette and Joan's former home Warner Bros, turned down the idea or claimed they would only be interested if the leading women were replaced with younger talent. Eventually, a small production company called Seven Arts said yes and handed over some meager funds. Both women had to take a drastic pay cut, in exchange for a percentage of the profits, in order to get the ball rolling.\u003c/p>\n\u003cfigure id=\"attachment_33526\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/crawford-davis.jpg\">\u003cimg class=\"size-medium wp-image-33526\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/crawford-davis-800x541.jpg\" alt=\"Joan and Bette on set.\" width=\"800\" height=\"541\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/crawford-davis-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/crawford-davis-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/crawford-davis-768x520.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/crawford-davis-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/crawford-davis-960x650.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/crawford-davis.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joan and Bette on set.\u003c/figcaption>\u003c/figure>\n\u003cp>As you might expect, the petty shenanigans on set were of Biblical proportions. For instance, Joan had been married to the CEO of Pepsi and advocated for Pepsi product-placement in the film. Bette responded by having a Coca-Cola machine installed on set. And it didn't take long for the bad behavior to migrate from behind-the-scenes to in front of the camera.\u003c/p>\n\u003cp>Concerned that Bette would actually hurt her during a scene that required the two actresses to fight, Joan requested a body double, but there was one close-up shot that required her participation. During this take, whether by accident or not, Bette gave Joan's head such a kick that Joan required stitches. What did Bette have to say for herself? “I barely touched her.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/WHTBJJ.gif\">\u003cimg class=\"aligncenter size-full wp-image-33515\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/WHTBJJ.gif\" alt=\"WHTBJJ\" width=\"245\" height=\"160\">\u003c/a>\u003c/p>\n\u003cp>Joan wanted revenge and got it while filming a later scene, which involved Bette dragging her across the room. To prepare, Joan, who knew Bette had a history of back problems, strapped on a weightlifters' belt to make herself as heavy as possible. \"There is a way of making it easy on the actor who is doing the carrying, but Crawford wanted Bette to suffer,\" director Robert Aldrich later said. And suffer she did.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy_1.gif\">\u003cimg class=\"aligncenter size-full wp-image-33516\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy_1.gif\" alt=\"whatever happened to baby jane drag body joan bette\" width=\"245\" height=\"130\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cspan class=\"italic\">Whatever Happened to Baby Jane? \u003c/span>\u003c/em>\u003cspan class=\"italic\">turned out to be a huge hit. Bette and Joan got rich all over again, thanks to the profit percentages they had agreed to in the budget negotiations. The movie also raked it in with five Oscar nods total. Davis was nominated for Best Actress. \u003ca href=\"http://big.assets.huffingtonpost.com/gretchencandycanes422.gif\">And none for\u003c/a> Joan Crawford.\u003c/span>\u003c/p>\n\u003cp>Joan was not happy for her co-star, to say the least. She actively campaigned against Bette during the Oscar season and hatched a secret plan to humiliate her at the ceremony. Bette lost that year's title to Anne Bancroft and couldn't believe her eyes when none other than Joan, herself, waltzed on stage to collect the award. (Joan had called all the other nominees and offered to accept the award on their behalf, should they win.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eqjO39TX5RY\u003c/p>\n\u003cp>“I almost dropped dead! I was paralyzed with shock. To deliberately upstage me like that! Her behavior was despicable. I will never forget the look she gave me. It was triumphant. It clearly said: 'You didn't win, and I am elated!'\" Bette later said.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-33469\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_m11mnl6GKq1qj71muo1_500.gif\" alt=\"tumblr_m11mnl6GKq1qj71muo1_500\" width=\"500\" height=\"333\">\u003c/p>\n\u003cp>A few years later, Robert Aldrich wanted to get the old gang back together again for \u003cem>Hush... Hush, Sweet Charlotte\u003c/em>. The public's interest in the Bette and Joan rivalry had made them so much money the first time around; why not have another go? Both stars agreed, but the film was immediately plagued by drama.\u003c/p>\n\u003cp>First, the production had to be delayed a month due to Joan wanting to attend a Pepsi sales conference. Once filming did start, Joan complained about no one coming to collect her and her team (a maid, a makeup artist and a hairdresser), after they had landed in Baton Rouge. She also complained about the accommodation, which was too close to garbage cans. Bette snapped, \"Oh, Joan, pull yourself together. This is Baton Rouge, not Beverly Hills!\"\u003c/p>\n\u003cfigure id=\"attachment_33541\" class=\"wp-caption aligncenter\" style=\"max-width: 360px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/joan-crawford-is-embarrassed-for-you-o.gif\">\u003cimg class=\"size-full wp-image-33541\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/joan-crawford-is-embarrassed-for-you-o.gif\" alt=\"Joan misses LA, where everywhere you go has valet.\" width=\"360\" height=\"238\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joan misses LA, where everywhere you go has valet.\u003c/figcaption>\u003c/figure>\n\u003cp>Joan also suspected that Bette had too much control over the director and was plotting against her: \"She's practically directing the picture for him right in front of me, so God knows what else she's up to behind my back. I might wind up on the cutting-room floor.\" And Bette's behavior on set didn't assuage that paranoia; Joan would say \"Hello\" or \"Good morning\" every day and Bette would simply ignore her.\u003c/p>\n\u003cp>As the shoot continued, Joan began complained of exhaustion and refused to work or speak to the director. The suspicion was that she planned to feign illness to get out of the movie. Insurance doctors and private detectives were involved and the studio's insurance company gave the director an ultimatum: either replace Joan or it's a wrap.\u003c/p>\n\u003cp>The film left Joan behind, who promptly checked herself into a hospital. Olivia de Havilland, a friend of Bette's, was selected as her replacement. Back on set, Bette toasted Joan's exit and Olivia's entrance with a glass full of Coca-Cola.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/bettedavisamen.gif\">\u003cimg class=\"aligncenter size-full wp-image-33542\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/bettedavisamen.gif\" alt=\"bette+davis+amen\" width=\"243\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>Bette and Joan would never work together again. Joan died first, but even death didn't soften Bette towards her former co-star. \"You should never say bad things about the dead, you should only say good. Joan Crawford is dead. Good.”\u003c/p>\n\u003cp>Was their feud real? Or was it a media creation, which Bette and Joan capitalized on? Most likely a bit of both. They say that what you hate in someone else is what you hate in yourself. Maybe these two women always found themselves at odds because they were just too similar.\u003c/p>\n\u003cp>Both came from single-mother households. Both were headstrong Alpha leading ladies trying to survive in a world that only allowed for one. Both were Aries (\u003ca href=\"https://ww2.kqed.org/pop/2016/06/21/will-our-next-president-be-hillary-or-trump-astrologers-think-they-know/\">if you believe in that sort of thing\u003c/a>). Both struggled with love (four marriages each) and parenting (their children wrote tell-alls about them).\u003c/p>\n\u003cp>Just imagine what could have been if they had realized how much they had in common...\u003c/p>\n\u003cfigure id=\"attachment_33528\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/BD.gif\">\u003cimg class=\"size-full wp-image-33528\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/BD.gif\" alt=\":-(\" width=\"500\" height=\"262\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">🙁\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>For even more Bette and Joan thoughts and feelings, get a load of this episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>:\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/264856470&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "The Old Hollywood rivalry that makes Mariah vs. Jennifer Lopez look like child's play.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>, KQED's weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Fresh off hits like \u003cem>American Crime Story\u003c/em> and \u003cem>The People v. OJ Simpson\u003c/em>, Ryan Murphy recently announced his next project. Tentatively titled \u003cem>Feud\u003c/em>, the 8-episode season will focus on the rivalry between Bette Davis and Joan Crawford. Susan Sarandon will play Ms. Davis and Jessica Lange will star as Ms. Crawford. If you are familiar with this historic feud, you know the series will be must-see juiciness. But for those of you who aren’t up on your Old Hollywood drama, let me take you on a shade retrospective of Davis v. Crawford.\u003c/p>\n\u003cp>But before we get to the barbed one-liners, let's get some backstory:\u003c/p>\n\u003cfigure id=\"attachment_33507\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/joan-dance-fools-dance-1931.jpg\">\u003cimg class=\"wp-image-33507 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/joan-dance-fools-dance-1931-400x574.jpg\" alt=\"Joan Crawford cuts a rug.\" width=\"400\" height=\"574\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/joan-dance-fools-dance-1931-400x574.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/joan-dance-fools-dance-1931.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joan Crawford cuts a rug.\u003c/figcaption>\u003c/figure>\n\u003cp>Lucille Fay LeSueur was born to a single mother in Texas and spent her childhood moving from state to state, struggling to get a proper education. She dreamed of a better life as a famous dancer. After some time in various chorus lines, Lucille decided to switch gears and landed a $75 a week gig as an actress at MGM. The studio publicist didn't like the sound of her name (too close to \"sewer\") so he organized a \"Name the Star\" magazine contest. And a star (named Joan Crawford) was born!\u003c/p>\n\u003cfigure id=\"attachment_33505\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Bette_davis_of_human_bondage.jpg\">\u003cimg class=\"wp-image-33505 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Bette_davis_of_human_bondage-400x495.jpg\" alt=\"Bette Davis, slaying in Of Human Bondage.\" width=\"400\" height=\"495\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette_davis_of_human_bondage-400x495.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette_davis_of_human_bondage.jpg 558w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bette Davis, slaying in \u003cem>Of Human Bondage\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>Ruth Elizabeth Davis, known early on as \"Betty,\" grew up in New England and had an easier upbringing. She was fortunate enough to attend boarding schools and receive theater training, which led to time on Broadway. Eventually, she made her way to LA, where success didn't seem likely at first. Upon arrival, the driver who was meant to pick her up left without her because he didn't see anyone that \"looked like an actress.\" Hollywood big wigs didn't think she was sexy enough. But Bette persisted and got her big break two years later with a lead role in \u003cem>The Man Who Played God. \u003c/em>Two years after that, her performance as a no-nonsense waitress in \u003cem>Of Human Bondage \u003c/em>got so much fanfare that, when she was snubbed at the Oscars, there was such an uproar that the Academy had to change their voting rules.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the '30s and '40s, both Joan and Bette were at the top of their game. Joan was the movie star, better known for her looks and off-screen hook-ups (she was married to Douglass Fairbanks Jr. and had a thing with Clark Gable, among other notable men), while Bette was considered a serious character actress, intensely focused on her craft.\u003c/p>\n\u003cp>Back in the day, actors were more or less owned by a studio and couldn’t work on any other productions, unless specifically loaned out. Crawford was part of MGM and Davis was part of Warner Bros. so, even though they were competing for America’s attention, they rarely had to compete for the same roles.\u003c/p>\n\u003cfigure id=\"attachment_33465\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/franchot-tone-and-bette-davis-in-dangerous-1935.jpg\">\u003cimg class=\"size-thumbnail wp-image-33465\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/franchot-tone-and-bette-davis-in-dangerous-1935-400x305.jpg\" alt=\"Franchot and Bette on the set of Dangerous.\" width=\"400\" height=\"305\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/franchot-tone-and-bette-davis-in-dangerous-1935-400x305.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/franchot-tone-and-bette-davis-in-dangerous-1935.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Franchot and Bette on the set of \u003cem>Dangerous\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>Things started to bubble in 1935 when Bette was filming \u003cem>Dangerous\u003c/em> with a hot(ish) guy named Franchot Tone. She developed a crush on him. \"I fell in love with Franchot, professionally and privately. Everything about him reflected his elegance, from his name to his manners,\" Bette said.\u003c/p>\n\u003cfigure id=\"attachment_33509\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/BLOG-franchot.jpg\">\u003cimg class=\"size-thumbnail wp-image-33509\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/BLOG-franchot-400x498.jpg\" alt=\"Franchot and Joan get hot and heavy.\" width=\"400\" height=\"498\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/BLOG-franchot-400x498.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/BLOG-franchot.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Franchot and Joan, connoisseurs in PDA.\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately for her, Joan got to him first. Rumor has it that she invited Tone to her home and met him naked in the solarium. It wasn't long before Joan started visiting the set, much to Bette's chagrin. “He was madly in love with her. They met each day for lunch. He would return to the set, his face covered in lipstick. I was jealous of course.” Joan and Franchot married once filming wrapped.\u003c/p>\n\u003cp>Decades later, Bette would open up about this time in her life to journalist Michael Thorton: \"She took him from me. She did it coldly, deliberately and with complete ruthlessness. I have never forgiven her for that and never will.\"\u003c/p>\n\u003cp>\u003cem>Dangerous\u003c/em> was met with critical acclaim and\u003cem> \u003c/em>Bette Davis was nominated for an Oscar. Because she was relatively new to the game and didn't believe she would win, Bette wore a simple navy blue dress to the ceremony. The voters proved her wrong and her name was called. According to legend, Franchot got up and embraced her, while his now-wife Joan refused to get up and had her back to Bette. After being called out for her rude behavior by Franchot, Joan allegedly looked Bette up and down and snidely said \"Dear Bette! What a \u003cem>lovely\u003c/em> frock.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160.gif\">\u003cimg class=\"aligncenter size-full wp-image-33471\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160.gif\" alt=\"Bette-Movie-Quotes-bette-davis-33800643-160-160\" width=\"160\" height=\"160\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160.gif 160w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160-50x50.gif 50w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800643-160-160-150x150.gif 150w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160.gif\">\u003cimg class=\"aligncenter size-full wp-image-33472\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160.gif\" alt=\"Bette-Movie-Quotes-bette-davis-33800618-160-160\" width=\"160\" height=\"160\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160.gif 160w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160-50x50.gif 50w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Bette-Movie-Quotes-bette-davis-33800618-160-160-150x150.gif 150w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/a>\u003c/p>\n\u003cp>All was quiet on the western front for a while after that...until Joan left MGM and got hired -- where else? -- Warner Bros! Now Bette and Joan were directly competing for the same roles. Around this time, Bette was considering the titular role in \u003cem>Mildred Pierce\u003c/em>, which she eventually turned down. Joan ended up snagging it and won an Oscar for her work.\u003c/p>\n\u003cfigure id=\"attachment_33474\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_nhk0j1K4DS1rdfgw4o1_500.gif\">\u003cimg class=\"wp-image-33474 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_nhk0j1K4DS1rdfgw4o1_500.gif\" alt=\"joan crawford twirl gif\" width=\"500\" height=\"376\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joan is feeling herself.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_33473\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-33473 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy.gif\" alt=\"giphy\" width=\"500\" height=\"338\">\u003cfigcaption class=\"wp-caption-text\">Bette is not here for it.\u003c/figcaption>\u003c/figure>\n\u003cp>Years of competition and sh*t talk ensued. Here are some highlights:\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Joan on Bette:\u003c/strong>\u003c/p>\n\u003cp>“Poor Bette! She looks like she’s never had a happy day... or night!... in her life.”\u003c/p>\n\u003cp>“Miss Davis was always partial to covering up her face in motion pictures. She called it ‘art.’ Others might call it camouflage, a cover-up for the absence of any real beauty.”\u003c/p>\n\u003cp>“I don’t hate Bette Davis, even though the press wants me to; I resent her. I don’t see how she built a career out of mannerisms instead of real acting ability. She’s a phony, but I guess the public likes that.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/joan1.gif\">\u003cimg class=\"aligncenter size-full wp-image-33475\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/joan1.gif\" alt=\"joan crawford kennel gif\" width=\"500\" height=\"355\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Bette on Joan:\u003c/strong>\u003c/p>\n\u003cp>\"She has slept with every male star at MGM except Lassie.\"\u003c/p>\n\u003cp>\"I wouldn't piss on Joan Crawford if she were on fire.\"\u003c/p>\n\u003cp>\"Why am I so good at playing bitches? I think it’s because I’m not a bitch. Maybe that’s why Miss Crawford always plays ladies.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_mp7twaJ6tZ1qaad4ao1_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-33477\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_mp7twaJ6tZ1qaad4ao1_500.gif\" alt=\"tumblr_mp7twaJ6tZ1qaad4ao1_500\" width=\"500\" height=\"300\">\u003c/a>\u003c/p>\n\u003cp>Eventually, due to Hollywood being grossed out by the idea of women over 29, both actors weren’t in such demand anymore. Work was so hard to come by that Bette resorted to putting out an ad in \u003cem>Variety\u003c/em> that read:\u003c/p>\n\u003cblockquote>\u003cp>\"Thirty years experience as an actress in motion pictures. Mobile still and more affable than rumor would have it. Wants steady employment in Hollywood (Has had Broadway).\"\u003c/p>\u003c/blockquote>\n\u003cp>In 1961, now in her fifties, Bette was performing on Broadway in Tennessee Williams’ \u003cem>\u003cspan class=\"italic\">The Night of the Iguana\u003c/span>\u003c/em>\u003cspan class=\"italic\">. One night, an unexpected Joan showed up backstage, gave Bette a novel called\u003c/span> \u003cem>\u003cspan class=\"italic\">Whatever Happened to Baby Jane? \u003c/span>\u003c/em>\u003cspan class=\"italic\">and proposed that they star in the adaptation. \u003c/span>They would play two has-been child star sisters living together. Bette’s character spends the entire film tormenting Joan’s character, who is paralyzed and can't defend herself, so it's no wonder that Bette said \u003cem>Hell yes.\u003c/em>\u003c/p>\n\u003cp>Getting Bette to sign on was the first challenge. The more daunting task was getting someone in Hollywood to finance a movie starring older women. Studio after studio, including Bette and Joan's former home Warner Bros, turned down the idea or claimed they would only be interested if the leading women were replaced with younger talent. Eventually, a small production company called Seven Arts said yes and handed over some meager funds. Both women had to take a drastic pay cut, in exchange for a percentage of the profits, in order to get the ball rolling.\u003c/p>\n\u003cfigure id=\"attachment_33526\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/crawford-davis.jpg\">\u003cimg class=\"size-medium wp-image-33526\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/crawford-davis-800x541.jpg\" alt=\"Joan and Bette on set.\" width=\"800\" height=\"541\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/crawford-davis-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/crawford-davis-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/crawford-davis-768x520.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/crawford-davis-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/crawford-davis-960x650.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/crawford-davis.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joan and Bette on set.\u003c/figcaption>\u003c/figure>\n\u003cp>As you might expect, the petty shenanigans on set were of Biblical proportions. For instance, Joan had been married to the CEO of Pepsi and advocated for Pepsi product-placement in the film. Bette responded by having a Coca-Cola machine installed on set. And it didn't take long for the bad behavior to migrate from behind-the-scenes to in front of the camera.\u003c/p>\n\u003cp>Concerned that Bette would actually hurt her during a scene that required the two actresses to fight, Joan requested a body double, but there was one close-up shot that required her participation. During this take, whether by accident or not, Bette gave Joan's head such a kick that Joan required stitches. What did Bette have to say for herself? “I barely touched her.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/WHTBJJ.gif\">\u003cimg class=\"aligncenter size-full wp-image-33515\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/WHTBJJ.gif\" alt=\"WHTBJJ\" width=\"245\" height=\"160\">\u003c/a>\u003c/p>\n\u003cp>Joan wanted revenge and got it while filming a later scene, which involved Bette dragging her across the room. To prepare, Joan, who knew Bette had a history of back problems, strapped on a weightlifters' belt to make herself as heavy as possible. \"There is a way of making it easy on the actor who is doing the carrying, but Crawford wanted Bette to suffer,\" director Robert Aldrich later said. And suffer she did.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy_1.gif\">\u003cimg class=\"aligncenter size-full wp-image-33516\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/giphy_1.gif\" alt=\"whatever happened to baby jane drag body joan bette\" width=\"245\" height=\"130\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003cspan class=\"italic\">Whatever Happened to Baby Jane? \u003c/span>\u003c/em>\u003cspan class=\"italic\">turned out to be a huge hit. Bette and Joan got rich all over again, thanks to the profit percentages they had agreed to in the budget negotiations. The movie also raked it in with five Oscar nods total. Davis was nominated for Best Actress. \u003ca href=\"http://big.assets.huffingtonpost.com/gretchencandycanes422.gif\">And none for\u003c/a> Joan Crawford.\u003c/span>\u003c/p>\n\u003cp>Joan was not happy for her co-star, to say the least. She actively campaigned against Bette during the Oscar season and hatched a secret plan to humiliate her at the ceremony. Bette lost that year's title to Anne Bancroft and couldn't believe her eyes when none other than Joan, herself, waltzed on stage to collect the award. (Joan had called all the other nominees and offered to accept the award on their behalf, should they win.)\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/eqjO39TX5RY'\n title='//www.youtube.com/embed/eqjO39TX5RY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I almost dropped dead! I was paralyzed with shock. To deliberately upstage me like that! Her behavior was despicable. I will never forget the look she gave me. It was triumphant. It clearly said: 'You didn't win, and I am elated!'\" Bette later said.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-33469\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/tumblr_m11mnl6GKq1qj71muo1_500.gif\" alt=\"tumblr_m11mnl6GKq1qj71muo1_500\" width=\"500\" height=\"333\">\u003c/p>\n\u003cp>A few years later, Robert Aldrich wanted to get the old gang back together again for \u003cem>Hush... Hush, Sweet Charlotte\u003c/em>. The public's interest in the Bette and Joan rivalry had made them so much money the first time around; why not have another go? Both stars agreed, but the film was immediately plagued by drama.\u003c/p>\n\u003cp>First, the production had to be delayed a month due to Joan wanting to attend a Pepsi sales conference. Once filming did start, Joan complained about no one coming to collect her and her team (a maid, a makeup artist and a hairdresser), after they had landed in Baton Rouge. She also complained about the accommodation, which was too close to garbage cans. Bette snapped, \"Oh, Joan, pull yourself together. This is Baton Rouge, not Beverly Hills!\"\u003c/p>\n\u003cfigure id=\"attachment_33541\" class=\"wp-caption aligncenter\" style=\"max-width: 360px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/joan-crawford-is-embarrassed-for-you-o.gif\">\u003cimg class=\"size-full wp-image-33541\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/joan-crawford-is-embarrassed-for-you-o.gif\" alt=\"Joan misses LA, where everywhere you go has valet.\" width=\"360\" height=\"238\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joan misses LA, where everywhere you go has valet.\u003c/figcaption>\u003c/figure>\n\u003cp>Joan also suspected that Bette had too much control over the director and was plotting against her: \"She's practically directing the picture for him right in front of me, so God knows what else she's up to behind my back. I might wind up on the cutting-room floor.\" And Bette's behavior on set didn't assuage that paranoia; Joan would say \"Hello\" or \"Good morning\" every day and Bette would simply ignore her.\u003c/p>\n\u003cp>As the shoot continued, Joan began complained of exhaustion and refused to work or speak to the director. The suspicion was that she planned to feign illness to get out of the movie. Insurance doctors and private detectives were involved and the studio's insurance company gave the director an ultimatum: either replace Joan or it's a wrap.\u003c/p>\n\u003cp>The film left Joan behind, who promptly checked herself into a hospital. Olivia de Havilland, a friend of Bette's, was selected as her replacement. Back on set, Bette toasted Joan's exit and Olivia's entrance with a glass full of Coca-Cola.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/bettedavisamen.gif\">\u003cimg class=\"aligncenter size-full wp-image-33542\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/bettedavisamen.gif\" alt=\"bette+davis+amen\" width=\"243\" height=\"225\">\u003c/a>\u003c/p>\n\u003cp>Bette and Joan would never work together again. Joan died first, but even death didn't soften Bette towards her former co-star. \"You should never say bad things about the dead, you should only say good. Joan Crawford is dead. Good.”\u003c/p>\n\u003cp>Was their feud real? Or was it a media creation, which Bette and Joan capitalized on? Most likely a bit of both. They say that what you hate in someone else is what you hate in yourself. Maybe these two women always found themselves at odds because they were just too similar.\u003c/p>\n\u003cp>Both came from single-mother households. Both were headstrong Alpha leading ladies trying to survive in a world that only allowed for one. Both were Aries (\u003ca href=\"https://ww2.kqed.org/pop/2016/06/21/will-our-next-president-be-hillary-or-trump-astrologers-think-they-know/\">if you believe in that sort of thing\u003c/a>). Both struggled with love (four marriages each) and parenting (their children wrote tell-alls about them).\u003c/p>\n\u003cp>Just imagine what could have been if they had realized how much they had in common...\u003c/p>\n\u003cfigure id=\"attachment_33528\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/BD.gif\">\u003cimg class=\"size-full wp-image-33528\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/BD.gif\" alt=\":-(\" width=\"500\" height=\"262\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">🙁\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>For even more Bette and Joan thoughts and feelings, get a load of this episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-end-of-yellowface-and-blackface-or-not",
"title": "Bay Area Theater Co's Work to End Yellowface and Blackface in Shows",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/279564976″ 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>When \u003ca href=\"http://ww2.kqed.org/arts/2016/08/22/lou-pearlman-boy-band-manager-and-ponzi-schemer-dies-in-prison/\" target=\"_blank\" rel=\"noopener\">Gilbert and Sullivan\u003c/a> opened their musical \u003cem>The Mikado\u003c/em> at the \u003ca href=\"http://www.savoy.org/\" target=\"_blank\" rel=\"noopener\">Savoy Theatre\u003c/a> in London in 1885, the first lines were sung by a chorus of kimono clad men. “If you want to know who we are, We are gentlemen of Japan.”\u003c/p>\n\u003cp>When the \u003ca href=\"http://www.lamplighters.org/\" target=\"_blank\" rel=\"noopener\">Lamplighters Music Theatre\u003c/a> opened their production at the Lesher Center for the Arts a few days ago, the chorus sang something a little different, “If you want to know who we are. We are gentlemen of Milan.”\u003c/p>\n\u003cfigure id=\"attachment_11957008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11957008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg\" alt=\"A scene from the Lamplighters version of 'The Mikado'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the Lamplighters version of ‘The Mikado’ \u003ccite>(Photo: Lucas Buxman/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So how did the story end up in Italy. We’ll explain that in a minute, but it’s not what the Lamplighters first had in mind.\u003c/p>\n\u003cp>They planned for a traditional Japanese \u003cem>Mikado\u003c/em>, but with some Asian American actors, to avoid the controversies over yellowface that had plagued productions in Seattle and New York. (“Yellowface” is the Asian version of blackface, where white actors play Asian Americans with yellow makeup and eyeliner to make the eyes more slanted.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So last winter, Lamplighters’ Managing Director Sarah Vardigans set a meeting with \u003ca href=\"http://www.lilytungcrystal.com/\" target=\"_blank\" rel=\"noopener\">Lily Tung Crystal\u003c/a>, a leading Bay Area Asian American theater artist. But Vardigans says it didn’t go well.\u003c/p>\n\u003cp>“We had a difficult meeting with Lily,” Vardigans said in a recent interview. “She was very clear that the Asian Community would not support our production if we could not commit to one hundred percent Asian casting.\u003c/p>\n\u003cp>That was a deal breaker for Vardigans. “For a Gilbert and Sullivan company to commit to 100 percent Asian casting,” Vardigans said, “when we typically have ten percent Asian casting is just not practical.”\u003c/p>\n\u003cp>Crystal, who runs \u003ca href=\"http://www.ferociouslotus.org/\" target=\"_blank\" rel=\"noopener\">Ferocious Lotus Theater company\u003c/a>, was unhappy at the compromise Vardigans offered, that the white actors wouldn’t wear yellowface makeup. “We had an issue with that,” Crystal said recently. “Because we would argue that having Caucasian actors play Asian roles constitutes yellowface.”\u003c/p>\n\u003cfigure id=\"attachment_11967397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967397\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png\" alt=\"Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-400x224.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297.png 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal \u003ccite>(Photo: Courtesy of Ferocious Lotus Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We don’t do black minstrel shows and blackface, because that’s not accepted anymore,” Crystal added. “So the question is: why, when it comes to the Asian community, it’s still okay for a Caucasian actor to play an Asian role.”\u003c/p>\n\u003cp>The fact is, yellowface and blackface are common on stages and movie screens around the world. The classic yellowface example from the past are the thousands of amateur and professional production of \u003cem>The Mikado\u003c/em>. In the movies, Micky Rooney’s farcical portrayal of Mr Yoniushi in the film version of \u003cem>Breakfast at Tiffany’s\u003c/em> has embarassed generations of Asian Americans. And just last year, the white Emma Stone played an Asian American named Alison Ng in Cameron Crowe’s movie \u003cem>Aloha,\u003c/em> which also garnered criticism.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I6H4eQhllVM\u003c/p>\n\u003cp>As for blackface, the American Ballet Theatre, the home of African-American dancer Misty Copeland, put dark brown makeup on the Brazilian dancer Marcelo Gomes last year, for a production of \u003cem>Othello\u003c/em>, Shakespeare’s black hero. And white performers played Otello in blackface as recently as 2013 at the Metropolitan Opera in New York, though the company abandoned the practice in its 2015 revival.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ur3uTKbrqIQ\u003c/p>\n\u003cp>“It really is a history of erasure. It’s ways in which to control bodies of color,” says A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts. “And control them in terms of economics because you want to take ideas from communities of color, but not pay folks.”\u003c/p>\n\u003cp>So it’s worth noting when a major arts group puts Asian Americans in charge both on and off the stage.\u003c/p>\n\u003cfigure id=\"attachment_11967399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg\" alt=\"Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1920x909.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-960x455.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera \u003ccite>(Photo: Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next month, \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is premiering \u003cem>Dream of the Red Chamber\u003c/em>, based on the classic 18th century Chinese novel. \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng \u003c/a>wrote the music, playwright \u003ca href=\"http://barclayagency.com/site/speaker/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang \u003c/a>the libretto, and Stan Lai directs. All three are Chinese American (Lai is based in Taiwan). And Hwang’s contract stipulates that the show feature Asians in all the singing roles.\u003c/p>\n\u003cp>But Gregory Henkel, managing director/artistic, who oversees casting for SF Opera, says \u003cem>Dream of the Red Chamber\u003c/em> is a special case. “We found the singers first, and then the composer wrote for them.” And that’s because Henkel argues casting opera is much tougher than film or plays. Opera singers are like Olympic athletes, he says, who have to “sail over a large orchestra and fill a very large space,” 3200 seats in the case of San Francisco War Memorial Opera House. “Which is something not very many people in the world have the ability to do.”\u003c/p>\n\u003cp>Henkel says SF Opera practices a version of colorblind casting (common in many American theater companies), “hiring the greatest singers available.”\u003c/p>\n\u003cfigure id=\"attachment_11967554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967554\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg\" alt=\"Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars \u003ccite>(Photo: Terence McCarthy/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So on the SF Opera stage, the African American soprano\u003ca href=\"https://en.wikipedia.org/wiki/Leontyne_Price\" target=\"_blank\" rel=\"noopener\"> Leontyne Price \u003c/a>has played both Verdi’s African princess Aida, and Cio Cio San, the Japanese heroine of Puccini’s \u003cem>Madame Butterfly\u003c/em>. In 2010, the African American bass-baritone Eric Owens created the role of the white General Leslie Groves in the world premiere John Adams’ docu-opera \u003cem>Doctor Atomic\u003c/em>. White tenors, not in blackface, have played the title role in the company’s most recent productions of \u003cem>Otello\u003c/em>.\u003c/p>\n\u003cp>So against that background, how did The Lamplighters work things out in their\u003cem> Mikado\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11957016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11957016 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg\" alt=\"Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters' 'TheMikado'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-1180x691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-960x562.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813.jpg 1379w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters’ ‘TheMikado’ \u003ccite>( Photo: Joe Giammarco/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They reset it in Renaissance Italy, in Milan, not Japan, so the rhymes all work, and the show seemed as silly and as charming as any Gilbert and Sullivan lover might ask. “We were pressured to do it,” Vardigans says, “but ultimately we’ve all come around to being very excited about it, and in today’s cultural environment, it’s not right to do something that is offensive to any part of our community.”\u003c/p>\n\u003cp>Vardigans says a number of Gilbert and Sullivan companies from around the country are coming to town to see how well Lamplighters has resolved the controversy, though now, only a few small roles are played by Asians Americans.\u003c/p>\n\u003cp>Which is why theater activist \u003ca href=\"http://www.crowdedfire.org/mina-morita/\" target=\"_blank\" rel=\"noopener\">Mina Morita\u003c/a>, artistic director at Crowded Fire Theater Company, says she’s most excited about new plays that truly mirror America’s diversity.\u003c/p>\n\u003cp>“Because we’re tired of playing the sexy vixens, the maids, the wise mom, the ninja, the samurai. We’re ready for more complex roles.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And any time there’s a show about somebody else’s culture, Morita says, the producers need to find people from that culture to help create it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/279564976″&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/279564976″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When \u003ca href=\"http://ww2.kqed.org/arts/2016/08/22/lou-pearlman-boy-band-manager-and-ponzi-schemer-dies-in-prison/\" target=\"_blank\" rel=\"noopener\">Gilbert and Sullivan\u003c/a> opened their musical \u003cem>The Mikado\u003c/em> at the \u003ca href=\"http://www.savoy.org/\" target=\"_blank\" rel=\"noopener\">Savoy Theatre\u003c/a> in London in 1885, the first lines were sung by a chorus of kimono clad men. “If you want to know who we are, We are gentlemen of Japan.”\u003c/p>\n\u003cp>When the \u003ca href=\"http://www.lamplighters.org/\" target=\"_blank\" rel=\"noopener\">Lamplighters Music Theatre\u003c/a> opened their production at the Lesher Center for the Arts a few days ago, the chorus sang something a little different, “If you want to know who we are. We are gentlemen of Milan.”\u003c/p>\n\u003cfigure id=\"attachment_11957008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11957008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg\" alt=\"A scene from the Lamplighters version of 'The Mikado'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the Lamplighters version of ‘The Mikado’ \u003ccite>(Photo: Lucas Buxman/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So how did the story end up in Italy. We’ll explain that in a minute, but it’s not what the Lamplighters first had in mind.\u003c/p>\n\u003cp>They planned for a traditional Japanese \u003cem>Mikado\u003c/em>, but with some Asian American actors, to avoid the controversies over yellowface that had plagued productions in Seattle and New York. (“Yellowface” is the Asian version of blackface, where white actors play Asian Americans with yellow makeup and eyeliner to make the eyes more slanted.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So last winter, Lamplighters’ Managing Director Sarah Vardigans set a meeting with \u003ca href=\"http://www.lilytungcrystal.com/\" target=\"_blank\" rel=\"noopener\">Lily Tung Crystal\u003c/a>, a leading Bay Area Asian American theater artist. But Vardigans says it didn’t go well.\u003c/p>\n\u003cp>“We had a difficult meeting with Lily,” Vardigans said in a recent interview. “She was very clear that the Asian Community would not support our production if we could not commit to one hundred percent Asian casting.\u003c/p>\n\u003cp>That was a deal breaker for Vardigans. “For a Gilbert and Sullivan company to commit to 100 percent Asian casting,” Vardigans said, “when we typically have ten percent Asian casting is just not practical.”\u003c/p>\n\u003cp>Crystal, who runs \u003ca href=\"http://www.ferociouslotus.org/\" target=\"_blank\" rel=\"noopener\">Ferocious Lotus Theater company\u003c/a>, was unhappy at the compromise Vardigans offered, that the white actors wouldn’t wear yellowface makeup. “We had an issue with that,” Crystal said recently. “Because we would argue that having Caucasian actors play Asian roles constitutes yellowface.”\u003c/p>\n\u003cfigure id=\"attachment_11967397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967397\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png\" alt=\"Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-400x224.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297.png 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal \u003ccite>(Photo: Courtesy of Ferocious Lotus Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We don’t do black minstrel shows and blackface, because that’s not accepted anymore,” Crystal added. “So the question is: why, when it comes to the Asian community, it’s still okay for a Caucasian actor to play an Asian role.”\u003c/p>\n\u003cp>The fact is, yellowface and blackface are common on stages and movie screens around the world. The classic yellowface example from the past are the thousands of amateur and professional production of \u003cem>The Mikado\u003c/em>. In the movies, Micky Rooney’s farcical portrayal of Mr Yoniushi in the film version of \u003cem>Breakfast at Tiffany’s\u003c/em> has embarassed generations of Asian Americans. And just last year, the white Emma Stone played an Asian American named Alison Ng in Cameron Crowe’s movie \u003cem>Aloha,\u003c/em> which also garnered criticism.\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/I6H4eQhllVM'\n title='//www.youtube.com/embed/I6H4eQhllVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for blackface, the American Ballet Theatre, the home of African-American dancer Misty Copeland, put dark brown makeup on the Brazilian dancer Marcelo Gomes last year, for a production of \u003cem>Othello\u003c/em>, Shakespeare’s black hero. And white performers played Otello in blackface as recently as 2013 at the Metropolitan Opera in New York, though the company abandoned the practice in its 2015 revival.\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/Ur3uTKbrqIQ'\n title='//www.youtube.com/embed/Ur3uTKbrqIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It really is a history of erasure. It’s ways in which to control bodies of color,” says A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts. “And control them in terms of economics because you want to take ideas from communities of color, but not pay folks.”\u003c/p>\n\u003cp>So it’s worth noting when a major arts group puts Asian Americans in charge both on and off the stage.\u003c/p>\n\u003cfigure id=\"attachment_11967399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg\" alt=\"Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1920x909.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-960x455.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera \u003ccite>(Photo: Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next month, \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is premiering \u003cem>Dream of the Red Chamber\u003c/em>, based on the classic 18th century Chinese novel. \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng \u003c/a>wrote the music, playwright \u003ca href=\"http://barclayagency.com/site/speaker/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang \u003c/a>the libretto, and Stan Lai directs. All three are Chinese American (Lai is based in Taiwan). And Hwang’s contract stipulates that the show feature Asians in all the singing roles.\u003c/p>\n\u003cp>But Gregory Henkel, managing director/artistic, who oversees casting for SF Opera, says \u003cem>Dream of the Red Chamber\u003c/em> is a special case. “We found the singers first, and then the composer wrote for them.” And that’s because Henkel argues casting opera is much tougher than film or plays. Opera singers are like Olympic athletes, he says, who have to “sail over a large orchestra and fill a very large space,” 3200 seats in the case of San Francisco War Memorial Opera House. “Which is something not very many people in the world have the ability to do.”\u003c/p>\n\u003cp>Henkel says SF Opera practices a version of colorblind casting (common in many American theater companies), “hiring the greatest singers available.”\u003c/p>\n\u003cfigure id=\"attachment_11967554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967554\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg\" alt=\"Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars \u003ccite>(Photo: Terence McCarthy/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So on the SF Opera stage, the African American soprano\u003ca href=\"https://en.wikipedia.org/wiki/Leontyne_Price\" target=\"_blank\" rel=\"noopener\"> Leontyne Price \u003c/a>has played both Verdi’s African princess Aida, and Cio Cio San, the Japanese heroine of Puccini’s \u003cem>Madame Butterfly\u003c/em>. In 2010, the African American bass-baritone Eric Owens created the role of the white General Leslie Groves in the world premiere John Adams’ docu-opera \u003cem>Doctor Atomic\u003c/em>. White tenors, not in blackface, have played the title role in the company’s most recent productions of \u003cem>Otello\u003c/em>.\u003c/p>\n\u003cp>So against that background, how did The Lamplighters work things out in their\u003cem> Mikado\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11957016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11957016 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg\" alt=\"Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters' 'TheMikado'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-1180x691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-960x562.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813.jpg 1379w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters’ ‘TheMikado’ \u003ccite>( Photo: Joe Giammarco/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They reset it in Renaissance Italy, in Milan, not Japan, so the rhymes all work, and the show seemed as silly and as charming as any Gilbert and Sullivan lover might ask. “We were pressured to do it,” Vardigans says, “but ultimately we’ve all come around to being very excited about it, and in today’s cultural environment, it’s not right to do something that is offensive to any part of our community.”\u003c/p>\n\u003cp>Vardigans says a number of Gilbert and Sullivan companies from around the country are coming to town to see how well Lamplighters has resolved the controversy, though now, only a few small roles are played by Asians Americans.\u003c/p>\n\u003cp>Which is why theater activist \u003ca href=\"http://www.crowdedfire.org/mina-morita/\" target=\"_blank\" rel=\"noopener\">Mina Morita\u003c/a>, artistic director at Crowded Fire Theater Company, says she’s most excited about new plays that truly mirror America’s diversity.\u003c/p>\n\u003cp>“Because we’re tired of playing the sexy vixens, the maids, the wise mom, the ninja, the samurai. We’re ready for more complex roles.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And any time there’s a show about somebody else’s culture, Morita says, the producers need to find people from that culture to help create it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Take the Temperature of Current Mexican Cinema at the Roxie",
"headTitle": "Now Playing! Take the Temperature of Current Mexican Cinema at the Roxie | KQED",
"content": "\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11952639\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/teprometo-anarquia640.jpg\" alt=\"Still from 'Te Prometo Anarquía' ('I Promise You Anarchy').\" width=\"640\" height=\"323\" class=\"size-full wp-image-11952639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/teprometo-anarquia640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/teprometo-anarquia640-400x202.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Te Prometo Anarquía’ (‘I Promise You Anarchy’). \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.roxie.com/ai1ec_event/hola-mexico-film-festival/\" target=\"_blank\" rel=\"noopener\">Hola Mexico Film Festival Tour\u003c/a>\u003c/h3>\n\u003ch5>Roxie Theater, San Francisco\u003cbr>\nAug. 26-28\u003cbr>\nTickets: $12\u003c/h5>\n\u003cp>In the nick of time, before that big ‘ol wall goes up to block people (and everything else, presumably) from south of the border, the \u003ca href=\"http://www.roxie.com/ai1ec_event/hola-mexico-film-festival/\" target=\"_blank\" rel=\"noopener\">Hola Mexico Film Festival Tour\u003c/a> rolls into the Mission for the Aug. 26-28 weekend. Claim your preferred seat at the Roxie to binge on all 10 films gleaned from the May fiesta in Los Angeles, or take the temperature of current Mexican cinema with a few choice selections. \u003c/p>\n\u003cp>The highest-profile names, writer-director Diego Luna and actor Danny Glover, open the touring series (appropriately) with a road movie that premiered at Sundance. \u003cem>Sr. Pig\u003c/em> (\u003cem>Mr. Pig\u003c/em>) follows an aging, forcibly retired California farmer and his porcine companion on a north-to-south journey. If you crave more edge, \u003cem>Te Prometo Anarquía\u003c/em> (\u003cem>I Promise You Anarchy\u003c/em>) depicts the street-level exploits of a gay couple of skateboarding Mexico City stoners. In Mexico, as in many countries, there isn’t a film industry so much as an amorphous array of determined, intrepid, independent filmmakers.\u003c/p>\n\u003cp>https://youtu.be/31ORKwlbNq4\u003c/p>\n\u003ch3>Also…\u003c/h3>\n\u003cp>I had a brainstorm a few years back to print and sell T-shirts that said “Make Hollywood Great Again!” (Not a true story.) But if you like the idea, and can move fast enough to get ‘em on the Castro Street sidewalk by Sunday, Aug. 28, you might have a moneymaker on your hands when they run a marathon double bill of the immortal, color-saturated epics \u003ca href=\"http://www.castrotheatre.com/p-list.html#aug28\" target=\"_blank\" rel=\"noopener\">\u003cem>The Wizard of Oz\u003c/em> and \u003cem>Gone With the Wind\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/1cwCIkKFFR4\u003c/p>\n\u003cp>Some film historians rate 1939, the year of their release (along with \u003cem>Ninotchka\u003c/em>, \u003cem>Stagecoach\u003c/em>, \u003cem>Only Angels Have Wings\u003c/em>, \u003cem>Young Mr. Lincoln\u003c/em>, \u003cem>Love Affair\u003c/em>, \u003cem>Mr. Smith Goes to Washington\u003c/em>, \u003cem>Wuthering Heights\u003c/em>, \u003cem>Midnight\u003c/em>, \u003cem>Destry Rides Again\u003c/em>, \u003cem>Dark Victory\u003c/em>, \u003cem>The Roaring Twenties\u003c/em>, \u003cem>The Private Lives of Elizabeth and Essex\u003c/em> and \u003cem>Goodbye, Mr. Chips\u003c/em>) as the high point of Tinseltown’s Golden Age. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ah, the good old days of nickel Cokes — along with segregated theaters, no air conditioning, smoking permitted (not marijuana, medical or otherwise), and Hitler on the march. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11952639\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/teprometo-anarquia640.jpg\" alt=\"Still from 'Te Prometo Anarquía' ('I Promise You Anarchy').\" width=\"640\" height=\"323\" class=\"size-full wp-image-11952639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/teprometo-anarquia640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/teprometo-anarquia640-400x202.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Te Prometo Anarquía’ (‘I Promise You Anarchy’). \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.roxie.com/ai1ec_event/hola-mexico-film-festival/\" target=\"_blank\" rel=\"noopener\">Hola Mexico Film Festival Tour\u003c/a>\u003c/h3>\n\u003ch5>Roxie Theater, San Francisco\u003cbr>\nAug. 26-28\u003cbr>\nTickets: $12\u003c/h5>\n\u003cp>In the nick of time, before that big ‘ol wall goes up to block people (and everything else, presumably) from south of the border, the \u003ca href=\"http://www.roxie.com/ai1ec_event/hola-mexico-film-festival/\" target=\"_blank\" rel=\"noopener\">Hola Mexico Film Festival Tour\u003c/a> rolls into the Mission for the Aug. 26-28 weekend. Claim your preferred seat at the Roxie to binge on all 10 films gleaned from the May fiesta in Los Angeles, or take the temperature of current Mexican cinema with a few choice selections. \u003c/p>\n\u003cp>The highest-profile names, writer-director Diego Luna and actor Danny Glover, open the touring series (appropriately) with a road movie that premiered at Sundance. \u003cem>Sr. Pig\u003c/em> (\u003cem>Mr. Pig\u003c/em>) follows an aging, forcibly retired California farmer and his porcine companion on a north-to-south journey. If you crave more edge, \u003cem>Te Prometo Anarquía\u003c/em> (\u003cem>I Promise You Anarchy\u003c/em>) depicts the street-level exploits of a gay couple of skateboarding Mexico City stoners. In Mexico, as in many countries, there isn’t a film industry so much as an amorphous array of determined, intrepid, independent filmmakers.\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/31ORKwlbNq4'\n title='//www.youtube.com/embed/31ORKwlbNq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Also…\u003c/h3>\n\u003cp>I had a brainstorm a few years back to print and sell T-shirts that said “Make Hollywood Great Again!” (Not a true story.) But if you like the idea, and can move fast enough to get ‘em on the Castro Street sidewalk by Sunday, Aug. 28, you might have a moneymaker on your hands when they run a marathon double bill of the immortal, color-saturated epics \u003ca href=\"http://www.castrotheatre.com/p-list.html#aug28\" target=\"_blank\" rel=\"noopener\">\u003cem>The Wizard of Oz\u003c/em> and \u003cem>Gone With the Wind\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/1cwCIkKFFR4'\n title='//www.youtube.com/embed/1cwCIkKFFR4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some film historians rate 1939, the year of their release (along with \u003cem>Ninotchka\u003c/em>, \u003cem>Stagecoach\u003c/em>, \u003cem>Only Angels Have Wings\u003c/em>, \u003cem>Young Mr. Lincoln\u003c/em>, \u003cem>Love Affair\u003c/em>, \u003cem>Mr. Smith Goes to Washington\u003c/em>, \u003cem>Wuthering Heights\u003c/em>, \u003cem>Midnight\u003c/em>, \u003cem>Destry Rides Again\u003c/em>, \u003cem>Dark Victory\u003c/em>, \u003cem>The Roaring Twenties\u003c/em>, \u003cem>The Private Lives of Elizabeth and Essex\u003c/em> and \u003cem>Goodbye, Mr. Chips\u003c/em>) as the high point of Tinseltown’s Golden Age. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ah, the good old days of nickel Cokes — along with segregated theaters, no air conditioning, smoking permitted (not marijuana, medical or otherwise), and Hitler on the march. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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