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"title": "Dreamlike 'Kubo And The Two Strings' Offers A Gorgeous, Richly Textured Adventure",
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"content": "\u003cp>With dark bangs draped over an eyepatch, a stack of colorful origami paper, and a two-stringed, lute-like instrument called a \u003cem>shamisen\u003c/em> strapped to his back, young Kubo heads into a seaside village to put on a street performance for spare change. As he rocks the \u003cem>shamisen\u003c/em> like the Joe Satriani of ancient Japan, the origami paper dances to life around him, folding into sharply edged characters and objects, and occasionally bursting into ribbons of confetti. He tells the legend of a great samurai warrior named Hanzo and the evil force that takes many forms in an effort to take him down. Kubo holds the villagers rapt, but inevitably disappoints them. He doesn’t know how the story ends. It will be his quest to find out.\u003c/p>\n\u003cp>“If you must blink, do it now” are the first words spoken in \u003cem>Kubo and the Two Strings\u003c/em>, a line that doubles as a primer and a brag about the abstract wonders to come. The film is asking the audience to accept every off-the-wall premise that it’s given, up to and including a \u003cem>shamisen\u003c/em> that can part a tidal wave or making origami figures dance like the runaway mops in Disney’s “The Sorcerer’s Apprentice.” There’s a strong internal logic to the dense mythology it creates, but first the barriers between life and death, reality and fantasy, and past and present must come down. In the magical world of \u003cem>Kubo\u003c/em>, these walls are transformed into pathways.\u003c/p>\n\u003cp>https://youtu.be/p4-6qJzeb3A\u003c/p>\n\u003cp>The fourth and, to date, best film from Laika, the Portland-based animation house responsible for \u003cem>Coraline\u003c/em>, \u003cem>ParaNorman\u003c/em>, and \u003cem>The Boxtrolls\u003c/em>, \u003cem>Kubo and the Two Strings\u003c/em> has more in common with the serene eccentricities of Japanese animator Hayao Miyazaki (\u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Spirited Away\u003c/em>) than American brands like Disney/Pixar, Blue Sky Studios, or Illumination Entertainment. Though the tactility and dimension of its 3D stop-motion process sets Laika apart, \u003cem>Kubo\u003c/em> has a specific faith that younger viewers will readily accept a world that has nothing in common with their own, save for the yearning of a child to complete his story and understand who he is.\u003c/p>\n\u003cp>Simply stated, the film is about Kubo’s quest to locate three items that will help protect him from the wrathful Moon King: the Sword Unbreakable, the Armor Impenetrable, and the Helmet Invulnerable. And it’s important to hold onto that basic goal, because the particulars of his adventure resist tidy description. Living in a rock cave with his sick mother, Kubo (voiced by Art Parkinson) discovers a terrible vendetta against them from his evil aunts, who appear like black-shroud ghosts in a Japanese horror picture, and the Moon King (Ralph Fiennes), his grandfather, who plucked out his eye as an infant and wants to claim the other one, too. (Another expectation of younger viewers: They’ll be able to withstand a little darkness.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Kubo is catapulted to a frosty, unfamiliar landscape, he gets some guidance on his journey from Monkey (Charlize Theron), an ally who materializes from a wooden totem his mother gave him, and a goofy human-insect hybrid named Beetle (Matthew McConaughey). They are pursued by supernatural threats that can appear in many different forms and their destination is so obscure that only Kubo’s dreams hint at where to go—and even then, it’s not a place that could be found by any compass or map.\u003c/p>\n\u003cp>In the topography of the imagination, there are no discernible trails leading from one location to the next. The greatness of \u003cem>Kubo and the Two Strings\u003c/em> is convincing the audience to understand that immediately and intuit their way through a narrative that must be experienced to be understood. Director Travis Knight and his animators make Kubo’s street performance a model for the film itself, which constructs an entire world out of origami paper—sharp-angled yet colorful and delicate, capable of folding into many different shapes and objects while subject to dramatic change, like being crumpled and thrown into the wastebasket.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With \u003cem>Kubo\u003c/em>, Laika adds more texture to the dark beauty that’s been the house style since \u003cem>Coraline\u003c/em>, but it’s more emotionally expansive, too. There’s plenty of wry humor and samurai action to lighten the mood and a young hero who learns that decency, as much as courage and tenacity, can save the world. The film empowers children (and adults) to share in that idealism and dream along with it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With dark bangs draped over an eyepatch, a stack of colorful origami paper, and a two-stringed, lute-like instrument called a \u003cem>shamisen\u003c/em> strapped to his back, young Kubo heads into a seaside village to put on a street performance for spare change. As he rocks the \u003cem>shamisen\u003c/em> like the Joe Satriani of ancient Japan, the origami paper dances to life around him, folding into sharply edged characters and objects, and occasionally bursting into ribbons of confetti. He tells the legend of a great samurai warrior named Hanzo and the evil force that takes many forms in an effort to take him down. Kubo holds the villagers rapt, but inevitably disappoints them. He doesn’t know how the story ends. It will be his quest to find out.\u003c/p>\n\u003cp>“If you must blink, do it now” are the first words spoken in \u003cem>Kubo and the Two Strings\u003c/em>, a line that doubles as a primer and a brag about the abstract wonders to come. The film is asking the audience to accept every off-the-wall premise that it’s given, up to and including a \u003cem>shamisen\u003c/em> that can part a tidal wave or making origami figures dance like the runaway mops in Disney’s “The Sorcerer’s Apprentice.” There’s a strong internal logic to the dense mythology it creates, but first the barriers between life and death, reality and fantasy, and past and present must come down. In the magical world of \u003cem>Kubo\u003c/em>, these walls are transformed into pathways.\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/p4-6qJzeb3A'\n title='//www.youtube.com/embed/p4-6qJzeb3A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The fourth and, to date, best film from Laika, the Portland-based animation house responsible for \u003cem>Coraline\u003c/em>, \u003cem>ParaNorman\u003c/em>, and \u003cem>The Boxtrolls\u003c/em>, \u003cem>Kubo and the Two Strings\u003c/em> has more in common with the serene eccentricities of Japanese animator Hayao Miyazaki (\u003cem>My Neighbor Totoro\u003c/em>, \u003cem>Spirited Away\u003c/em>) than American brands like Disney/Pixar, Blue Sky Studios, or Illumination Entertainment. Though the tactility and dimension of its 3D stop-motion process sets Laika apart, \u003cem>Kubo\u003c/em> has a specific faith that younger viewers will readily accept a world that has nothing in common with their own, save for the yearning of a child to complete his story and understand who he is.\u003c/p>\n\u003cp>Simply stated, the film is about Kubo’s quest to locate three items that will help protect him from the wrathful Moon King: the Sword Unbreakable, the Armor Impenetrable, and the Helmet Invulnerable. And it’s important to hold onto that basic goal, because the particulars of his adventure resist tidy description. Living in a rock cave with his sick mother, Kubo (voiced by Art Parkinson) discovers a terrible vendetta against them from his evil aunts, who appear like black-shroud ghosts in a Japanese horror picture, and the Moon King (Ralph Fiennes), his grandfather, who plucked out his eye as an infant and wants to claim the other one, too. (Another expectation of younger viewers: They’ll be able to withstand a little darkness.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Kubo is catapulted to a frosty, unfamiliar landscape, he gets some guidance on his journey from Monkey (Charlize Theron), an ally who materializes from a wooden totem his mother gave him, and a goofy human-insect hybrid named Beetle (Matthew McConaughey). They are pursued by supernatural threats that can appear in many different forms and their destination is so obscure that only Kubo’s dreams hint at where to go—and even then, it’s not a place that could be found by any compass or map.\u003c/p>\n\u003cp>In the topography of the imagination, there are no discernible trails leading from one location to the next. The greatness of \u003cem>Kubo and the Two Strings\u003c/em> is convincing the audience to understand that immediately and intuit their way through a narrative that must be experienced to be understood. Director Travis Knight and his animators make Kubo’s street performance a model for the film itself, which constructs an entire world out of origami paper—sharp-angled yet colorful and delicate, capable of folding into many different shapes and objects while subject to dramatic change, like being crumpled and thrown into the wastebasket.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With \u003cem>Kubo\u003c/em>, Laika adds more texture to the dark beauty that’s been the house style since \u003cem>Coraline\u003c/em>, but it’s more emotionally expansive, too. There’s plenty of wry humor and samurai action to lighten the mood and a young hero who learns that decency, as much as courage and tenacity, can save the world. The film empowers children (and adults) to share in that idealism and dream along with it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Some Moments in Life Feel Like a David Lynch Movie",
"headTitle": "Why Some Moments in Life Feel Like a David Lynch Movie | KQED",
"content": "\u003cp>Reading Dennis Lim’s excellent little book, \u003ci>David Lynch: The Man from Another Place\u003c/i>, I began to notice how much I cite Lynch’s films in the ordinary run of internal life. Last week it was an electrical box droning in the midst an otherwise serene day; a week earlier it was two couples sitting knee-to-knee on a covered patio swing in suburban New Hampshire. \u003c/p>\n\u003cfigure id=\"attachment_11947872\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/MFAPCover.jpg\" alt=\"Dennis Lim's 'The Man From Another Place.'\" width=\"427\" height=\"640\" class=\"size-full wp-image-11947872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MFAPCover.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MFAPCover-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Dennis Lim’s ‘The Man From Another Place.’ \u003ccite>(Courtesy of Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It turns out there is a whole category of experience that is somehow clarified, or at least rendered more vivid, by being approached as if it is happening in a David Lynch movie. Lim frequently returns to the idea of Lynch’s films as environments or worlds for the viewer to inhabit and linger, but it’s deliciously unobvious whether we are absorbing the films or they us. \u003c/p>\n\u003cp>Every bit the primer, \u003ci>David Lynch: The Man from Another Place\u003c/i> serves as both an introduction to Lynch’s work and an inducement to return to the fold. Bay Area audiences can do just that when the critic visits the \u003ca href=\"http://bampfa.org/\" target=\"_blank\" rel=\"noopener\">UC Berkeley Art Museum and Pacific Film Archive\u003c/a> (BAMPFA) for a \u003ca href=\"http://bampfa.org/program/david-lynch-man-another-place\" target=\"_blank\" rel=\"noopener\">marathon weekend of screenings\u003c/a> spanning the full sweep of Lynch’s career. \u003c/p>\n\u003cp>Lim’s book briskly recounts the production history of all this work, as well as charting Lynch’s constellation of collaborators (a deep bow for sound designer Alan Splet), influences (how’s Ronald Reagan, Francis Bacon, and the Maharishi for an unlikely trio?), and affectations (buttoned up, fiending for sugar). As for the psychological tie between life and work, how much more needs to be said once you know that a young Lynch himself slept in \u003cem>\u003ca href=\"http://bampfa.org/event/eraserhead-1\" target=\"_blank\" rel=\"noopener\">Eraserhead\u003c/a>\u003c/em>’s (1976) bedroom set?\u003c/p>\n\u003cfigure id=\"attachment_11947870\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Eraserhead.jpg\" alt=\"'Eraserhead' screens at BAMPFA Saturday, Aug. 20 at 8:45pm.\" width=\"1200\" height=\"939\" class=\"size-full wp-image-11947870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-767x600.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-1180x923.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-960x751.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Eraserhead’ screens at BAMPFA Saturday, Aug. 20 at 8:45pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lim peppers his descriptions of the films themselves with epigrammatic insights: “Sincerity can rip open a Lynch film as decisively as dread;” “All of [Lynch’s bad guys] wield knowledge they shouldn’t have as an instrument of fear;” “The very presence of mystery suggests realms of possibility, a transformative way of looking at the world.” Intelligent, honed criticism of this kind is always refreshing, but especially so when applied to this particular subject. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lim perceptively notes how journalists tend to follow Lynch’s own script — and specifically \u003cem>\u003ca href=\"http://bampfa.org/event/blue-velvet-2\" target=\"_blank\" rel=\"noopener\">Blue Velvet\u003c/a>\u003c/em>’s (1986) indelible opening — in searching out the seamy reality underlying Lynch’s bright exterior. The academic equivalent is to respond all too eagerly to the overabundant symbols and enigmas set like so many lures in Lynch’s work. By avoiding interpretive excess, Lim actually helps us to see Lynch’s singular position in film culture as a “populist experimental filmmaker, [who] has only grown freer and more radical with age.” \u003c/p>\n\u003cfigure id=\"attachment_11947871\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian.jpg\" alt=\"'A Shadow History of the Lynchian: Oddities and Marginalia' plays at BAMPFA Sunday, Aug. 21 at 4:30pm.\" width=\"900\" height=\"600\" class=\"size-full wp-image-11947871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘A Shadow History of the Lynchian: Oddities and Marginalia’ plays at BAMPFA Sunday, Aug. 21 at 4:30pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Lim mostly leaves cultural commentary to a minimum, he rightly pauses over \u003cem>Twin Peaks\u003c/em> to emphasize just how out of the ordinary it seemed in 1990. “The TV terrain of the 1980s was a smaller, safer place,” he recalls — which was precisely the attraction for Lynch. “People are in their own homes and nobody’s bothering them,” he told an interviewer at the time. “They’re well placed for entering into the dream.” \u003c/p>\n\u003cp>We learn that \u003cem>Twin Peaks\u003c/em> was the most recorded television show of its moment, a fact as revealing as it is anachronistic. Along with \u003cem>\u003ca href=\"http://bampfa.org/event/mulholland-drive-0\" target=\"_blank\" rel=\"noopener\">Mulholland Drive\u003c/a>\u003c/em> (2001), which also had its start in television, \u003cem>Twin Peaks\u003c/em> remains the most fully inhabitable of Lynch’s work. \u003c/p>\n\u003cfigure id=\"attachment_11948724\" class=\"wp-caption aligncenter\" style=\"max-width: 623px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001.jpg\" alt=\"'Twin Peaks: Fire Walk with Me,' screens at BAMPFA on Sunday, Aug. 21 Sunday, August 21 7pm.\" width=\"623\" height=\"420\" class=\"size-full wp-image-11948724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001.jpg 623w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001-400x270.jpg 400w\" sizes=\"(max-width: 623px) 100vw, 623px\">\u003cfigcaption class=\"wp-caption-text\">‘Twin Peaks: Fire Walk with Me,’ screens at BAMPFA on Sunday, Aug. 21 Sunday, August 21\u003cbr>7pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The BAMPFA program includes a rare 35mm screening of \u003cem>\u003ca href=\"http://bampfa.org/event/twin-peaks-fire-walk-me\" target=\"_blank\" rel=\"noopener\">Twin Peaks: Fire Walk With Me\u003c/a>\u003c/em> (1992), the feature-length prequel that annulled any doubt that Lynch would be going his own way. “I happened to be in love with the world of Twin Peaks and the characters that exist there,” he told a press conference at the time. “I wanted to go back into the world before it started on the series and to see what was there, to actually see things that we had heard about.” It’s one of the more remarkable quotations in Lim’s book, suggesting not only that Lynch is comfortable working without a net — indeed, that he is perhaps only comfortable working this way — but that he might well find his own films as strange as the rest of us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Dennis Lim introduces each screening in the series \u003cb>David Lynch: The Man from Another Place\u003c/b> at the UC Berkeley Art Museum and Pacific Film Archive, Aug. 19-21. For tickets and more information visit \u003ca href=\"http://bampfa.org/program/david-lynch-man-another-place\" target=\"_blank\" rel=\"noopener\">bampfa.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reading Dennis Lim’s excellent little book, \u003ci>David Lynch: The Man from Another Place\u003c/i>, I began to notice how much I cite Lynch’s films in the ordinary run of internal life. Last week it was an electrical box droning in the midst an otherwise serene day; a week earlier it was two couples sitting knee-to-knee on a covered patio swing in suburban New Hampshire. \u003c/p>\n\u003cfigure id=\"attachment_11947872\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/MFAPCover.jpg\" alt=\"Dennis Lim's 'The Man From Another Place.'\" width=\"427\" height=\"640\" class=\"size-full wp-image-11947872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MFAPCover.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MFAPCover-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Dennis Lim’s ‘The Man From Another Place.’ \u003ccite>(Courtesy of Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It turns out there is a whole category of experience that is somehow clarified, or at least rendered more vivid, by being approached as if it is happening in a David Lynch movie. Lim frequently returns to the idea of Lynch’s films as environments or worlds for the viewer to inhabit and linger, but it’s deliciously unobvious whether we are absorbing the films or they us. \u003c/p>\n\u003cp>Every bit the primer, \u003ci>David Lynch: The Man from Another Place\u003c/i> serves as both an introduction to Lynch’s work and an inducement to return to the fold. Bay Area audiences can do just that when the critic visits the \u003ca href=\"http://bampfa.org/\" target=\"_blank\" rel=\"noopener\">UC Berkeley Art Museum and Pacific Film Archive\u003c/a> (BAMPFA) for a \u003ca href=\"http://bampfa.org/program/david-lynch-man-another-place\" target=\"_blank\" rel=\"noopener\">marathon weekend of screenings\u003c/a> spanning the full sweep of Lynch’s career. \u003c/p>\n\u003cp>Lim’s book briskly recounts the production history of all this work, as well as charting Lynch’s constellation of collaborators (a deep bow for sound designer Alan Splet), influences (how’s Ronald Reagan, Francis Bacon, and the Maharishi for an unlikely trio?), and affectations (buttoned up, fiending for sugar). As for the psychological tie between life and work, how much more needs to be said once you know that a young Lynch himself slept in \u003cem>\u003ca href=\"http://bampfa.org/event/eraserhead-1\" target=\"_blank\" rel=\"noopener\">Eraserhead\u003c/a>\u003c/em>’s (1976) bedroom set?\u003c/p>\n\u003cfigure id=\"attachment_11947870\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Eraserhead.jpg\" alt=\"'Eraserhead' screens at BAMPFA Saturday, Aug. 20 at 8:45pm.\" width=\"1200\" height=\"939\" class=\"size-full wp-image-11947870\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-767x600.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-1180x923.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Eraserhead-960x751.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Eraserhead’ screens at BAMPFA Saturday, Aug. 20 at 8:45pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lim peppers his descriptions of the films themselves with epigrammatic insights: “Sincerity can rip open a Lynch film as decisively as dread;” “All of [Lynch’s bad guys] wield knowledge they shouldn’t have as an instrument of fear;” “The very presence of mystery suggests realms of possibility, a transformative way of looking at the world.” Intelligent, honed criticism of this kind is always refreshing, but especially so when applied to this particular subject. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lim perceptively notes how journalists tend to follow Lynch’s own script — and specifically \u003cem>\u003ca href=\"http://bampfa.org/event/blue-velvet-2\" target=\"_blank\" rel=\"noopener\">Blue Velvet\u003c/a>\u003c/em>’s (1986) indelible opening — in searching out the seamy reality underlying Lynch’s bright exterior. The academic equivalent is to respond all too eagerly to the overabundant symbols and enigmas set like so many lures in Lynch’s work. By avoiding interpretive excess, Lim actually helps us to see Lynch’s singular position in film culture as a “populist experimental filmmaker, [who] has only grown freer and more radical with age.” \u003c/p>\n\u003cfigure id=\"attachment_11947871\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian.jpg\" alt=\"'A Shadow History of the Lynchian: Oddities and Marginalia' plays at BAMPFA Sunday, Aug. 21 at 4:30pm.\" width=\"900\" height=\"600\" class=\"size-full wp-image-11947871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Shadow-History-of-the-Lynchian-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘A Shadow History of the Lynchian: Oddities and Marginalia’ plays at BAMPFA Sunday, Aug. 21 at 4:30pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Lim mostly leaves cultural commentary to a minimum, he rightly pauses over \u003cem>Twin Peaks\u003c/em> to emphasize just how out of the ordinary it seemed in 1990. “The TV terrain of the 1980s was a smaller, safer place,” he recalls — which was precisely the attraction for Lynch. “People are in their own homes and nobody’s bothering them,” he told an interviewer at the time. “They’re well placed for entering into the dream.” \u003c/p>\n\u003cp>We learn that \u003cem>Twin Peaks\u003c/em> was the most recorded television show of its moment, a fact as revealing as it is anachronistic. Along with \u003cem>\u003ca href=\"http://bampfa.org/event/mulholland-drive-0\" target=\"_blank\" rel=\"noopener\">Mulholland Drive\u003c/a>\u003c/em> (2001), which also had its start in television, \u003cem>Twin Peaks\u003c/em> remains the most fully inhabitable of Lynch’s work. \u003c/p>\n\u003cfigure id=\"attachment_11948724\" class=\"wp-caption aligncenter\" style=\"max-width: 623px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001.jpg\" alt=\"'Twin Peaks: Fire Walk with Me,' screens at BAMPFA on Sunday, Aug. 21 Sunday, August 21 7pm.\" width=\"623\" height=\"420\" class=\"size-full wp-image-11948724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001.jpg 623w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lynch_Twin-Peaks_001-400x270.jpg 400w\" sizes=\"(max-width: 623px) 100vw, 623px\">\u003cfigcaption class=\"wp-caption-text\">‘Twin Peaks: Fire Walk with Me,’ screens at BAMPFA on Sunday, Aug. 21 Sunday, August 21\u003cbr>7pm. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The BAMPFA program includes a rare 35mm screening of \u003cem>\u003ca href=\"http://bampfa.org/event/twin-peaks-fire-walk-me\" target=\"_blank\" rel=\"noopener\">Twin Peaks: Fire Walk With Me\u003c/a>\u003c/em> (1992), the feature-length prequel that annulled any doubt that Lynch would be going his own way. “I happened to be in love with the world of Twin Peaks and the characters that exist there,” he told a press conference at the time. “I wanted to go back into the world before it started on the series and to see what was there, to actually see things that we had heard about.” It’s one of the more remarkable quotations in Lim’s book, suggesting not only that Lynch is comfortable working without a net — indeed, that he is perhaps only comfortable working this way — but that he might well find his own films as strange as the rest of us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Dennis Lim introduces each screening in the series \u003cb>David Lynch: The Man from Another Place\u003c/b> at the UC Berkeley Art Museum and Pacific Film Archive, Aug. 19-21. For tickets and more information visit \u003ca href=\"http://bampfa.org/program/david-lynch-man-another-place\" target=\"_blank\" rel=\"noopener\">bampfa.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hiring of minorities and women for stepping-stone TV directing jobs is lagging, according to a Directors Guild of America study.\u003c/p>\n\u003cp>The study released Wednesday focuses on “first break” jobs the guild called critical in increasing diversity in the ranks of episodic TV directors.\u003c/p>\n\u003cp>Of the 153 people hired during the 2015-16 season to direct their first TV episode, 15 percent were ethnic minorities — a hiring rate that has remained flat over the past seven seasons, the annual study found.\u003c/p>\n\u003cp>For women, there was a slight upward trend in hiring, but it was part of a fluctuation since 2012 that falls within the same stubborn range, the guild said.\u003c/p>\n\u003cp>Within the last three years, for example, hiring of first-time female directors fell from 23 percent to 16 percent and then returned to 23 percent, researchers found.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“To change the hiring pool, you have to change the pipeline. Year after year when we put out our TV director diversity report, the media and public are stunned that the numbers remain virtually the same,” Bethany Rooney, co-chair of the DGA Diversity Task Force, said in a statement.\u003c/p>\n\u003cp>Those responsible for hiring decisions include studios, networks and executive producers.\u003c/p>\n\u003cp>Looking at the period encompassing the 2009-10 through 2015-16 seasons, men represented 81 percent of new episodic directors, with women making up 19 percent, the guild said. White represented 86 percent, with minorities at 14 percent, the guild said.\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>\u003c/p>\n\u003cp>“To change the hiring pool, you have to change the pipeline. Year after year when we put out our TV director diversity report, the media and public are stunned that the numbers remain virtually the same,” Bethany Rooney, co-chair of the DGA Diversity Task Force, said in a statement.\u003c/p>\n\u003cp>Those responsible for hiring decisions include studios, networks and executive producers.\u003c/p>\n\u003cp>Looking at the period encompassing the 2009-10 through 2015-16 seasons, men represented 81 percent of new episodic directors, with women making up 19 percent, the guild said. White represented 86 percent, with minorities at 14 percent, the guild said.\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>Everyone knows the written word can be a powerful thing. Less discussed -- except perhaps among a distinct, proud, self-identifying group commonly known as typography or font nerds -- is how a typeface choice can shape a reader's feelings about the text's meaning.\u003c/p>\n\u003cp>Need proof? Just ask the \u003ca href=\"https://www.mcsweeneys.net/articles/im-comic-sans-asshole\" target=\"_blank\">black sheep of the font family, Comic Sans\u003c/a>. On the other end of the spectrum, one study showed that printing your manifesto in \u003ca href=\"http://indy100.independent.co.uk/article/this-is-the-worlds-most-persuasive-font--eyzCcmjwwWb\" target=\"_blank\">Baskerville is your best bet\u003c/a> for getting followers to trust you.\u003c/p>\n\u003cp>And if you want '80s nostalgia-riddled adults worldwide to look at a title sequence and suddenly be overcome by a swell of emotion toward the sci-fi novels and films of their youth? Apparently, you make a beeline for ITC Benguiat, a font used on everything from Choose-Your-Own-Adventure books to the Smiths' record \u003cem>Strangeways, Here We Come \u003c/em>to Paramount Pictures' FBI piracy warning (which, if you remember VHS tapes, is almost certainly emblazoned onto a tiny corner of your consciousness somewhere).\u003c/p>\n\u003cfigure id=\"attachment_33364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/cyoa002hb.jpg\">\u003cimg class=\"size-medium wp-image-33364\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/cyoa002hb-800x1209.jpg\" alt=\"Look familiar?\" width=\"800\" height=\"1209\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb-800x1209.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb-400x605.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb-768x1161.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb-1440x2177.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb-1180x1784.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb-960x1451.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb.jpg 1845w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Look familiar?\u003c/figcaption>\u003c/figure>\n\u003cp>In a fun explainer video for Vox, the creative director of Imaginary Forces -- a Los Angeles studio responsible for creating title sequences on some of the best-loved TV shows of the past decade -- details how her team took this careful font choice and ran with it when tasked with creating a title sequence for \u003cem>Stranger Things\u003c/em>, the retro-tastic, runaway Netflix hit of the summer.\u003c/p>\n\u003cp>Using somewhat outdated methods to create a typeface that blends the gritty, organic feel of pre-digital-era lettering with a bit of computerized trickery, the company conjured the precise feel of the series, which is to say: brand new yet very, very familiar. (You can play around with creating\u003ca href=\"http://makeitstranger.com/\" target=\"_blank\"> your own sequence right here\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The result? It doesn't really matter what year you were born. When you settle in for an episode of \u003cem>Stranger Things\u003c/em>, the part of your brain that feels warm and fuzzy about, say, \u003cem>E.T.\u003c/em> or \u003cem>The Goonies\u003c/em> is activated long before you see Winona Ryder even pick up that wall-mounted landline. Give the video a watch below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_a1lp_ygGB4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everyone knows the written word can be a powerful thing. Less discussed -- except perhaps among a distinct, proud, self-identifying group commonly known as typography or font nerds -- is how a typeface choice can shape a reader's feelings about the text's meaning.\u003c/p>\n\u003cp>Need proof? Just ask the \u003ca href=\"https://www.mcsweeneys.net/articles/im-comic-sans-asshole\" target=\"_blank\">black sheep of the font family, Comic Sans\u003c/a>. On the other end of the spectrum, one study showed that printing your manifesto in \u003ca href=\"http://indy100.independent.co.uk/article/this-is-the-worlds-most-persuasive-font--eyzCcmjwwWb\" target=\"_blank\">Baskerville is your best bet\u003c/a> for getting followers to trust you.\u003c/p>\n\u003cp>And if you want '80s nostalgia-riddled adults worldwide to look at a title sequence and suddenly be overcome by a swell of emotion toward the sci-fi novels and films of their youth? Apparently, you make a beeline for ITC Benguiat, a font used on everything from Choose-Your-Own-Adventure books to the Smiths' record \u003cem>Strangeways, Here We Come \u003c/em>to Paramount Pictures' FBI piracy warning (which, if you remember VHS tapes, is almost certainly emblazoned onto a tiny corner of your consciousness somewhere).\u003c/p>\n\u003cfigure id=\"attachment_33364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/cyoa002hb.jpg\">\u003cimg class=\"size-medium wp-image-33364\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/cyoa002hb-800x1209.jpg\" alt=\"Look familiar?\" width=\"800\" height=\"1209\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb-800x1209.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb-400x605.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb-768x1161.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb-1440x2177.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb-1180x1784.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb-960x1451.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/cyoa002hb.jpg 1845w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Look familiar?\u003c/figcaption>\u003c/figure>\n\u003cp>In a fun explainer video for Vox, the creative director of Imaginary Forces -- a Los Angeles studio responsible for creating title sequences on some of the best-loved TV shows of the past decade -- details how her team took this careful font choice and ran with it when tasked with creating a title sequence for \u003cem>Stranger Things\u003c/em>, the retro-tastic, runaway Netflix hit of the summer.\u003c/p>\n\u003cp>Using somewhat outdated methods to create a typeface that blends the gritty, organic feel of pre-digital-era lettering with a bit of computerized trickery, the company conjured the precise feel of the series, which is to say: brand new yet very, very familiar. (You can play around with creating\u003ca href=\"http://makeitstranger.com/\" target=\"_blank\"> your own sequence right here\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The result? It doesn't really matter what year you were born. When you settle in for an episode of \u003cem>Stranger Things\u003c/em>, the part of your brain that feels warm and fuzzy about, say, \u003cem>E.T.\u003c/em> or \u003cem>The Goonies\u003c/em> is activated long before you see Winona Ryder even pick up that wall-mounted landline. Give the video a watch below.\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/_a1lp_ygGB4'\n title='//www.youtube.com/embed/_a1lp_ygGB4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rape Case from the Past Casts Pall on 'Birth of a Nation'",
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"content": "\u003cp>A 17-year-old rape accusation and recent reports that the female accuser who continued to be haunted by the case committed suicide in 2012 has cast a shadow over Nate Parker’s upcoming \u003cem>The Birth of a Nation\u003c/em>, a film that was expected to be one of the year’s most important.\u003c/p>\n\u003cp>\u003cem>The Birth of a Nation\u003c/em>, a drama about Nat Turner’s 1831 slave rebellion, has been pegged as an Academy Awards candidate since its award-winning debut at last January’s Sundance Film Festival, where it fetched a record $17.5 million acquisition price from Fox Searchlight.\u003c/p>\n\u003cp>\u003cem>The Birth of a Nation\u003c/em>, which Parker stars in, co-wrote, co-produced and directed, is a film some believe will help sweep in a more diverse field of Oscar nominees, along with providing a breakthrough for Parker.\u003c/p>\n\u003cp>But after a handful of trade interviews in which Parker discussed the rape charges he faced and was then acquitted of as a student at Penn State University in 1999, Parker’s past is what’s drawing headlines well before the October release of \u003cem>The Birth of a Nation\u003c/em>. Attention has only intensified with the news Tuesday from The Hollywood Reporter and Variety that the accuser, who was not named, killed herself in 2012 at the age of 30 after a few prior attempts that same year, according to court documents.\u003c/p>\n\u003cp>Representatives for Parker and the studio did not immediately respond to request for comment about the latest reports.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a 19-year-old wrestler at Penn State, Parker and his roommate Jean Celestin (who has a story credit on \u003cem>The Birth of a Nation\u003c/em>) were charged with raping the 18-year-old student. The woman said she was unconscious at the time and didn’t consent to the sex. Parker, who testified that he and the woman had previously had sex, and Celestin maintained that it was consensual.\u003c/p>\n\u003cp>Parker was acquitted in 2001. Celestin was convicted of sexual assault, but that was later overturned when the woman opted not to testify again for a 2005 retrial. She sued Penn State and was awarded a settlement out of court.\u003c/p>\n\u003cp>Her suffering reportedly continued, however.\u003c/p>\n\u003cp>\u003cem>The Hollywood Reporter\u003c/em> on Tuesday spoke to S. Daniel Carter, a Penn State sexual assault advocate, who said the accuser was “tormented” by “the constant contact and fear of seeing her assailants on campus.”\u003c/p>\n\u003cp>The accuser’s brother, identified only as Johnny, also spoke about his sister.\u003c/p>\n\u003cp>“If I were to look back at her very short life and point to one moment where I think she changed as a person, it was obviously that point,” Johnny told \u003cem>Variety\u003c/em>. “The trial was pretty tough for her.”\u003c/p>\n\u003cp>After the trial, Johnny said, his sister moved around frequently and became a mother to a son with her boyfriend.\u003c/p>\n\u003cp>“I think the ghosts continued to haunt her,” he said.\u003c/p>\n\u003cp>The case largely escaped notice at Sundance, but in a pair of trade interviews published Friday, Parker confronted it straightforwardly.\u003c/p>\n\u003cp>“I was sure it would come up,” Parker told \u003cem>Deadline\u003c/em>. “I stand here, a 36-year-old man, 17 years removed from one of the painful moments in my life. And I can imagine it was painful for everyone. I was cleared of everything, of all charges. I’ve done a lot of living, and raised a lot of children. I’ve got five daughters and a lovely wife.”\u003c/p>\n\u003cp>In the bright spotlight of Hollywood’s awards season, far less has hurt a film’s chances with Oscar voters. On the other hand, Parker wasn’t found guilty and he has faced the case more directly than some Hollywood stars have in the past.\u003c/p>\n\u003cp>A lot is on the line for Fox Searchlight, which paid more for \u003cem>The Birth of a Nation\u003c/em> than any previous Sundance film. The movie’s striking poster features Parker as Turner with a noose made out of an American flag. The film will play in September at the Toronto International Film Festival.\u003c/p>\n\u003cp>In an earlier statement, Fox Searchlight said: “Fox Searchlight is aware of the incident that occurred while Nate Parker was at Penn State. We also know that he was found innocent and cleared of all charges. We stand behind Nate and are proud to help bring this important and powerful story to the screen.”\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>A 17-year-old rape accusation and recent reports that the female accuser who continued to be haunted by the case committed suicide in 2012 has cast a shadow over Nate Parker’s upcoming \u003cem>The Birth of a Nation\u003c/em>, a film that was expected to be one of the year’s most important.\u003c/p>\n\u003cp>\u003cem>The Birth of a Nation\u003c/em>, a drama about Nat Turner’s 1831 slave rebellion, has been pegged as an Academy Awards candidate since its award-winning debut at last January’s Sundance Film Festival, where it fetched a record $17.5 million acquisition price from Fox Searchlight.\u003c/p>\n\u003cp>\u003cem>The Birth of a Nation\u003c/em>, which Parker stars in, co-wrote, co-produced and directed, is a film some believe will help sweep in a more diverse field of Oscar nominees, along with providing a breakthrough for Parker.\u003c/p>\n\u003cp>But after a handful of trade interviews in which Parker discussed the rape charges he faced and was then acquitted of as a student at Penn State University in 1999, Parker’s past is what’s drawing headlines well before the October release of \u003cem>The Birth of a Nation\u003c/em>. Attention has only intensified with the news Tuesday from The Hollywood Reporter and Variety that the accuser, who was not named, killed herself in 2012 at the age of 30 after a few prior attempts that same year, according to court documents.\u003c/p>\n\u003cp>Representatives for Parker and the studio did not immediately respond to request for comment about the latest reports.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a 19-year-old wrestler at Penn State, Parker and his roommate Jean Celestin (who has a story credit on \u003cem>The Birth of a Nation\u003c/em>) were charged with raping the 18-year-old student. The woman said she was unconscious at the time and didn’t consent to the sex. Parker, who testified that he and the woman had previously had sex, and Celestin maintained that it was consensual.\u003c/p>\n\u003cp>Parker was acquitted in 2001. Celestin was convicted of sexual assault, but that was later overturned when the woman opted not to testify again for a 2005 retrial. She sued Penn State and was awarded a settlement out of court.\u003c/p>\n\u003cp>Her suffering reportedly continued, however.\u003c/p>\n\u003cp>\u003cem>The Hollywood Reporter\u003c/em> on Tuesday spoke to S. Daniel Carter, a Penn State sexual assault advocate, who said the accuser was “tormented” by “the constant contact and fear of seeing her assailants on campus.”\u003c/p>\n\u003cp>The accuser’s brother, identified only as Johnny, also spoke about his sister.\u003c/p>\n\u003cp>“If I were to look back at her very short life and point to one moment where I think she changed as a person, it was obviously that point,” Johnny told \u003cem>Variety\u003c/em>. “The trial was pretty tough for her.”\u003c/p>\n\u003cp>After the trial, Johnny said, his sister moved around frequently and became a mother to a son with her boyfriend.\u003c/p>\n\u003cp>“I think the ghosts continued to haunt her,” he said.\u003c/p>\n\u003cp>The case largely escaped notice at Sundance, but in a pair of trade interviews published Friday, Parker confronted it straightforwardly.\u003c/p>\n\u003cp>“I was sure it would come up,” Parker told \u003cem>Deadline\u003c/em>. “I stand here, a 36-year-old man, 17 years removed from one of the painful moments in my life. And I can imagine it was painful for everyone. I was cleared of everything, of all charges. I’ve done a lot of living, and raised a lot of children. I’ve got five daughters and a lovely wife.”\u003c/p>\n\u003cp>In the bright spotlight of Hollywood’s awards season, far less has hurt a film’s chances with Oscar voters. On the other hand, Parker wasn’t found guilty and he has faced the case more directly than some Hollywood stars have in the past.\u003c/p>\n\u003cp>A lot is on the line for Fox Searchlight, which paid more for \u003cem>The Birth of a Nation\u003c/em> than any previous Sundance film. The movie’s striking poster features Parker as Turner with a noose made out of an American flag. The film will play in September at the Toronto International Film Festival.\u003c/p>\n\u003cp>In an earlier statement, Fox Searchlight said: “Fox Searchlight is aware of the incident that occurred while Nate Parker was at Penn State. We also know that he was found innocent and cleared of all charges. We stand behind Nate and are proud to help bring this important and powerful story to the screen.”\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>In the last week, if you haven’t been aghast by the lack of attention Lindsay Lohan’s public beating has received, it’s probably because you haven’t even heard about it.\u003c/p>\n\u003cp>A week and a half ago, astonishing footage emerged of Lindsay Lohan frantically throwing herself out of a Jeep and running away, only to be chased and grabbed by her then-fiance, Egor Tarabasov, who promptly grabbed her arm and violently twisted it behind her back, partially exposing one of her breasts in the process.\u003c/p>\n\u003cp>The first especially horrific element of this incident is that it happened in broad daylight. One cannot help but wonder what happens behind closed doors if Tarabasov is doing this to Lohan on a busy beach.\u003c/p>\n\u003cp>The second especially horrific element has little to do with Mr. Tarabasov and everything to do with America’s response to his actions. Not only was there no outpouring of sympathy for Lohan, there was barely even a trickle of acknowledgment.\u003c/p>\n\u003cp>Given the sheer multitude of blind eyes turned to domestic violence statistics in America today, perhaps it shouldn’t be all that surprising that the media doesn’t care too much that a once-successful woman was manhandled in public. Roughly \u003ca href=\"http://www.huffingtonpost.com/2014/10/23/domestic-violence-statistics_n_5959776.html\">4,774,000\u003c/a> American women deal with physical violence from men they are intimately involved with, every single year. This is not a rare occurrence. But when it happens to famous women, or women that are married to famous men, the hope is that it will start a national conversation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It sometimes does, but as a country, we struggle to keep the conversation going past the initial shock, and ultimately tend to let it go. To make matters worse, our collective response to incidents of celebrity domestic violence tends to vary according to who’s on the receiving end and who’s alleged to have committed it.\u003c/p>\n\u003cp>Amber Heard knows all about this. Since she filed divorce papers and a restraining order against Johnny Depp, she has suffered through a disgraceful amount of speculation about whether her accusations are financially motivated. Even with witnesses to violence committed against her by Depp; even after photos of her bruised face adorned the cover of \u003ca href=\"http://pixel.nymag.com/imgs/fashion/daily/2016/06/01/01-amber-heard-people.w245.h368.jpg\">\u003cem>People\u003c/em> magazine\u003c/a>; even after she said she would \u003ca href=\"http://www.people.com/article/amber-heard-defamation-suit-doug-stanhope\">donate any compensation\u003c/a> from a related lawsuit to a domestic violence charity, the idea that Heard must be making it all up for a payout continue to persist.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-33259\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Depp-Heard-800x415.png\" alt=\"Depp Heard\" width=\"800\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-800x415.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-400x207.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-768x398.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-1440x747.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-1920x996.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-1180x612.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-960x498.png 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Over the weekend, when video \u003ca href=\"https://www.youtube.com/watch?v=Nhz9PCbnkkQ\">footage\u003c/a> leaked of a manic Depp smashing up the couple’s kitchen, Heard was still put under enough pressure over it that she had to give E! \u003ca href=\"http://www.eonline.com/news/787492/amber-heard-slams-speculation-that-she-released-video-of-johnny-depp-fight\">a statement\u003c/a> denying she was the person who released the clip. The ugly truth is that Heard is significantly less famous and less beloved than Depp, so it’s on her, over and over again, to defend herself, even though she is quite obviously the victim here.\u003c/p>\n\u003cp>A similarly heinous public response occurred last year following porn actress Christy Mack’s \u003ca href=\"http://www.independent.co.uk/news-10/christy-mack-describes-night-mma-fighter-war-machine-allegedly-attacked-her-for-hbo-investigation-10410676.html\">savage beating\u003c/a> at the hands of MMA fighter, War Machine. A shocking number of tweets suggested that Mack ‘s professional and personal choices were directly responsible for her ten broken bones, lost teeth, and face so swollen it rendered her unrecognizable. The social media message was, at least initially: if you have sex on camera and your boyfriend beats people up for a living, then you’re pretty much asking for it.\u003c/p>\n\u003cp>Thankfully, a number of mainstream websites \u003ca href=\"http://www.huffingtonpost.com/2014/08/19/christy-mack-war-machine-attack-police-report-_n_5691447.html\">picked up the story\u003c/a>, called out the critics, and the incident ultimately became a valuable discussion about the consequences of living in a culture that dehumanizes women who make a living by being overtly sexual. It was the same conversation that was needed back in 1998 when \u003ca href=\"http://articles.latimes.com/1998/may/21/local/me-51994\">coverage\u003c/a> of Pamela Anderson’s beating at the hands of Tommy Lee was often more preoccupied by the fact that she was holding her son at the time, than it was with the injuries she received.\u003c/p>\n\u003cp>As with the Christy Mack case, a similarly useful discussion was prompted by video footage of Baltimore Ravens running back, Ray Rice, knocking out his fiancé inside an elevator, then casually dragging her unconscious body away. Before the footage emerged, public reaction was at a minimum. Afterwards, outrage quickly spread across the country and forced the NFL to up Rice’s absurd two-game suspension to an \u003ca href=\"http://www.sbnation.com/nfl/2014/5/23/5744964/ray-rice-arrest-assault-statement-apology-ravens\">indefinite one\u003c/a>. Footage shouldn't have been needed to provoke this response -- but at least there was one.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ekCVA5RtCGs\u003c/p>\n\u003cp>Undoubtedly, though, America’s most famous domestic abuse survivor is still Rihanna. When photos of her battered face emerged after Chris Brown’s now-infamous attack, the world let out an immediate and collective wail of horror. It’s only sad that all that shock and disdain evaporated quickly once it became obvious that the singer had reunited with Brown, which highlighted a frustrating lack of understanding about the psychology of domestic violence and how it affects survivors.\u003c/p>\n\u003cp>To this day, Chris Brown’s career hasn’t particularly suffered, but neither have the legacies of a plethora of other musicians who’ve attacked women -- from \u003ca href=\"http://www.mirror.co.uk/3am/celebrity-news/john-lennons-dark-side-domestic-6481985\">John Lennon\u003c/a> to \u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\">Dr. Dre.\u003c/a> Meanwhile, the movie industry has, for decades, demonstrated a stunning ability to ignore violence against women as long as the perpetrators are well-liked enough artists: Sean Penn, Roman Polanski, Alec Baldwin, Michael Fassbender, Sean Connery, Wesley Snipes, Charlie Sheen… the list goes on. And on. And on. And on.\u003c/p>\n\u003cp>All things considered, perhaps the plight of Lindsay Lohan was largely ignored last week because we, as a culture, have become so desensitized to famous cases of domestic violence. We watched that Ray Rice video play over and over on the news, and we know every mark on Rihanna’s face the night she was attacked. Lohan didn’t end up with a black eye, and she hasn’t made a good movie for a while, so the media is about as interested in her plight as it is in those other 4,774,000 American women dealing with abusive partners.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ultimately, the handling of the Lindsay Lohan video doesn’t just reflect the double standards our various female celebrities face in these cases, it also holds a mirror up to a culture that still treats violence between spouses as ultimately their problem, not ours. For the thousands of non-famous women trapped in abusive relationships, the message isn't just demoralizing -- it's downright dangerous.\u003c/p>\n\n",
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"excerpt": "Lohan's had her share of substance abuse issues and run-ins with the law. Does that mean we don't care when she's battered in public?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the last week, if you haven’t been aghast by the lack of attention Lindsay Lohan’s public beating has received, it’s probably because you haven’t even heard about it.\u003c/p>\n\u003cp>A week and a half ago, astonishing footage emerged of Lindsay Lohan frantically throwing herself out of a Jeep and running away, only to be chased and grabbed by her then-fiance, Egor Tarabasov, who promptly grabbed her arm and violently twisted it behind her back, partially exposing one of her breasts in the process.\u003c/p>\n\u003cp>The first especially horrific element of this incident is that it happened in broad daylight. One cannot help but wonder what happens behind closed doors if Tarabasov is doing this to Lohan on a busy beach.\u003c/p>\n\u003cp>The second especially horrific element has little to do with Mr. Tarabasov and everything to do with America’s response to his actions. Not only was there no outpouring of sympathy for Lohan, there was barely even a trickle of acknowledgment.\u003c/p>\n\u003cp>Given the sheer multitude of blind eyes turned to domestic violence statistics in America today, perhaps it shouldn’t be all that surprising that the media doesn’t care too much that a once-successful woman was manhandled in public. Roughly \u003ca href=\"http://www.huffingtonpost.com/2014/10/23/domestic-violence-statistics_n_5959776.html\">4,774,000\u003c/a> American women deal with physical violence from men they are intimately involved with, every single year. This is not a rare occurrence. But when it happens to famous women, or women that are married to famous men, the hope is that it will start a national conversation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It sometimes does, but as a country, we struggle to keep the conversation going past the initial shock, and ultimately tend to let it go. To make matters worse, our collective response to incidents of celebrity domestic violence tends to vary according to who’s on the receiving end and who’s alleged to have committed it.\u003c/p>\n\u003cp>Amber Heard knows all about this. Since she filed divorce papers and a restraining order against Johnny Depp, she has suffered through a disgraceful amount of speculation about whether her accusations are financially motivated. Even with witnesses to violence committed against her by Depp; even after photos of her bruised face adorned the cover of \u003ca href=\"http://pixel.nymag.com/imgs/fashion/daily/2016/06/01/01-amber-heard-people.w245.h368.jpg\">\u003cem>People\u003c/em> magazine\u003c/a>; even after she said she would \u003ca href=\"http://www.people.com/article/amber-heard-defamation-suit-doug-stanhope\">donate any compensation\u003c/a> from a related lawsuit to a domestic violence charity, the idea that Heard must be making it all up for a payout continue to persist.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-33259\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/08/Depp-Heard-800x415.png\" alt=\"Depp Heard\" width=\"800\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-800x415.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-400x207.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-768x398.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-1440x747.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-1920x996.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-1180x612.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/08/Depp-Heard-960x498.png 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Over the weekend, when video \u003ca href=\"https://www.youtube.com/watch?v=Nhz9PCbnkkQ\">footage\u003c/a> leaked of a manic Depp smashing up the couple’s kitchen, Heard was still put under enough pressure over it that she had to give E! \u003ca href=\"http://www.eonline.com/news/787492/amber-heard-slams-speculation-that-she-released-video-of-johnny-depp-fight\">a statement\u003c/a> denying she was the person who released the clip. The ugly truth is that Heard is significantly less famous and less beloved than Depp, so it’s on her, over and over again, to defend herself, even though she is quite obviously the victim here.\u003c/p>\n\u003cp>A similarly heinous public response occurred last year following porn actress Christy Mack’s \u003ca href=\"http://www.independent.co.uk/news-10/christy-mack-describes-night-mma-fighter-war-machine-allegedly-attacked-her-for-hbo-investigation-10410676.html\">savage beating\u003c/a> at the hands of MMA fighter, War Machine. A shocking number of tweets suggested that Mack ‘s professional and personal choices were directly responsible for her ten broken bones, lost teeth, and face so swollen it rendered her unrecognizable. The social media message was, at least initially: if you have sex on camera and your boyfriend beats people up for a living, then you’re pretty much asking for it.\u003c/p>\n\u003cp>Thankfully, a number of mainstream websites \u003ca href=\"http://www.huffingtonpost.com/2014/08/19/christy-mack-war-machine-attack-police-report-_n_5691447.html\">picked up the story\u003c/a>, called out the critics, and the incident ultimately became a valuable discussion about the consequences of living in a culture that dehumanizes women who make a living by being overtly sexual. It was the same conversation that was needed back in 1998 when \u003ca href=\"http://articles.latimes.com/1998/may/21/local/me-51994\">coverage\u003c/a> of Pamela Anderson’s beating at the hands of Tommy Lee was often more preoccupied by the fact that she was holding her son at the time, than it was with the injuries she received.\u003c/p>\n\u003cp>As with the Christy Mack case, a similarly useful discussion was prompted by video footage of Baltimore Ravens running back, Ray Rice, knocking out his fiancé inside an elevator, then casually dragging her unconscious body away. Before the footage emerged, public reaction was at a minimum. Afterwards, outrage quickly spread across the country and forced the NFL to up Rice’s absurd two-game suspension to an \u003ca href=\"http://www.sbnation.com/nfl/2014/5/23/5744964/ray-rice-arrest-assault-statement-apology-ravens\">indefinite one\u003c/a>. Footage shouldn't have been needed to provoke this response -- but at least there was one.\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/ekCVA5RtCGs'\n title='//www.youtube.com/embed/ekCVA5RtCGs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Undoubtedly, though, America’s most famous domestic abuse survivor is still Rihanna. When photos of her battered face emerged after Chris Brown’s now-infamous attack, the world let out an immediate and collective wail of horror. It’s only sad that all that shock and disdain evaporated quickly once it became obvious that the singer had reunited with Brown, which highlighted a frustrating lack of understanding about the psychology of domestic violence and how it affects survivors.\u003c/p>\n\u003cp>To this day, Chris Brown’s career hasn’t particularly suffered, but neither have the legacies of a plethora of other musicians who’ve attacked women -- from \u003ca href=\"http://www.mirror.co.uk/3am/celebrity-news/john-lennons-dark-side-domestic-6481985\">John Lennon\u003c/a> to \u003ca href=\"http://gawker.com/heres-whats-missing-from-straight-outta-compton-me-and-1724735910\">Dr. Dre.\u003c/a> Meanwhile, the movie industry has, for decades, demonstrated a stunning ability to ignore violence against women as long as the perpetrators are well-liked enough artists: Sean Penn, Roman Polanski, Alec Baldwin, Michael Fassbender, Sean Connery, Wesley Snipes, Charlie Sheen… the list goes on. And on. And on. And on.\u003c/p>\n\u003cp>All things considered, perhaps the plight of Lindsay Lohan was largely ignored last week because we, as a culture, have become so desensitized to famous cases of domestic violence. We watched that Ray Rice video play over and over on the news, and we know every mark on Rihanna’s face the night she was attacked. Lohan didn’t end up with a black eye, and she hasn’t made a good movie for a while, so the media is about as interested in her plight as it is in those other 4,774,000 American women dealing with abusive partners.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, the handling of the Lindsay Lohan video doesn’t just reflect the double standards our various female celebrities face in these cases, it also holds a mirror up to a culture that still treats violence between spouses as ultimately their problem, not ours. For the thousands of non-famous women trapped in abusive relationships, the message isn't just demoralizing -- it's downright dangerous.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "court-rejects-cosbys-attempt-to-reseal-testimony-on-affairs",
"title": "Court Rejects Cosby's Attempt to Reseal Testimony on Affairs",
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"content": "\u003cp>A federal appeals court on Monday rejected Bill Cosby’s effort to reseal his deposition testimony about extramarital affairs, prescription sedatives and payments to women, saying the documents are now a matter of public knowledge.\u003c/p>\n\u003cp>The 3rd U.S. Circuit Court of Appeals in Philadelphia ruled that the comedian’s appeal was moot.\u003c/p>\n\u003cp>“The contents of the documents are a matter of public knowledge, and we cannot pretend that we could change that fact by ordering them resealed,” the court wrote in an opinion.\u003c/p>\n\u003cp>[contextly_sidebar id=”V1Sj4bywnqubOR65Bc9xTS7klFKwrwKg”]\u003c/p>\n\u003cp>Cosby’s attorneys hoped a ruling in their favor could help them keep the documents from being used in the criminal case against him in Pennsylvania and in the many lawsuits filed around the country by women who accuse him of sexual assault or defamation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby gave the testimony in 2005 as part of a lawsuit brought against him by Andrea Constand, a Temple University employee who said he drugged and molested her at his home. She later settled for an undisclosed sum, and sensitive documents in the file remained sealed.\u003c/p>\n\u003cp>In the nearly 1,000-page deposition, the married comic once known as “America’s Dad” for his beloved portrayal of Dr. Cliff Huxtable on his top-ranked 1980s TV show, \u003cem>The Cosby Show\u003c/em>, admitted to several extramarital affairs and said he obtained quaaludes to give to women he hoped to seduce.\u003c/p>\n\u003cp>The documents were released last year on a request from The Associated Press. U.S. District Judge Eduardo Robreno found the public had a right to Cosby’s testimony because of his role as a self-appointed “public moralist” and because he had denied accusations he drugged and molested women.\u003c/p>\n\u003cp>In Monday’s ruling, the appeals court questioned that “public moralist” rationale in releasing the documents, calling it “vague and undefined.”\u003c/p>\n\u003cp>“While we are without jurisdiction to review this question, it is worth noting that, if we could review it, we would have serious reservations about the District Court’s ‘public moralist’ rationale,” the opinion said.\u003c/p>\n\u003cp>In court papers, his lawyers argued that he had been assured confidentiality and that the “private and embarrassing testimony” would cause serious injury to Cosby, “who relies upon his reputation for his livelihood.”\u003c/p>\n\u003cp>Gayle C. Sproul, a lawyer for the AP, had argued against resealing the documents, saying that Cosby had not only spoken out on issues of marriage and morality but had also profited from them through books, TV shows and advertising.\u003c/p>\n\u003cp>Cosby’s lawyers had said a ruling in their favor would allow him to argue in the other cases against him that the testimony should never have been made public in the first place and should not be admitted as evidence.\u003c/p>\n\u003cp>The release of the deposition led prosecutors in suburban Philadelphia to revisit Constand’s 2005 police complaint and charge Cosby in December with felony sexual assault.\u003c/p>\n\u003cp>Cosby, 79, insists his sexual encounter with Constand in 2004 was consensual. He remains free on $1 million bail, and no trial date has been set.\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": "\u003cp>\u003ci>Join your fellow human beings in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ca href=\"http://www.bampfa.berkeley.edu/event/gary-meyer-selects-trailers-and-short-films\" target=\"_blank\" rel=\"noopener\">Gary Meyer Selects: Trailers and Short Films\u003c/a>\u003c/h3>\n\u003ch5>Berkeley Art Museum and Pacific Film Archive, Berkeley\u003cbr>\nWednesday, Aug. 17, 7pm\u003cbr>\nTickets: $7-12\u003c/h5>\n\u003cfigure id=\"attachment_11938175\" class=\"wp-caption alignright\" style=\"max-width: 506px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/bird-on-cigar.jpg\" alt=\"Alfred Hitchcock.\" width=\"506\" height=\"640\" class=\"size-full wp-image-11938175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/bird-on-cigar.jpg 506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/bird-on-cigar-400x506.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/bird-on-cigar-474x600.jpg 474w\" sizes=\"(max-width: 506px) 100vw, 506px\">\u003cfigcaption class=\"wp-caption-text\">Alfred Hitchcock. \u003ccite>(Courtesy of Gary Meyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unsung heroes of the movie business are the programmers, bookers, exhibitors and small-theater owners. They’re the ones who keep the dream machine humming, and feed our popcorn-fueled pleasure centers. For some it’s a job, and for others it’s a mission, a crusade, a calling. \u003c/p>\n\u003cp>Gary Meyer started programming films when he was 12 years old, and his particular passion led him from drive-ins to the UC Theater in Berkeley, Landmark Theaters across the country, the Balboa in San Francisco and the Telluride Film Festival in Colorado. Invited to show a favorite film this Wednesday, Aug. 17 as part of the Pacific Film Archive’s three-night \u003ca href=\"http://www.bampfa.berkeley.edu/program/cinema-mon-amour-0\" target=\"_blank\" rel=\"noopener\">Cinema Mon Amour\u003c/a> series, and unwilling (or unable) to limit himself to a single title, Meyer has compiled a two-hour buffet of shorts, snippets and trailers spanning every genre from experimental to animation to vintage comedy to European drama. (He has extensive and egalitarian tastes, to put it mildly). Meyer has always approached cinema as simultaneously a communal and a personal activity, and you should expect nothing less from \u003ca href=\"http://www.bampfa.berkeley.edu/event/gary-meyer-selects-trailers-and-short-films\" target=\"_blank\" rel=\"noopener\">Gary Meyer Selects: Trailers and Short Films\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/GLfBIZvCDkI\u003c/p>\n\u003ch3>Also…\u003c/h3>\n\u003cp>If you require further cheering up during the so-called dog days of summer — or as they’re known in many households, The Last Days of Freedom Before School Starts — the rockin’ rebels of the long-running ‘80s dance party New Wave City and SF Indiefest present \u003ca href=\"http://www.roxie.com/ai1ec_event/mod-movie-night-quadrophenia-dance-craze/?instance_id=13827\" target=\"_blank\" rel=\"noopener\">Mod Night at the Movies\u003c/a> at the Roxie on Sunday, Aug. 21. The toe-tapping double bill opens with the marvelous 1979 screen adaptation of The Who’s \u003cem>Quadrophenia\u003c/em>, followed by the rarely screened 1981 ska performance compilation \u003cem>Dance Craze\u003c/em>. Kick out the jams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/rQpCPEw8Yv4\u003c/p>\n\n",
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"content": "\u003cp>Rarely has an actor not seen or heard made such a big impact.\u003c/p>\n\u003cp>Kenny Baker, the actor who played R2-D2 in six of the Star Wars films, died Saturday, his agent confirms to NPR.\u003c/p>\n\u003cp>Standing at 3 feet 8 inches tall, the British actor also appeared in \u003cem>The Elephant Man\u003c/em>, \u003cem>Time Bandits\u003c/em> and \u003cem>Flash Gordon\u003c/em>, among other films.\u003c/p>\n\u003cp>“He was just a lovely guy,” said agent Johnny Mans, “and I shall miss him terribly.”\u003c/p>\n\u003cp>Baker rose to fame in 1977 as R2-D2 in the first \u003cem>Star Wars\u003c/em>, the speechless droid “counterpart” to the chatty C-3PO. Mans says that Baker told people that was his favorite role, though he enjoyed being actually seen in other roles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Baker suffered from chest problems in his later years and was confined to a wheelchair more recently, but he would still sign autographs, Mans says.\u003c/p>\n\u003cp>Baker was born in Birmingham, England and began performing at age 16 “as a circus clown, nightclub performer and in pantomime,” \u003ca href=\"http://www.bbc.com/news/entertainment-arts-37072736?ns_mchannel=social&ns_campaign=bbc_breaking&ns_source=twitter&ns_linkname=news_central\" target=\"_blank\" rel=\"noopener\">according to the BBC\u003c/a>. He was part of a comedy and music duo called the “Mini Tones” with partner Jack Purvis before beginning in the movie business, Mans says.\u003c/p>\n\u003cp>Mans recalls that Baker didn’t always want to be treated differently because of his height.\u003c/p>\n\u003cp>“A lot of people used to, when they were talking to him, they would bend down and talk to Kenny because he was short,” he recalls. “And he used to say to them, ‘Listen, I’m short, not deaf.’ ”\u003c/p>\n\u003cp>Baker’s niece Abigail Shield \u003ca href=\"https://www.theguardian.com/film/2016/aug/13/kenny-baker-r2-d2-dies-star-wars\" target=\"_blank\" rel=\"noopener\">told The Guardian\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“It was expected, but it’s sad nonetheless. He had a very long and fulfilled life. He brought lots of happiness to people and we’ll be celebrating the fact that he was well loved throughout the world. We’re all very proud of what he achieved in his lifetime.”\u003c/p>\n\u003c/blockquote>\n\u003cp>He was found Saturday morning by his nephew. Baker is survived by two sons, a niece and nephew. His wife Eileen died in 1993, the BBC reported.\u003c/p>\n\u003cp>In speaking to NPR, Mans called Baker “a great friend” who “will be sadly missed.”\u003c/p>\n\u003cp>Tributes to Baker poured in from fans and colleagues on Twitter: \u003c/p>\n\u003cp>https://twitter.com/HamillHimself/status/764532827001991168\u003c/p>\n\u003cp>https://twitter.com/DarickR/status/764524387659808772\u003c/p>\n\u003cp>https://twitter.com/20thcenturyfox/status/764518830370656256\u003c/p>\n\u003cp>https://twitter.com/Daniel_Logan/status/764515749960581121\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/pettycommajared/status/764522737675173888\u003c/p>\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=%27Star+Wars%27+Actor+Kenny+Baker%2C+Who+Played+R2-D2%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Baker suffered from chest problems in his later years and was confined to a wheelchair more recently, but he would still sign autographs, Mans says.\u003c/p>\n\u003cp>Baker was born in Birmingham, England and began performing at age 16 “as a circus clown, nightclub performer and in pantomime,” \u003ca href=\"http://www.bbc.com/news/entertainment-arts-37072736?ns_mchannel=social&ns_campaign=bbc_breaking&ns_source=twitter&ns_linkname=news_central\" target=\"_blank\" rel=\"noopener\">according to the BBC\u003c/a>. He was part of a comedy and music duo called the “Mini Tones” with partner Jack Purvis before beginning in the movie business, Mans says.\u003c/p>\n\u003cp>Mans recalls that Baker didn’t always want to be treated differently because of his height.\u003c/p>\n\u003cp>“A lot of people used to, when they were talking to him, they would bend down and talk to Kenny because he was short,” he recalls. “And he used to say to them, ‘Listen, I’m short, not deaf.’ ”\u003c/p>\n\u003cp>Baker’s niece Abigail Shield \u003ca href=\"https://www.theguardian.com/film/2016/aug/13/kenny-baker-r2-d2-dies-star-wars\" target=\"_blank\" rel=\"noopener\">told The Guardian\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“It was expected, but it’s sad nonetheless. He had a very long and fulfilled life. He brought lots of happiness to people and we’ll be celebrating the fact that he was well loved throughout the world. We’re all very proud of what he achieved in his lifetime.”\u003c/p>\n\u003c/blockquote>\n\u003cp>He was found Saturday morning by his nephew. Baker is survived by two sons, a niece and nephew. His wife Eileen died in 1993, the BBC reported.\u003c/p>\n\u003cp>In speaking to NPR, Mans called Baker “a great friend” who “will be sadly missed.”\u003c/p>\n\u003cp>Tributes to Baker poured in from fans and colleagues on Twitter: \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>The boys-club mentality of the finance industry has long extended into finance films, as well. From the razor-sharp original \u003cem>Wall Street\u003c/em> to the violent satire of \u003cem>American Psycho\u003c/em> to our current era of bank statements both serious (\u003cem>Margin Call\u003c/em>) and farcical (\u003cem>The Wolf of Wall Street\u003c/em>, \u003cem>The Big Short)\u003c/em>, movies about money tend also to be about the destructive nature of the male ego. Whenever penthouse-suite guys compete in these films to see who can swing the bigger pile of green, innocent people get hurt.\u003c/p>\n\u003cp>These movies haven’t featured many powerful women, though admittedly it would have been strange to spread the blame for financial malfeasance to a gender that largely hasn’t been in a position to commit any. Still, it’s hard to separate this from the fact that we don’t see many women anchor movies at all, because Hollywood is notoriously bad at telling their stories.\u003c/p>\n\u003cfigure id=\"attachment_11920629\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meera Menon’s new drama \u003cem>Equity\u003c/em> combines these two causes to craft a rebuttal to both the traditional role of women onscreen, and to the role of bankers. It would rather discuss the former, but it can’t avoid the latter.\u003c/p>\n\u003cp>“I like money,” investment banker Naomi Bishop (Anna Gunn) tells an all-female crowd at a college alumni event early in the film, with the same no-nonsense clip Gunn perfected in her years as Skylar White on \u003cem>Breaking Bad\u003c/em>. This is intriguing for its implications: how far might she go to claim what she likes? But then she adds in a soothing tone, “Don’t let money be a dirty word,” a signal that she’s not willing to go very far, because she wants — and believes she is obligated — to pursue obscene wealth while keeping her hands clean.\u003c/p>\n\u003cp>If \u003cem>Equity\u003c/em> sees any contradiction in the idea of a benevolent Gordon Gekko, it never makes that apparent. Naomi’s persuasive talk even works on her old friend Samantha (Alysia Reiner, who also produces and has a “story by” credit). Now hunting crony capitalists and insider traders at the SEC, Samantha also hopes to make more than her government salary. She has taken an interest in Naomi’s firm even as Naomi, still nursing a recent IPO bust, strives to close a giant tech offering that she’s sure will finally confirm her business acumen and vault her to the upper ranks. Could it work? Cue a shot of one of Naomi’s subordinates reading Anne-Marie Slaughter’s \u003cem>Atlantic\u003c/em> article “Why Women Still Can’t Have It All” on her cell phone.\u003c/p>\n\u003cfigure id=\"attachment_11920630\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/12_1200.jpg\" alt=\"Still from 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Good on any film for attempting to wrestle with that zeitgeist-y thesis. But \u003cem>Equity’s\u003c/em> first half spends so much time establishing its hierarchy of needs that it dulls the edge of its cutthroat setting. In meeting after meeting, and even through closed-door romances, the tension is limp and the staging cookie-cutter. The film lives in the sleek offices and reflective high-rises of the Manhattan elite, but the camera regards them all with equal disinterest, failing to distinguish between the climbers, the schemers, and the kings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things improve once we meet the startup in the crosshairs, a billion-dollar Internet security business called “Cachet” led by a hoodied tech bro (Samuel Roukin). Cachet bills itself as both a social network and privacy company, although we never see how it works — only its valuation. Naomi’s colleague and current squeeze (a nicely slimy James Purefoy) steals information about the planned IPO so he can do some insider trading. This is obviously a big no-no, although the film is effective at demonstrating how laughably easy it is to game the system from within. All you need is one name on a napkin and a total lack of moral character.\u003c/p>\n\u003cfigure id=\"attachment_11920628\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"746\" class=\"size-full wp-image-11920628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-400x249.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-1180x734.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-960x597.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite this thread, \u003cem>Equity\u003c/em> might be the first Wall Street movie to refrain from making a judgment about Wall Street itself. The script, by Amy Fox, is steeped in the language and culture of the trading process: the deal-making that must happen on the eve of a big IPO and the way a mere rumor of trouble can quash the whole thing. But the rigged system at its center isn’t so much white-collar crime as white-collar sexism. Both Naomi and her second-in-command Erin (Sarah Megan Thomas, who, like Reiner, is also a producer with a “story by” credit) are stymied in their ambitions by any man who holds power, be it the boss who won’t promote a woman, the techie CEO who tries to sleep with Erin, or Purefoy’s selfish schemer. These winners also have something more important in common: to them, money \u003cem>is\u003c/em> a dirty word.\u003c/p>\n\u003cp>\u003cem>Equity\u003c/em> preaches its title within a fundamentally corrupt system. The teetering Jenga tower that sits on the desk of Naomi’s boss doesn’t care whose block is on top. It’s going to fall regardless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/Xg2TSp5tJy4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The boys-club mentality of the finance industry has long extended into finance films, as well. From the razor-sharp original \u003cem>Wall Street\u003c/em> to the violent satire of \u003cem>American Psycho\u003c/em> to our current era of bank statements both serious (\u003cem>Margin Call\u003c/em>) and farcical (\u003cem>The Wolf of Wall Street\u003c/em>, \u003cem>The Big Short)\u003c/em>, movies about money tend also to be about the destructive nature of the male ego. Whenever penthouse-suite guys compete in these films to see who can swing the bigger pile of green, innocent people get hurt.\u003c/p>\n\u003cp>These movies haven’t featured many powerful women, though admittedly it would have been strange to spread the blame for financial malfeasance to a gender that largely hasn’t been in a position to commit any. Still, it’s hard to separate this from the fact that we don’t see many women anchor movies at all, because Hollywood is notoriously bad at telling their stories.\u003c/p>\n\u003cfigure id=\"attachment_11920629\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meera Menon’s new drama \u003cem>Equity\u003c/em> combines these two causes to craft a rebuttal to both the traditional role of women onscreen, and to the role of bankers. It would rather discuss the former, but it can’t avoid the latter.\u003c/p>\n\u003cp>“I like money,” investment banker Naomi Bishop (Anna Gunn) tells an all-female crowd at a college alumni event early in the film, with the same no-nonsense clip Gunn perfected in her years as Skylar White on \u003cem>Breaking Bad\u003c/em>. This is intriguing for its implications: how far might she go to claim what she likes? But then she adds in a soothing tone, “Don’t let money be a dirty word,” a signal that she’s not willing to go very far, because she wants — and believes she is obligated — to pursue obscene wealth while keeping her hands clean.\u003c/p>\n\u003cp>If \u003cem>Equity\u003c/em> sees any contradiction in the idea of a benevolent Gordon Gekko, it never makes that apparent. Naomi’s persuasive talk even works on her old friend Samantha (Alysia Reiner, who also produces and has a “story by” credit). Now hunting crony capitalists and insider traders at the SEC, Samantha also hopes to make more than her government salary. She has taken an interest in Naomi’s firm even as Naomi, still nursing a recent IPO bust, strives to close a giant tech offering that she’s sure will finally confirm her business acumen and vault her to the upper ranks. Could it work? Cue a shot of one of Naomi’s subordinates reading Anne-Marie Slaughter’s \u003cem>Atlantic\u003c/em> article “Why Women Still Can’t Have It All” on her cell phone.\u003c/p>\n\u003cfigure id=\"attachment_11920630\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/12_1200.jpg\" alt=\"Still from 'Equity.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11920630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/12_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Good on any film for attempting to wrestle with that zeitgeist-y thesis. But \u003cem>Equity’s\u003c/em> first half spends so much time establishing its hierarchy of needs that it dulls the edge of its cutthroat setting. In meeting after meeting, and even through closed-door romances, the tension is limp and the staging cookie-cutter. The film lives in the sleek offices and reflective high-rises of the Manhattan elite, but the camera regards them all with equal disinterest, failing to distinguish between the climbers, the schemers, and the kings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Things improve once we meet the startup in the crosshairs, a billion-dollar Internet security business called “Cachet” led by a hoodied tech bro (Samuel Roukin). Cachet bills itself as both a social network and privacy company, although we never see how it works — only its valuation. Naomi’s colleague and current squeeze (a nicely slimy James Purefoy) steals information about the planned IPO so he can do some insider trading. This is obviously a big no-no, although the film is effective at demonstrating how laughably easy it is to game the system from within. All you need is one name on a napkin and a total lack of moral character.\u003c/p>\n\u003cfigure id=\"attachment_11920628\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_1200.jpg\" alt=\"Anna Gunn as Naomi Bishop in 'Equity.'\" width=\"1200\" height=\"746\" class=\"size-full wp-image-11920628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-400x249.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-1180x734.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_1200-960x597.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anna Gunn as Naomi Bishop in ‘Equity.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite this thread, \u003cem>Equity\u003c/em> might be the first Wall Street movie to refrain from making a judgment about Wall Street itself. The script, by Amy Fox, is steeped in the language and culture of the trading process: the deal-making that must happen on the eve of a big IPO and the way a mere rumor of trouble can quash the whole thing. But the rigged system at its center isn’t so much white-collar crime as white-collar sexism. Both Naomi and her second-in-command Erin (Sarah Megan Thomas, who, like Reiner, is also a producer with a “story by” credit) are stymied in their ambitions by any man who holds power, be it the boss who won’t promote a woman, the techie CEO who tries to sleep with Erin, or Purefoy’s selfish schemer. These winners also have something more important in common: to them, money \u003cem>is\u003c/em> a dirty word.\u003c/p>\n\u003cp>\u003cem>Equity\u003c/em> preaches its title within a fundamentally corrupt system. The teetering Jenga tower that sits on the desk of Naomi’s boss doesn’t care whose block is on top. It’s going to fall regardless.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Xg2TSp5tJy4'\n title='//www.youtube.com/embed/Xg2TSp5tJy4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thomas Steinbeck, eldest son of Nobel Prize-winning author John Steinbeck and a prominent author and screenwriter in his own right, has died at age 72.\u003c/p>\n\u003cp>Stephanie Hornback of Carway Communications says \u003cem>The Grapes of Wrath\u003c/em> author’s son died Thursday at his home in Santa Barbara, Calif. The cause was chronic obstructive pulmonary disease.\u003c/p>\n\u003cp>Steinbeck began his own career as an author relatively late in life.\u003c/p>\n\u003cp>His first book, \u003cem>Down to a Soundless Sea\u003c/em>, a collection of short stories, was published in 2002.\u003c/p>\n\u003cp>He published the novels \u003cem>In the Shadow of the Cypress\u003c/em> in 2010 and \u003cem>The Silver Lotus in 2011\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was working on a memoir when he died.\u003c/p>\n\u003cp>Steinbeck also wrote and produced several films based on his father’s books.\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>Thomas Steinbeck, eldest son of Nobel Prize-winning author John Steinbeck and a prominent author and screenwriter in his own right, has died at age 72.\u003c/p>\n\u003cp>Stephanie Hornback of Carway Communications says \u003cem>The Grapes of Wrath\u003c/em> author’s son died Thursday at his home in Santa Barbara, Calif. The cause was chronic obstructive pulmonary disease.\u003c/p>\n\u003cp>Steinbeck began his own career as an author relatively late in life.\u003c/p>\n\u003cp>His first book, \u003cem>Down to a Soundless Sea\u003c/em>, a collection of short stories, was published in 2002.\u003c/p>\n\u003cp>He published the novels \u003cem>In the Shadow of the Cypress\u003c/em> in 2010 and \u003cem>The Silver Lotus in 2011\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was working on a memoir when he died.\u003c/p>\n\u003cp>Steinbeck also wrote and produced several films based on his father’s books.\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>A new film starring Meryl Streep, which opens in the U.S. Friday, tells the improbable story of Florence Foster Jenkins, a real-life New York socialite who pronounced herself a coloratura soprano despite a distinct lack of talent. Who could’ve guessed that Jenkins, who favored elaborate costumes and strangled phrases with abandon, would resurface with such gusto decades after her death in 1944. She’s been the subject of a \u003ca href=\"https://www.youtube.com/watch?v=sRW-zxTpLxQ\" target=\"_blank\" rel=\"noopener\">Broadway play\u003c/a> starring Judy Kaye, a new biography, a \u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">documentary\u003c/a> and now two movies released in the U.S. within the span of six months.\u003c/p>\n\u003cp>The film, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=HszfdNS0JSc\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins\u003c/a>\u003c/em>, directed by Stephen Frears (\u003cem>My Beautiful Laundrette\u003c/em>, \u003cem>Dangerous Liasons\u003c/em>, \u003cem>The Queen\u003c/em>), is an affectionate portrait of the elderly heiress, her aspirations and her illusions — both as singer and lover — as she ramps up to a Carnegie Hall debut.\u003c/p>\n\u003cp>Thanks to Frears, and a bravura performance by Streep, Jenkins’ stock is poised to rise again. A new set of fans will be laughing at the pseudo-soprano’s hilarious original 1940s recordings, which have never been out of print yet have just been reissued once more.\u003c/p>\n\u003cp>Jenkins was in her early 70s when she made the records as a vanity project at the Melotone Recording Studio in Manhattan. By this time, she was a visible presence in New York society, having joined dozens of women’s clubs, many of which she served as music director.\u003c/p>\n\u003cp>\u003cstrong>Musical Dreams\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born into a wealthy Wilkes-Barre, Pa. family in 1868, Jenkins moved to Manhattan after a failed marriage (to Frank Thornton Jenkins, from whom she contracted syphilis) and the death of her father in 1909. As explained in Donald Collop’s documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins: A World of Her Own\u003c/a>\u003c/em>, her father had suppressed her dreams of becoming a musician, even after her success playing at the White House as a child. Her mother was more sympathetic, joining her in New York and encouraging her pursuits as a socialite and a singer.\u003c/p>\n\u003cp>Not long after their arrival, Jenkins met St. Clair Bayfield, an unemployed British actor. Bayfield quickly became her perceived lover and the manager of her many social affairs, which included producing musical programs, staging operatic scenes and presenting talented young singers at the many women’s clubs. The relationship between Jenkins and Bayfield, complicated by the latter’s secret affair and the fact that the two never lived together, gets tender treatment in Frears’ film, thanks to a nuanced performance by Hugh Grant.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DMu9PKWthLE\u003c/p>\n\u003cp>Jenkins took singing lessons and little by little began to perform at her clubs, at invitation-only recitals at Manhattan’s Ritz-Carlton and as far afield as Newport, R.I. and Washington, D.C. No serious music critics reviewed these performances. In some trade papers like the \u003cem>Musical Courier\u003c/em>, however, notices were surprisingly positive. Some said these might have been penned by the singer’s friends or Jenkins herself. That brings to the front some inevitable questions: Did Jenkins understand how badly she sang, and were her friends and patrons genuinely enthusiastic or just humoring her?\u003c/p>\n\u003cp>\u003cstrong>How Could She Not Have Known?\u003c/strong>\u003c/p>\n\u003cp>Frears’ movie portrays her associates as protective and Jenkins as oblivious. But acclaimed voice teacher Bill Schuman, who has a compelling connection to Jenkins, says she was too smart.\u003c/p>\n\u003cp>“There’s no way she could \u003cem>not\u003c/em> have known,” Schuman said in a telephone interview. “No one is that unaware, especially a person who has developed so much of her time and resources to helping young, really good singers.”\u003c/p>\n\u003cp>One of those young singers Jenkins supported was Louise Frances Bickford, who later became Schuman’s teacher and steered him toward his current profession. Bickford “said that Florence was in on the joke,” Schuman said. “She loved the audience reaction and she loved singing. But she knew.”\u003c/p>\n\u003cp>Mezzo-soprano \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2014/01/16/262473452/marilyn-horne-operas-agile-advocate-turns-80\" target=\"_blank\" rel=\"noopener\">Marilyn Horne\u003c/a> isn’t so sure. “I would say that she maybe didn’t know,” Horne said by phone from her home in Santa Barbara, Calif. “First of all, we can’t hear ourselves as others hear us. We have to go by a series of sensations. We have to feel where it is.” Like hearing an off-key whistler on the street, apparently deaf to errant tones, we can’t always tell how good or bad we sound.\u003c/p>\n\u003cp>Schuman said the inability to hear pitches correctly is not uncommon: “One of the greatest instruments I ever had the honor of teaching unfortunately had a faulty ear. It couldn’t be corrected and it stopped his career. The voice was unbelievable, but the ear was faulty.”\u003c/p>\n\u003cp>Then there’s the issue of Jenkins’ illness, which is also addressed in the film. A long-term syphilis patient, she took regular does of mercury and arsenic, two routine remedies of the day, according to Collop.\u003c/p>\n\u003cp>“It affected her hearing,” he \u003ca href=\"http://www.cbsnews.com/news/meryl-streep-on-playing-the-worlds-worst-singer/\" target=\"_blank\" rel=\"noopener\">told \u003cem>CBS Sunday Morning\u003c/em>\u003c/a>. “And more than likely she had tinnitus, which is a constant hum in her head. It prevented her from singing in tune.”\u003c/p>\n\u003cp>\u003cstrong>The Unforgettable Voice \u003c/strong>\u003c/p>\n\u003cp>No matter what the cause, the voice itself, and what Jenkins did with it, is startling. Horne, who first heard Jenkins’ recordings when she was in her 20s, said that if someone like her would show up at a master class, she’d tell her to “go home.”\u003c/p>\n\u003cp>“No,” Horne added, chuckling, “I would kindly tell her that I think she ought to look elsewhere for her musical kicks, however she wanted them.” Horne believes some people are blessed with good voices, others not so much. “They call it a gift,” she said. “To have a great voice, usually — and I would say 99 percent of the time — you have to be born with it.”\u003c/p>\n\u003cp>Was a voice like Jenkins’ salvageable at all? Schuman says that in Mozart’s Queen of the Night aria, what Jenkins gets wrong comes down to a single word: everything. “There’s no way to even pedagogically discuss it,” he added. “It’s amazing that she’s even attempting to sing that music.”\u003c/p>\n\u003cp>For the movie, Streep, \u003ca href=\"https://www.youtube.com/watch?v=rEhOVT5SaEQ\" target=\"_blank\" rel=\"noopener\">a trained singer\u003c/a>, attempted an imitation of Jenkins’ Mozart aria more often that she might have liked. “I sang it eight times one day,” she \u003ca href=\"https://www.youtube.com/watch?v=Ny9JHVUaW_c\" target=\"_blank\" rel=\"noopener\">told an audience\u003c/a> at New York’s 92nd Street Y. “And then came back and sang it eight times the next day.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.youtube.com/watch?v=l9uckZU41FQ\" target=\"_blank\" rel=\"noopener\">British morning television\u003c/a>, Streep described what Jenkins did on her recordings: “She’d go off in the weirdest places and it was the particularity of her getting things wrong that was so funny. You can hear her getting ready to sing something and she spends all of her voice on the beginning of the phrase and there’s nothing left at the end and she trails off.”\u003c/p>\n\u003cp>\u003cstrong>A Comic Cottage Industry\u003c/strong>\u003c/p>\n\u003cp>Whether Jenkins was in on the joke or not, she ultimately might have the last laugh. Although there have been musical humorists for centuries (see Mozart’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wzaQixVGoQg\" target=\"_blank\" rel=\"noopener\">A Musical Joke\u003c/a>\u003c/em>), Jenkins’ fame was followed by a virtual cottage industry of mid-century comedic musicians who performed badly for laughs.\u003c/p>\n\u003cp>Perhaps the most apropos example is Michael Flanders and Donald Swann’s “\u003ca href=\"https://www.youtube.com/watch?v=TsnramISJVY\" target=\"_blank\" rel=\"noopener\">A Word on My Ear\u003c/a>,” a song about a tone-deaf diva from around 1950. Among the best was the team of singer Jo Stafford and her husband, the pianist and arranger Paul Weston. Beginning in 1957, as Jonathan and Darlene Edwards, they cut a series of wickedly funny \u003ca href=\"https://www.youtube.com/watch?v=ck_OsaNptC8\" target=\"_blank\" rel=\"noopener\">and purposefully terrible recordings\u003c/a>. That same year saw the release of \u003cem>Music to Suffer By\u003c/em> from Leona Anderson, a \u003ca href=\"https://www.youtube.com/watch?v=78YpG3070XY\" target=\"_blank\" rel=\"noopener\">wobbly-voiced\u003c/a> former silent film actress, while in 1960, Mrs. Miller’s ear-warping renditions of songs like “\u003ca href=\"https://www.youtube.com/watch?v=fw07CDid0JM\" target=\"_blank\" rel=\"noopener\">Downtown\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=o2wheSpxL94\" target=\"_blank\" rel=\"noopener\">A Hard Day’s Night\u003c/a>” began to appear.\u003c/p>\n\u003cp>\u003cstrong>An Improbable Legacy\u003c/strong>\u003c/p>\n\u003cp>Unlikely as it may seem for someone routinely hailed as the world’s worst singer, Jenkins has a legacy that lives on in some of today’s finest opera artists. One could argue that had Jenkins not sponsored Bickford all those years ago, Schuman might have taken quite a different path. And if that’s so, who knows where some his award-winning students would be. Beginning in 2009 Schuman’s protégés won the prestigious Richard Tucker Award four years in a row — tenors \u003ca href=\"http://www.nytimes.com/2015/10/22/arts/music/review-rigoletto-goes-to-the-metropolitan-opera-with-a-chaperone.html\" target=\"_blank\" rel=\"noopener\">Stephen Costello\u003c/a> and James Valenti, and sopranos \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/07/228542276/guest-dj-angela-meade-hitting-the-big-time-with-help-from-verdi\" target=\"_blank\" rel=\"noopener\">Angela Meade\u003c/a> and Ailyn Pérez.\u003c/p>\n\u003cp>Jenkins finally decided to go big time in 1944 when she rented Carnegie Hall, giving her first truly public recital Oct. 25. By this time her fame in New York was widespread and the hall was filled to capacity, including luminaries like Cole Porter, Gian Carlo Menotti, Lily Pons, Andre Kostelanetz, Tallulah Bankhead and Kitty Carlisle. The following day in the \u003cem>New York Post\u003c/em>, gossip and entertainment columnist Earl Wilson wrote that the concert was “one of the weirdest mass jokes New York has ever seen.”\u003c/p>\n\u003cp>It’s not entirely clear whether such words crushed Jenkins or not. In Frears’ film, we’re to believe the review essentially killed her off the next day. In real life, Jenkins suffered a heart attack five days later while shopping in G. Schirmer’s music store. She died a month after her Carnegie performance, on Nov. 26, at age 76.\u003c/p>\n\u003cp>Somehow, Jenkins’ story still resonates. For Horne, a lot of it has to do with humor: “I think it’s because she was so outrageous, right? She put herself out there and people like to laugh, and that’s what it’s all about.”\u003c/p>\n\u003cp>Schuman thinks Jenkins may trigger the amateur and the fantasist in all of us. “I think everyone’s an aspiring singer,” he said. “You look at \u003cem>American Idol\u003c/em>, you look at all those auditions.” And then there’s Schuman’s personal connection.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I wish we could go back and meet her,” Schuman said. “I just know that my teacher loved her as a person and admired her. She changed my teacher’s whole life, so I owe her, actually, my teaching career. Because of her, my life’s changed and many generations of singers. So, if that’s her impact, that’s an incredible impact.” \u003c/p>\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=Killing+Me+Sharply+With+Her+Song%3A+The+Improbable+Story+Of+Florence+Foster+Jenkins&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new film starring Meryl Streep, which opens in the U.S. Friday, tells the improbable story of Florence Foster Jenkins, a real-life New York socialite who pronounced herself a coloratura soprano despite a distinct lack of talent. Who could’ve guessed that Jenkins, who favored elaborate costumes and strangled phrases with abandon, would resurface with such gusto decades after her death in 1944. She’s been the subject of a \u003ca href=\"https://www.youtube.com/watch?v=sRW-zxTpLxQ\" target=\"_blank\" rel=\"noopener\">Broadway play\u003c/a> starring Judy Kaye, a new biography, a \u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">documentary\u003c/a> and now two movies released in the U.S. within the span of six months.\u003c/p>\n\u003cp>The film, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=HszfdNS0JSc\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins\u003c/a>\u003c/em>, directed by Stephen Frears (\u003cem>My Beautiful Laundrette\u003c/em>, \u003cem>Dangerous Liasons\u003c/em>, \u003cem>The Queen\u003c/em>), is an affectionate portrait of the elderly heiress, her aspirations and her illusions — both as singer and lover — as she ramps up to a Carnegie Hall debut.\u003c/p>\n\u003cp>Thanks to Frears, and a bravura performance by Streep, Jenkins’ stock is poised to rise again. A new set of fans will be laughing at the pseudo-soprano’s hilarious original 1940s recordings, which have never been out of print yet have just been reissued once more.\u003c/p>\n\u003cp>Jenkins was in her early 70s when she made the records as a vanity project at the Melotone Recording Studio in Manhattan. By this time, she was a visible presence in New York society, having joined dozens of women’s clubs, many of which she served as music director.\u003c/p>\n\u003cp>\u003cstrong>Musical Dreams\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born into a wealthy Wilkes-Barre, Pa. family in 1868, Jenkins moved to Manhattan after a failed marriage (to Frank Thornton Jenkins, from whom she contracted syphilis) and the death of her father in 1909. As explained in Donald Collop’s documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins: A World of Her Own\u003c/a>\u003c/em>, her father had suppressed her dreams of becoming a musician, even after her success playing at the White House as a child. Her mother was more sympathetic, joining her in New York and encouraging her pursuits as a socialite and a singer.\u003c/p>\n\u003cp>Not long after their arrival, Jenkins met St. Clair Bayfield, an unemployed British actor. Bayfield quickly became her perceived lover and the manager of her many social affairs, which included producing musical programs, staging operatic scenes and presenting talented young singers at the many women’s clubs. The relationship between Jenkins and Bayfield, complicated by the latter’s secret affair and the fact that the two never lived together, gets tender treatment in Frears’ film, thanks to a nuanced performance by Hugh Grant.\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/DMu9PKWthLE'\n title='//www.youtube.com/embed/DMu9PKWthLE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jenkins took singing lessons and little by little began to perform at her clubs, at invitation-only recitals at Manhattan’s Ritz-Carlton and as far afield as Newport, R.I. and Washington, D.C. No serious music critics reviewed these performances. In some trade papers like the \u003cem>Musical Courier\u003c/em>, however, notices were surprisingly positive. Some said these might have been penned by the singer’s friends or Jenkins herself. That brings to the front some inevitable questions: Did Jenkins understand how badly she sang, and were her friends and patrons genuinely enthusiastic or just humoring her?\u003c/p>\n\u003cp>\u003cstrong>How Could She Not Have Known?\u003c/strong>\u003c/p>\n\u003cp>Frears’ movie portrays her associates as protective and Jenkins as oblivious. But acclaimed voice teacher Bill Schuman, who has a compelling connection to Jenkins, says she was too smart.\u003c/p>\n\u003cp>“There’s no way she could \u003cem>not\u003c/em> have known,” Schuman said in a telephone interview. “No one is that unaware, especially a person who has developed so much of her time and resources to helping young, really good singers.”\u003c/p>\n\u003cp>One of those young singers Jenkins supported was Louise Frances Bickford, who later became Schuman’s teacher and steered him toward his current profession. Bickford “said that Florence was in on the joke,” Schuman said. “She loved the audience reaction and she loved singing. But she knew.”\u003c/p>\n\u003cp>Mezzo-soprano \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2014/01/16/262473452/marilyn-horne-operas-agile-advocate-turns-80\" target=\"_blank\" rel=\"noopener\">Marilyn Horne\u003c/a> isn’t so sure. “I would say that she maybe didn’t know,” Horne said by phone from her home in Santa Barbara, Calif. “First of all, we can’t hear ourselves as others hear us. We have to go by a series of sensations. We have to feel where it is.” Like hearing an off-key whistler on the street, apparently deaf to errant tones, we can’t always tell how good or bad we sound.\u003c/p>\n\u003cp>Schuman said the inability to hear pitches correctly is not uncommon: “One of the greatest instruments I ever had the honor of teaching unfortunately had a faulty ear. It couldn’t be corrected and it stopped his career. The voice was unbelievable, but the ear was faulty.”\u003c/p>\n\u003cp>Then there’s the issue of Jenkins’ illness, which is also addressed in the film. A long-term syphilis patient, she took regular does of mercury and arsenic, two routine remedies of the day, according to Collop.\u003c/p>\n\u003cp>“It affected her hearing,” he \u003ca href=\"http://www.cbsnews.com/news/meryl-streep-on-playing-the-worlds-worst-singer/\" target=\"_blank\" rel=\"noopener\">told \u003cem>CBS Sunday Morning\u003c/em>\u003c/a>. “And more than likely she had tinnitus, which is a constant hum in her head. It prevented her from singing in tune.”\u003c/p>\n\u003cp>\u003cstrong>The Unforgettable Voice \u003c/strong>\u003c/p>\n\u003cp>No matter what the cause, the voice itself, and what Jenkins did with it, is startling. Horne, who first heard Jenkins’ recordings when she was in her 20s, said that if someone like her would show up at a master class, she’d tell her to “go home.”\u003c/p>\n\u003cp>“No,” Horne added, chuckling, “I would kindly tell her that I think she ought to look elsewhere for her musical kicks, however she wanted them.” Horne believes some people are blessed with good voices, others not so much. “They call it a gift,” she said. “To have a great voice, usually — and I would say 99 percent of the time — you have to be born with it.”\u003c/p>\n\u003cp>Was a voice like Jenkins’ salvageable at all? Schuman says that in Mozart’s Queen of the Night aria, what Jenkins gets wrong comes down to a single word: everything. “There’s no way to even pedagogically discuss it,” he added. “It’s amazing that she’s even attempting to sing that music.”\u003c/p>\n\u003cp>For the movie, Streep, \u003ca href=\"https://www.youtube.com/watch?v=rEhOVT5SaEQ\" target=\"_blank\" rel=\"noopener\">a trained singer\u003c/a>, attempted an imitation of Jenkins’ Mozart aria more often that she might have liked. “I sang it eight times one day,” she \u003ca href=\"https://www.youtube.com/watch?v=Ny9JHVUaW_c\" target=\"_blank\" rel=\"noopener\">told an audience\u003c/a> at New York’s 92nd Street Y. “And then came back and sang it eight times the next day.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.youtube.com/watch?v=l9uckZU41FQ\" target=\"_blank\" rel=\"noopener\">British morning television\u003c/a>, Streep described what Jenkins did on her recordings: “She’d go off in the weirdest places and it was the particularity of her getting things wrong that was so funny. You can hear her getting ready to sing something and she spends all of her voice on the beginning of the phrase and there’s nothing left at the end and she trails off.”\u003c/p>\n\u003cp>\u003cstrong>A Comic Cottage Industry\u003c/strong>\u003c/p>\n\u003cp>Whether Jenkins was in on the joke or not, she ultimately might have the last laugh. Although there have been musical humorists for centuries (see Mozart’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wzaQixVGoQg\" target=\"_blank\" rel=\"noopener\">A Musical Joke\u003c/a>\u003c/em>), Jenkins’ fame was followed by a virtual cottage industry of mid-century comedic musicians who performed badly for laughs.\u003c/p>\n\u003cp>Perhaps the most apropos example is Michael Flanders and Donald Swann’s “\u003ca href=\"https://www.youtube.com/watch?v=TsnramISJVY\" target=\"_blank\" rel=\"noopener\">A Word on My Ear\u003c/a>,” a song about a tone-deaf diva from around 1950. Among the best was the team of singer Jo Stafford and her husband, the pianist and arranger Paul Weston. Beginning in 1957, as Jonathan and Darlene Edwards, they cut a series of wickedly funny \u003ca href=\"https://www.youtube.com/watch?v=ck_OsaNptC8\" target=\"_blank\" rel=\"noopener\">and purposefully terrible recordings\u003c/a>. That same year saw the release of \u003cem>Music to Suffer By\u003c/em> from Leona Anderson, a \u003ca href=\"https://www.youtube.com/watch?v=78YpG3070XY\" target=\"_blank\" rel=\"noopener\">wobbly-voiced\u003c/a> former silent film actress, while in 1960, Mrs. Miller’s ear-warping renditions of songs like “\u003ca href=\"https://www.youtube.com/watch?v=fw07CDid0JM\" target=\"_blank\" rel=\"noopener\">Downtown\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=o2wheSpxL94\" target=\"_blank\" rel=\"noopener\">A Hard Day’s Night\u003c/a>” began to appear.\u003c/p>\n\u003cp>\u003cstrong>An Improbable Legacy\u003c/strong>\u003c/p>\n\u003cp>Unlikely as it may seem for someone routinely hailed as the world’s worst singer, Jenkins has a legacy that lives on in some of today’s finest opera artists. One could argue that had Jenkins not sponsored Bickford all those years ago, Schuman might have taken quite a different path. And if that’s so, who knows where some his award-winning students would be. Beginning in 2009 Schuman’s protégés won the prestigious Richard Tucker Award four years in a row — tenors \u003ca href=\"http://www.nytimes.com/2015/10/22/arts/music/review-rigoletto-goes-to-the-metropolitan-opera-with-a-chaperone.html\" target=\"_blank\" rel=\"noopener\">Stephen Costello\u003c/a> and James Valenti, and sopranos \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/07/228542276/guest-dj-angela-meade-hitting-the-big-time-with-help-from-verdi\" target=\"_blank\" rel=\"noopener\">Angela Meade\u003c/a> and Ailyn Pérez.\u003c/p>\n\u003cp>Jenkins finally decided to go big time in 1944 when she rented Carnegie Hall, giving her first truly public recital Oct. 25. By this time her fame in New York was widespread and the hall was filled to capacity, including luminaries like Cole Porter, Gian Carlo Menotti, Lily Pons, Andre Kostelanetz, Tallulah Bankhead and Kitty Carlisle. The following day in the \u003cem>New York Post\u003c/em>, gossip and entertainment columnist Earl Wilson wrote that the concert was “one of the weirdest mass jokes New York has ever seen.”\u003c/p>\n\u003cp>It’s not entirely clear whether such words crushed Jenkins or not. In Frears’ film, we’re to believe the review essentially killed her off the next day. In real life, Jenkins suffered a heart attack five days later while shopping in G. Schirmer’s music store. She died a month after her Carnegie performance, on Nov. 26, at age 76.\u003c/p>\n\u003cp>Somehow, Jenkins’ story still resonates. For Horne, a lot of it has to do with humor: “I think it’s because she was so outrageous, right? She put herself out there and people like to laugh, and that’s what it’s all about.”\u003c/p>\n\u003cp>Schuman thinks Jenkins may trigger the amateur and the fantasist in all of us. “I think everyone’s an aspiring singer,” he said. “You look at \u003cem>American Idol\u003c/em>, you look at all those auditions.” And then there’s Schuman’s personal connection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "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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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"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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"order": 16
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},
"science-friday": {
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