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"content": "\u003cp>The world is a big, unruly, ambiguous place. Which helps explain the boundless appeal of murder mysteries. Whether it’s Hercule Poirot exercising his famous little grey brain cells or all those CSI teams extracting DNA samples, mysteries offer the reassurance of seeing the messy realities of life get sorted out. When the murderer is caught, we feel that order is, at least temporarily, restored.\u003c/p>\n\u003cp>Of course, in reality, things don’t always work out so happily. The reverberations of this fact rumble through \u003cem>The Night of the 12th\u003c/em>, a skillfully turned French crime picture that swept the César awards, the French version of the Oscars.\u003c/p>\n\u003cp>Made by veteran director Dominik Moll, the movie is adapted from the work of Pauline Guéna who spent a year following members of the Paris police. Focusing on a single, real-life murder investigation she covers, Moll has created a film that keeps looking like the conventional police procedural that it actually isn’t.\u003c/p>\n\u003cp>[aside postid='arts_13929046']The action has been transposed to the picturesque Alpine city of Grenoble, where a vibrant student named Clara is walking home one night when a faceless man steps out of the darkness and sets her on fire. As it happens, this takes place on the very day that a police officer named Yohan — played by a glum faced Bastien Bouillon — has taken over the local homicide squad. Along with his bearded older sidekick Marceau — terrifically played by Bouli Lanners — Yohan sets about doing what the police do in seemingly every cop show: examining the corpse, gathering forensic evidence, informing distraught loved-ones and questioning suspects.\u003c/p>\n\u003cp>As it happens there are a few, for Clara has had a series of sexual relationships with guys who weren’t really all that nice. These include a bartender who was cheating with her on his girlfriend, a rapper who has written a song about setting Clara on fire, and a convicted domestic abuser 20 years her senior. Yohan and his crew interrogate them all, but as time passes, Yohan grows increasingly haunted by his desire to bring Clara’s killer to justice. But we know something he doesn’t. You see, Moll has told us up front that 20% of French homicides never get solved, and that this case is one of them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=58s-pXvTQss\u003c/p>\n\u003cp>Indeed, \u003cem>The Night of the 12th\u003c/em> belongs to the category of mysteries about the failure to solve a crime, a fascinating sub-genre that includes the great Sicilian police novels of Leonardo Sciascia, David Fincher’s film \u003ca href=\"https://www.npr.org/2007/03/02/7687059/obsession-drives-finchers-look-at-zodiac-killer\">\u003cem>Zodiac\u003c/em>\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong Joon-ho\u003c/a>‘s \u003cem>Memories of Murder\u003c/em>, the best cop movie ever made.\u003c/p>\n\u003cp>Such stories replace the familiar satisfaction of seeing the murder solved with an exploration of the personal costs of failing to do so — guilt, obsession and a rending sense of futility, embodied in this film by Yohan, a dry, monk-like figure who constantly pedals his bike in furious circles around the local velodrome.\u003c/p>\n\u003cp>[aside postid='arts_13928883']Yohan’s not the only one with a feeling of futility. You sense the incessant grind of police work in all the members of his team, from the gallows humor with which they face the latest grisly sight to their reasonable complaints about broken equipment and endless paperwork. “We fight evil by writing reports,” says Marceau, a sensitive man who wanted to teach French literature but wound up as a cop who quotes the poet Verlaine and dreams of a different life.\u003c/p>\n\u003cp>What makes this particular investigation so difficult is that, Yohan thinks, “Something is amiss between men and women.” Without ever hammering away at it, the story is a study in misogyny. Marked by sexual attitudes that run from contempt to crazed infatuation, any one of the suspects could’ve murdered Clara, who was killed, says her friend Nanie, simply because she was a girl. The suspects’ outlook finds an echo in the the joky, hypermasculine homicide squad, one of whom suggests that it’s not surprising that a young woman who keeps hooking up with bad boys might wind up getting killed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now, \u003cem>The Night of the 12th\u003c/em> is merely a solid movie not a great one, but it shows that French cinema — which has tended to lag in awareness about race and gender — is catching up with the ideas of the \u003ca href=\"https://www.npr.org/2022/10/28/1131500833/me-too-harvey-weinstein-anniversary\">#MeToo\u003c/a> era. It suggests that what makes this murder case especially interesting is not whodunnit, but the sexual politics underlying the crime and the investigation. As the first female detective in Yohan’s division tells him, “Isn’t it weird that most crimes are committed by men and mostly men are supposed to solve them?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. 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"content": "\u003cp>In 2000, Deann Borshay Liem’s revelatory debut, \u003cem>First Person Plural\u003c/em>, recounted her experiences as a Korean adoptee growing up in the East Bay suburbs and then looking for her birth family as an adult. \u003c/p>\n\u003cp>A landmark of personal documentary, the film (which premiered at Sundance, aired nationally on PBS and is well worth watching on \u003ca href=\"https://www.kanopy.com/en/sfpl/video/49880\">Kanopy\u003c/a>) painted a complicated picture of identity and aspirational assimilation (crystallized by Borshay’s acceptance as a UC Berkeley cheerleader) while exposing the buried transnational history of Korean adoption in the 1950s and ’60s.\u003c/p>\n\u003cp>Liem continued to mine her life, and face uncomfortable truths about Korea’s adoption campaign, in her 2010 follow-up \u003cem>In the Matter of Cha Jung Hee\u003c/em> (also on Kanopy) and \u003cem>Geographies of Kinship\u003c/em> (2019). The ad hoc trilogy powerfully conveys how distant and seemingly concluded events relegated to a couple sentences in a history book reverberate forever in countless lives and families.\u003c/p>\n\u003cfigure id=\"attachment_13929057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NianaLiu_04801-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13929057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Crossings,’ directed by Deann Borshay Liem. \u003ccite>(Niana Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In reflecting on the works that I’ve directed, it turns out all of them touch on the Korean War,” Liem says today. “It wasn’t that I intended to make films that address the war in the beginning. Now I understand: It is the singular trauma of my generation, and the generation that preceded me, and also after me. It’s the event that formed who I am, that brought me to this country and it’s the root of the Korean-American community in the United States.”\u003c/p>\n\u003cp>Liem was the natural filmmaker to document Women Cross DMZ, Korean-American activist Christine Ahn’s ambitious and fraught 2015 undertaking — with 30 women peace activists from 13 countries — to walk from North Korea to South Korea across the demilitarized zone. Long delayed, yet sadly still timely, \u003cem>Crossings\u003c/em> concludes its festival run May 13 in CAAMFest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Crossings\u003c/em> deftly recounts the group’s step-by-step adjustments to the obstacles thrown at them. While it’s tempting to laugh at diplomatic and political absurdity, the respective governments were not amused by Women Cross DMZ’s symbolic gambit to temporarily erase the border between North and South Korea.\u003c/p>\n\u003cfigure id=\"attachment_13929059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Crossings.banner-800x472.jpg\" alt=\"\" width=\"800\" height=\"472\" class=\"size-medium wp-image-13929059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-1536x906.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Crossings,’ directed by Deann Borshay Liem. \u003ccite>(Niana Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ahn’s tested cohorts include Nobel Laureates Leymah Gbowee of Liberia and Mairead Maguire of Northern Ireland, alongside women’s movement pioneer Gloria Steinem and Code Pink co-founder Medea Benjamin. The group’s goal of advancing peace is rooted in the overriding yet largely unknown fact that a peace agreement was never signed when the conflict was stopped in 1950.\u003c/p>\n\u003cp>“The Korean War literally did not end,” Liem explains. “We have this armistice that suspended the fighting but no formal peace. The war in many ways is still being prosecuted through policies of isolation, sanctions and threats of military strikes. It’s important to shed light on the U.S. role, not only in dividing the peninsula but continuing the status quo of unresolved conflict. The U.S. can play such a critical role in whether progress is made toward reconciliation and peace, or not.”\u003c/p>\n\u003cp>For precisely that reason, Liem says, she made \u003cem>Crossings\u003c/em> for an American audience. She gives Steinem — the best-known figure to U.S. viewers — ample screen time, without overstating or misrepresenting her influence among the coterie of strong, strategic women from abroad.\u003c/p>\n\u003cp>While the Women Cross DMZ activists in the film discuss and debate countermoves to logistical hurdles, they weigh how the media (in South and North Korea, to be sure, but all over the world) will spin their words and actions. Yet they are still blindsided when an innocuous comment by Christine Ahn at a group visit to supreme leader Kim Jong-Un’s birthplace — chosen by the activists instead of a proffered, propagandist statue visit — is portrayed by South Korean journalists as sympathetic to the North Korea regime.\u003c/p>\n\u003cfigure id=\"attachment_13929058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Crossings.march_-800x473.jpg\" alt=\"\" width=\"800\" height=\"473\" class=\"size-medium wp-image-13929058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-1536x908.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Crossings,’ directed by Deann Borshay Liem. \u003ccite>(Stephen Wunrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Whenever U.S.-North Korea conflicts arise, we typically see goose-stepping soldiers on Kim Il Sung Plaza or shots of Kim Jung Un that are not very favorable — certain sets of shots that are repeated over and over again,” the soft-spoken Berkeley filmmaker says. “There just isn’t much available, right? I call it North Korea wallpaper: Images that reinforce what we think we know, and what we think we know is very limited and infused with both racial stereotypes and specific stereotypes about the North Korean people.”\u003c/p>\n\u003cp>Much of \u003cem>Crossings\u003c/em> unfolds in North Korea, which gives viewers a nearly unknown perspective of the country and its people that runs against certain preconceptions. At a symposium in Pyongyang attended by the activists, an elderly North Korean woman describes the mutilations she received from a GI during the war. When the Women Cross DMZ group has opportunities to interact with people in public in North Korea, they (and we) judge the local women’s spontaneity and authenticity.\u003c/p>\n\u003cp>[aside postID='arts_12929599']“My initial interest,” Liem says, “was are the [activists] going to cross the DMZ? What do they have to do to cross? How are they going to negotiate the different approvals from North, South, the UN Command? What would their conversations be like at night, behind closed doors? But ultimately I became very interested in a different question: Could the women actually see the North Korean people as human beings? Could they see their humanity and what would that look like?”\u003c/p>\n\u003cp>Liem adds, “I understood at some point that the women were struggling with their presence in the North and struggling with their own values. You come with so many preconceptions, you don’t trust anything people are saying. How do you understand what you’re experiencing? Was there a way my audience — peace activists, feminists — could see North Korea through these people’s eyes?”\u003c/p>\n\u003cp>This derives from Americans’ view of North Korea as an authoritarian state, but it’s also rooted in the way that country has been identified as an enemy of the United States for 75 years. And yet the Korean War is, in the American imagination, the forgotten war. A million North Koreans and two million South Koreans died, along with a million Chinese.\u003c/p>\n\u003cp>“This is a trauma that is seared into the collective consciousness of the Korean people,” Liem says, “and the Chinese people, actually.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Crossings’ screens at 5:30 p.m. on Saturday, May 13, at the Great Star Theater in San Francisco. \u003ca href=\"https://caamfest.com/2023/movies/crossings/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. The film will air on the World Channel in July, coinciding with the 75th anniversary of the armistice.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2000, Deann Borshay Liem’s revelatory debut, \u003cem>First Person Plural\u003c/em>, recounted her experiences as a Korean adoptee growing up in the East Bay suburbs and then looking for her birth family as an adult. \u003c/p>\n\u003cp>A landmark of personal documentary, the film (which premiered at Sundance, aired nationally on PBS and is well worth watching on \u003ca href=\"https://www.kanopy.com/en/sfpl/video/49880\">Kanopy\u003c/a>) painted a complicated picture of identity and aspirational assimilation (crystallized by Borshay’s acceptance as a UC Berkeley cheerleader) while exposing the buried transnational history of Korean adoption in the 1950s and ’60s.\u003c/p>\n\u003cp>Liem continued to mine her life, and face uncomfortable truths about Korea’s adoption campaign, in her 2010 follow-up \u003cem>In the Matter of Cha Jung Hee\u003c/em> (also on Kanopy) and \u003cem>Geographies of Kinship\u003c/em> (2019). The ad hoc trilogy powerfully conveys how distant and seemingly concluded events relegated to a couple sentences in a history book reverberate forever in countless lives and families.\u003c/p>\n\u003cfigure id=\"attachment_13929057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NianaLiu_04801-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13929057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NianaLiu_04801.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Crossings,’ directed by Deann Borshay Liem. \u003ccite>(Niana Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In reflecting on the works that I’ve directed, it turns out all of them touch on the Korean War,” Liem says today. “It wasn’t that I intended to make films that address the war in the beginning. Now I understand: It is the singular trauma of my generation, and the generation that preceded me, and also after me. It’s the event that formed who I am, that brought me to this country and it’s the root of the Korean-American community in the United States.”\u003c/p>\n\u003cp>Liem was the natural filmmaker to document Women Cross DMZ, Korean-American activist Christine Ahn’s ambitious and fraught 2015 undertaking — with 30 women peace activists from 13 countries — to walk from North Korea to South Korea across the demilitarized zone. Long delayed, yet sadly still timely, \u003cem>Crossings\u003c/em> concludes its festival run May 13 in CAAMFest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Crossings\u003c/em> deftly recounts the group’s step-by-step adjustments to the obstacles thrown at them. While it’s tempting to laugh at diplomatic and political absurdity, the respective governments were not amused by Women Cross DMZ’s symbolic gambit to temporarily erase the border between North and South Korea.\u003c/p>\n\u003cfigure id=\"attachment_13929059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Crossings.banner-800x472.jpg\" alt=\"\" width=\"800\" height=\"472\" class=\"size-medium wp-image-13929059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner-1536x906.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.banner.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Crossings,’ directed by Deann Borshay Liem. \u003ccite>(Niana Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ahn’s tested cohorts include Nobel Laureates Leymah Gbowee of Liberia and Mairead Maguire of Northern Ireland, alongside women’s movement pioneer Gloria Steinem and Code Pink co-founder Medea Benjamin. The group’s goal of advancing peace is rooted in the overriding yet largely unknown fact that a peace agreement was never signed when the conflict was stopped in 1950.\u003c/p>\n\u003cp>“The Korean War literally did not end,” Liem explains. “We have this armistice that suspended the fighting but no formal peace. The war in many ways is still being prosecuted through policies of isolation, sanctions and threats of military strikes. It’s important to shed light on the U.S. role, not only in dividing the peninsula but continuing the status quo of unresolved conflict. The U.S. can play such a critical role in whether progress is made toward reconciliation and peace, or not.”\u003c/p>\n\u003cp>For precisely that reason, Liem says, she made \u003cem>Crossings\u003c/em> for an American audience. She gives Steinem — the best-known figure to U.S. viewers — ample screen time, without overstating or misrepresenting her influence among the coterie of strong, strategic women from abroad.\u003c/p>\n\u003cp>While the Women Cross DMZ activists in the film discuss and debate countermoves to logistical hurdles, they weigh how the media (in South and North Korea, to be sure, but all over the world) will spin their words and actions. Yet they are still blindsided when an innocuous comment by Christine Ahn at a group visit to supreme leader Kim Jong-Un’s birthplace — chosen by the activists instead of a proffered, propagandist statue visit — is portrayed by South Korean journalists as sympathetic to the North Korea regime.\u003c/p>\n\u003cfigure id=\"attachment_13929058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Crossings.march_-800x473.jpg\" alt=\"\" width=\"800\" height=\"473\" class=\"size-medium wp-image-13929058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-800x473.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-1020x603.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-768x454.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_-1536x908.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Crossings.march_.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Crossings,’ directed by Deann Borshay Liem. \u003ccite>(Stephen Wunrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Whenever U.S.-North Korea conflicts arise, we typically see goose-stepping soldiers on Kim Il Sung Plaza or shots of Kim Jung Un that are not very favorable — certain sets of shots that are repeated over and over again,” the soft-spoken Berkeley filmmaker says. “There just isn’t much available, right? I call it North Korea wallpaper: Images that reinforce what we think we know, and what we think we know is very limited and infused with both racial stereotypes and specific stereotypes about the North Korean people.”\u003c/p>\n\u003cp>Much of \u003cem>Crossings\u003c/em> unfolds in North Korea, which gives viewers a nearly unknown perspective of the country and its people that runs against certain preconceptions. At a symposium in Pyongyang attended by the activists, an elderly North Korean woman describes the mutilations she received from a GI during the war. When the Women Cross DMZ group has opportunities to interact with people in public in North Korea, they (and we) judge the local women’s spontaneity and authenticity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“My initial interest,” Liem says, “was are the [activists] going to cross the DMZ? What do they have to do to cross? How are they going to negotiate the different approvals from North, South, the UN Command? What would their conversations be like at night, behind closed doors? But ultimately I became very interested in a different question: Could the women actually see the North Korean people as human beings? Could they see their humanity and what would that look like?”\u003c/p>\n\u003cp>Liem adds, “I understood at some point that the women were struggling with their presence in the North and struggling with their own values. You come with so many preconceptions, you don’t trust anything people are saying. How do you understand what you’re experiencing? Was there a way my audience — peace activists, feminists — could see North Korea through these people’s eyes?”\u003c/p>\n\u003cp>This derives from Americans’ view of North Korea as an authoritarian state, but it’s also rooted in the way that country has been identified as an enemy of the United States for 75 years. And yet the Korean War is, in the American imagination, the forgotten war. A million North Koreans and two million South Koreans died, along with a million Chinese.\u003c/p>\n\u003cp>“This is a trauma that is seared into the collective consciousness of the Korean people,” Liem says, “and the Chinese people, actually.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Crossings’ screens at 5:30 p.m. on Saturday, May 13, at the Great Star Theater in San Francisco. \u003ca href=\"https://caamfest.com/2023/movies/crossings/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. The film will air on the World Channel in July, coinciding with the 75th anniversary of the armistice.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’re stumped for how to spend this Mother’s Day, consider relishing a good scare. Since the genre’s inception, horror movies have tapped into the psychological trauma and terror that can only come from a mother, and a number of recent films are embracing that time-honored tradition.\u003c/p>\n\u003cp>[aside postid='arts_13928607']Take, for example, Brandon Cronenberg’s \u003cem>Infinity Pool\u003c/em>, which became one of the buzziest films to come out of this year’s Sundance Film Festival.\u003c/p>\n\u003cp>It’s no surprise it was replete with disturbing moments. The director, after all, has surely learned a thing or two from his filmmaker dad and giant of the genre, David Cronenberg.\u003c/p>\n\u003cp>In one talked-about scene, Gabi (Mia Goth) exposes her bare chest to James (Alexander Skarsgård) in an invitation to breastfeed, revealing a complicated tension between his actual mother and his understanding of Gabi as his new one.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PVnIMvVEkrA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the genre has often been dismissed as low-brow, Adam Lowenstein, a film and media studies professor at the University of Pittsburgh who specializes in horror, said it is well-suited for grappling with these kinds of deep-seated, psychological issues.\u003c/p>\n\u003cp>“Horror is, at its core, a very primal genre,” he said. “It makes absolute sense that things like family, sex, death would all be things that the horror film is constantly mining because those are primal fascinations and experiences.”\u003c/p>\n\u003cp>Perhaps the seminal example of mommy issues in a horror film is Alfred Hitchcock’s \u003cem>Psycho\u003c/em> (1960).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xWHYmNrAFlI\u003c/p>\n\u003cp>In it, the infamous Norman Bates of the Bates Motel develops a split personality after killing his controlling mom and her lover out of jealousy. His grief and guilt cause him to keep her corpse stashed away, and assume her personality when he commits violence against women he becomes attracted to.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Part of what makes the maternal bond such a fertile one for exploring psychological trauma, Lowenstein said, is that it is so universal and freighted.\u003c/p>\n\u003cp>“We all have real mothers, just the way we have real constructs about motherhood that we subscribe to. And these things are very hard to separate,” he said. The gap between expectation and reality becomes fruitful territory for a good scare.\u003c/p>\n\u003cp>Zach Cregger’s \u003cem>Barbarian\u003c/em> (2022) also turns breastfeeding into a spectacle, not from an inviting yet depraved sexual partner as in \u003cem>Infinity Pool\u003c/em>, but from a monstrous maternal creature who forces her victims to feast.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BqQNO7BzN08\u003c/p>\n\u003cp>Other films let the dynamic between mother and child carry the drama. \u003cem>Evil Dead Rise\u003c/em>, now available to rent on streaming services, plays with the fear-inducing extreme of a mom being possessed by a demon.\u003c/p>\n\u003cp>“I think it’s very terrifying to imagine somebody so familiar to you in your world becoming a subversion of that, and becoming something really dangerous and evil,” said director Lee Cronin. “It just lent itself to this exploration of maternal fears and what it might mean if your mother was to turn on you.”\u003c/p>\n\u003cp>In Ari Aster’s new \u003cem>Beau is Afraid\u003c/em>, the central theme is the fear and pain that can come from the mother-child bond. The movie — about a man trying to get to his mom’s house — is as much a surrealist epic as it is a horror movie.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PuiWDn976Ek\u003c/p>\n\u003cp>And while Aster’s third movie is admittedly less scary than his \u003cem>Midsommar\u003c/em> or \u003cem>Hereditary\u003c/em>, another film that exploits the terrors of family dynamics and mother-induced trauma, it is safe to conclude by the end that Beau’s fear of his guilt-inducing mother was warranted.\u003c/p>\n\u003cp>“When I left \u003cem>Beau Is Afraid\u003c/em>, I heard a teenage woman ahead of me walking out of the theater saying to her friends, ‘That just made me want to call my mom and say I’m sorry for everything,’” Lowenstein recounted. “We think horror and we think fear and dread and haunting, but we don’t necessarily think guilt, shame, humiliation. And Ari Aster clearly understands the connection between these things.”\u003c/p>\n\u003cp>It is not insignificant that almost all of these scary movies about protagonists’ relationships with their mothers are directed by men.\u003c/p>\n\u003cp>[aside postid='arts_13923159']But Lowenstein maintains that the genre’s mommy issues began with a woman, and long before film: Mary Shelley’s classic 1818 horror novel, \u003cem>Frankenstein\u003c/em>, is often considered to be the inception of modern horror.\u003c/p>\n\u003cp>“Her story is about a man who wants to be God, but he also wants to be a mother. Really, he wants to create life without the intervention of women,” he said. “What Mary Shelley shows us is what a bad idea this really is, and how male hubris really does monstrous things with motherhood.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the genre has often been dismissed as low-brow, Adam Lowenstein, a film and media studies professor at the University of Pittsburgh who specializes in horror, said it is well-suited for grappling with these kinds of deep-seated, psychological issues.\u003c/p>\n\u003cp>“Horror is, at its core, a very primal genre,” he said. “It makes absolute sense that things like family, sex, death would all be things that the horror film is constantly mining because those are primal fascinations and experiences.”\u003c/p>\n\u003cp>Perhaps the seminal example of mommy issues in a horror film is Alfred Hitchcock’s \u003cem>Psycho\u003c/em> (1960).\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/xWHYmNrAFlI'\n title='//www.youtube.com/embed/xWHYmNrAFlI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In it, the infamous Norman Bates of the Bates Motel develops a split personality after killing his controlling mom and her lover out of jealousy. His grief and guilt cause him to keep her corpse stashed away, and assume her personality when he commits violence against women he becomes attracted to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Part of what makes the maternal bond such a fertile one for exploring psychological trauma, Lowenstein said, is that it is so universal and freighted.\u003c/p>\n\u003cp>“We all have real mothers, just the way we have real constructs about motherhood that we subscribe to. And these things are very hard to separate,” he said. The gap between expectation and reality becomes fruitful territory for a good scare.\u003c/p>\n\u003cp>Zach Cregger’s \u003cem>Barbarian\u003c/em> (2022) also turns breastfeeding into a spectacle, not from an inviting yet depraved sexual partner as in \u003cem>Infinity Pool\u003c/em>, but from a monstrous maternal creature who forces her victims to feast.\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/BqQNO7BzN08'\n title='//www.youtube.com/embed/BqQNO7BzN08'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other films let the dynamic between mother and child carry the drama. \u003cem>Evil Dead Rise\u003c/em>, now available to rent on streaming services, plays with the fear-inducing extreme of a mom being possessed by a demon.\u003c/p>\n\u003cp>“I think it’s very terrifying to imagine somebody so familiar to you in your world becoming a subversion of that, and becoming something really dangerous and evil,” said director Lee Cronin. “It just lent itself to this exploration of maternal fears and what it might mean if your mother was to turn on you.”\u003c/p>\n\u003cp>In Ari Aster’s new \u003cem>Beau is Afraid\u003c/em>, the central theme is the fear and pain that can come from the mother-child bond. The movie — about a man trying to get to his mom’s house — is as much a surrealist epic as it is a horror movie.\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/PuiWDn976Ek'\n title='//www.youtube.com/embed/PuiWDn976Ek'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And while Aster’s third movie is admittedly less scary than his \u003cem>Midsommar\u003c/em> or \u003cem>Hereditary\u003c/em>, another film that exploits the terrors of family dynamics and mother-induced trauma, it is safe to conclude by the end that Beau’s fear of his guilt-inducing mother was warranted.\u003c/p>\n\u003cp>“When I left \u003cem>Beau Is Afraid\u003c/em>, I heard a teenage woman ahead of me walking out of the theater saying to her friends, ‘That just made me want to call my mom and say I’m sorry for everything,’” Lowenstein recounted. “We think horror and we think fear and dread and haunting, but we don’t necessarily think guilt, shame, humiliation. And Ari Aster clearly understands the connection between these things.”\u003c/p>\n\u003cp>It is not insignificant that almost all of these scary movies about protagonists’ relationships with their mothers are directed by men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Lowenstein maintains that the genre’s mommy issues began with a woman, and long before film: Mary Shelley’s classic 1818 horror novel, \u003cem>Frankenstein\u003c/em>, is often considered to be the inception of modern horror.\u003c/p>\n\u003cp>“Her story is about a man who wants to be God, but he also wants to be a mother. Really, he wants to create life without the intervention of women,” he said. “What Mary Shelley shows us is what a bad idea this really is, and how male hubris really does monstrous things with motherhood.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tom Hanks Has Starred in Dozens of Movies. Now He's Written a Novel Too",
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"content": "\u003cp>The numbers speak for themselves: More than 100 movies in over 45 years of acting. Now Tom Hanks is drawing on all that experience to craft a story in a very different medium. He used some of the pandemic slowdown to write a novel. Titled \u003cem>The Making of Another Major Motion Picture Masterpiece\u003c/em>, it tells the story of a comic strip that becomes a multimillion-dollar superhero movie.\u003c/p>\n\u003cp>[aside postid='arts_13928562']The book spans seven decades, starting in 1947 when a U.S. Marine who served as a flamethrower returns from fighting in World War II. The uncle makes such a strong impression on his 5-year-old nephew that he makes him the superhero in a comic strip; eventually, that comic becomes the foundation of a blockbuster movie franchise, set in the present day.\u003c/p>\n\u003cp>The novel explores every step of the making of a movie: from a difficult leading actor, to eccentric writers and countless behind-the-scenes workers. Hanks says fleshing out the details was not hard for him. “I’ve got anecdotes galore,” he tells \u003cem>Morning Edition\u003c/em>‘s A Martinez.\u003c/p>\n\u003cp>All the actions and characters in his novel are drawn from the real-life experience of making a movie, he says. And he purposely focuses not only on the stars, but on the people working behind the scenes.\u003c/p>\n\u003cfigure id=\"attachment_13928885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-800x1170.jpg\" alt=\"A book cover with an illustration of the rearview of a man walking along a road.\" width=\"800\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-800x1170.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1020x1492.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-768x1123.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1050x1536.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1401x2048.jpg 1401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1920x2808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-scaled.jpg 1751w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Hanks has written a first novel, drawing on his decades in the movie industry. \u003ccite>(Alfred A. Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If someone is going to ask me what is the surefire way that I get to Hollywood, I would have two answers,” Hanks says. “One is as Bette Davis said, take Fountain [Boulevard]. But the other one is to solve problems.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ultimately, Hanks hopes to challenge people’s perceptions about how movies are made.\u003c/p>\n\u003cp>[aside postid='arts_13928445']“Most people think that a movie reels out like a Broadway play does or a performance of an opera. Everybody knows exactly what they are, where they need to be, how they need to do it,” he says. “But movies are a long series of accidents that you don’t expect, as well as, occasionally, something that goes off exactly as you planned. It’s all things all at the same time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanks offered this statement about the ongoing Hollywood writers strike: “I am a member of every guild there is, and there is no doubt that the economics of our business has changed in the last few years. These changes affect everybody in the making of a Motion Picture Masterpiece — and something needs to be worked out now.”\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tom+Hanks+has+starred+in+dozens+of+movies.+Now+he%27s+written+a+novel+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The numbers speak for themselves: More than 100 movies in over 45 years of acting. Now Tom Hanks is drawing on all that experience to craft a story in a very different medium. He used some of the pandemic slowdown to write a novel. Titled \u003cem>The Making of Another Major Motion Picture Masterpiece\u003c/em>, it tells the story of a comic strip that becomes a multimillion-dollar superhero movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The book spans seven decades, starting in 1947 when a U.S. Marine who served as a flamethrower returns from fighting in World War II. The uncle makes such a strong impression on his 5-year-old nephew that he makes him the superhero in a comic strip; eventually, that comic becomes the foundation of a blockbuster movie franchise, set in the present day.\u003c/p>\n\u003cp>The novel explores every step of the making of a movie: from a difficult leading actor, to eccentric writers and countless behind-the-scenes workers. Hanks says fleshing out the details was not hard for him. “I’ve got anecdotes galore,” he tells \u003cem>Morning Edition\u003c/em>‘s A Martinez.\u003c/p>\n\u003cp>All the actions and characters in his novel are drawn from the real-life experience of making a movie, he says. And he purposely focuses not only on the stars, but on the people working behind the scenes.\u003c/p>\n\u003cfigure id=\"attachment_13928885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-800x1170.jpg\" alt=\"A book cover with an illustration of the rearview of a man walking along a road.\" width=\"800\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-800x1170.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1020x1492.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-768x1123.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1050x1536.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1401x2048.jpg 1401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-1920x2808.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/hanks-jacket_custom-34ca11d293c852962d1ce11ca58e259859a4a751-scaled.jpg 1751w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Hanks has written a first novel, drawing on his decades in the movie industry. \u003ccite>(Alfred A. Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If someone is going to ask me what is the surefire way that I get to Hollywood, I would have two answers,” Hanks says. “One is as Bette Davis said, take Fountain [Boulevard]. But the other one is to solve problems.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, Hanks hopes to challenge people’s perceptions about how movies are made.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Most people think that a movie reels out like a Broadway play does or a performance of an opera. Everybody knows exactly what they are, where they need to be, how they need to do it,” he says. “But movies are a long series of accidents that you don’t expect, as well as, occasionally, something that goes off exactly as you planned. It’s all things all at the same time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanks offered this statement about the ongoing Hollywood writers strike: “I am a member of every guild there is, and there is no doubt that the economics of our business has changed in the last few years. These changes affect everybody in the making of a Motion Picture Masterpiece — and something needs to be worked out now.”\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tom+Hanks+has+starred+in+dozens+of+movies.+Now+he%27s+written+a+novel+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Best Picket Signs of the Hollywood Writers’ Strike",
"headTitle": "The Best Picket Signs of the Hollywood Writers’ Strike | KQED",
"content": "\u003cp>As the \u003ca href=\"https://www.npr.org/2023/05/02/1172876800/writers-guild-calls-strike\">Writers Guild of America strike\u003c/a> continues into its third day, the jokes aren’t on late night TV anymore — they’re on the picket lines.\u003c/p>\n\u003cp>More than 11,000 movie and television writers have stopped working after contract negotiations stalled out between their union and the Alliance of Motion Picture and Television Producers, the trade association that represents Hollywood’s studios and production companies.\u003c/p>\n\u003cp>[aside postid='arts_13928545']\u003ca href=\"https://www.npr.org/2023/05/03/1173552824/what-writers-strike-means-for-viewers\">The standoff\u003c/a> could last months and shut down Hollywood production. (The \u003ca href=\"https://www.npr.org/2023/05/03/1173439467/writers-guild-strike-2023-comparison-2007\">last writers’ strike\u003c/a> lasted from November 2007 into February 2008.) Some of the \u003ca href=\"https://www.wga.org/uploadedfiles/members/member_info/contract-2023/WGA_proposals.pdf\">sticking points include\u003c/a> questions over staffing levels for new TV programs and income from episodes aired on streaming services.\u003c/p>\n\u003cp>Since the strike kicked off Tuesday, hundreds of writers have picketed in the Los Angeles area and in New York, outside the studios and offices of Netflix, NBCUniversal, Disney, Sony, Paramount, Warner Bros. and others.\u003c/p>\n\u003cp>Among the signs were jokes about the artificial intelligence service \u003ca href=\"https://www.npr.org/2023/02/02/1152481564/we-asked-the-new-ai-to-do-some-simple-rocket-science-it-crashed-and-burned\">ChatGPT\u003c/a>, the wealth of studio executives and many, many references to the HBO hit \u003ca href=\"https://www.npr.org/2023/03/22/1165032183/succession-season-4-review\">\u003cem>Succession\u003c/em>\u003c/a>. Here are some of our favorites:\u003c/p>\n\u003cfigure id=\"attachment_13928704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-800x533.jpg\" alt='Protesters on a picket line. Signs read: \"Writers Guild of America on Strike!\" and \"Without writers, Meredith Grey would not be a surgeon, no students could attend Abbot Elementary and Logan Roy would be alive!\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A picketer at Paramount Studios in Los Angeles carries a sign with references to the television shows ‘Grey’s Anatomy,’ ‘Abbott Elementary’ and ‘Succession.’ \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/NazaninNour/status/1653916450858446848\u003c/p>\n\u003cfigure id=\"attachment_13928705\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-800x533.jpg\" alt='Protesters on picket lines carry signs that read: \"Succession without writers is just The Apprentice — and look how well that turned out\" and \"Wrote ChatGPT This.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On left, a picket sign outside Netflix headquarters in Hollywood. On right, writer K.C. Scott pickets outside Amazon Studios in Culver City, California. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/EmmaTolkin/status/1653496828665683969\u003c/p>\n\u003cfigure id=\"attachment_13928706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-800x604.jpg\" alt=\"A protester on a picket line holds up a sign that reads: "You're gonna be the villains in the limited series about this!"\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-1536x1160.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside Netflix headquarters in Hollywood on the first day of the writer’s strike. \u003ccite>(Mandalit del Barco/NPR News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/MasonLieberman/status/1653915636660326402\u003c/p>\n\u003cfigure id=\"attachment_13928707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928707\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-800x533.jpg\" alt='A Writers Guild of America striker holds up a sign that says: \"You came up with Quibi.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Writer Jono Matt holds a sign referring to the short-lived streaming service Quibi at the WGA picket line outside Warner Bros. Studios in Burbank. \u003ccite>(AP Photo/Chris Pizzello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/jennyyangtv/status/1653856504821456897\u003c/p>\n\u003cfigure id=\"attachment_13928708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-800x533.jpg\" alt='Writers Guild of America picketers gather. One holds up a sign reading: \"I told ChatGPT to write a picket sign and it sucked.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WGA protest outside the Netflix headquarters in New York City. \u003ccite>(AP Photo/Stefan Jeremiah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/marinarachael/status/1653560546405515264\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+best+picket+signs+of+the+Hollywood+writers%27+strike&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the \u003ca href=\"https://www.npr.org/2023/05/02/1172876800/writers-guild-calls-strike\">Writers Guild of America strike\u003c/a> continues into its third day, the jokes aren’t on late night TV anymore — they’re on the picket lines.\u003c/p>\n\u003cp>More than 11,000 movie and television writers have stopped working after contract negotiations stalled out between their union and the Alliance of Motion Picture and Television Producers, the trade association that represents Hollywood’s studios and production companies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.npr.org/2023/05/03/1173552824/what-writers-strike-means-for-viewers\">The standoff\u003c/a> could last months and shut down Hollywood production. (The \u003ca href=\"https://www.npr.org/2023/05/03/1173439467/writers-guild-strike-2023-comparison-2007\">last writers’ strike\u003c/a> lasted from November 2007 into February 2008.) Some of the \u003ca href=\"https://www.wga.org/uploadedfiles/members/member_info/contract-2023/WGA_proposals.pdf\">sticking points include\u003c/a> questions over staffing levels for new TV programs and income from episodes aired on streaming services.\u003c/p>\n\u003cp>Since the strike kicked off Tuesday, hundreds of writers have picketed in the Los Angeles area and in New York, outside the studios and offices of Netflix, NBCUniversal, Disney, Sony, Paramount, Warner Bros. and others.\u003c/p>\n\u003cp>Among the signs were jokes about the artificial intelligence service \u003ca href=\"https://www.npr.org/2023/02/02/1152481564/we-asked-the-new-ai-to-do-some-simple-rocket-science-it-crashed-and-burned\">ChatGPT\u003c/a>, the wealth of studio executives and many, many references to the HBO hit \u003ca href=\"https://www.npr.org/2023/03/22/1165032183/succession-season-4-review\">\u003cem>Succession\u003c/em>\u003c/a>. Here are some of our favorites:\u003c/p>\n\u003cfigure id=\"attachment_13928704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-800x533.jpg\" alt='Protesters on a picket line. Signs read: \"Writers Guild of America on Strike!\" and \"Without writers, Meredith Grey would not be a surgeon, no students could attend Abbot Elementary and Logan Roy would be alive!\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A picketer at Paramount Studios in Los Angeles carries a sign with references to the television shows ‘Grey’s Anatomy,’ ‘Abbott Elementary’ and ‘Succession.’ \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cfigure id=\"attachment_13928705\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-800x533.jpg\" alt='Protesters on picket lines carry signs that read: \"Succession without writers is just The Apprentice — and look how well that turned out\" and \"Wrote ChatGPT This.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On left, a picket sign outside Netflix headquarters in Hollywood. On right, writer K.C. Scott pickets outside Amazon Studios in Culver City, California. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cfigure id=\"attachment_13928706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-800x604.jpg\" alt=\"A protester on a picket line holds up a sign that reads: "You're gonna be the villains in the limited series about this!"\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-1536x1160.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside Netflix headquarters in Hollywood on the first day of the writer’s strike. \u003ccite>(Mandalit del Barco/NPR News)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cfigure id=\"attachment_13928707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928707\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-800x533.jpg\" alt='A Writers Guild of America striker holds up a sign that says: \"You came up with Quibi.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Writer Jono Matt holds a sign referring to the short-lived streaming service Quibi at the WGA picket line outside Warner Bros. Studios in Burbank. \u003ccite>(AP Photo/Chris Pizzello)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003c/p>\u003c/div>",
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"title": "All Creatures Great and Small in ‘Guardians 3’",
"headTitle": "All Creatures Great and Small in ‘Guardians 3’ | KQED",
"content": "\u003cp>When Peter “Star-Lord” Quill, while inspecting a murky extraterrestrial region, pressed play on Redbone’s “Come and Get Your Love” in the first \u003cem>Guardians of the Galaxy\u003c/em>, it would have been hard to imagine that James Gunn’s space opera would ultimately lead to something as sincere, poignant and kinda cornball as the trilogy-ending \u003cem>Guardians of the Galaxy Vol. 3\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13928312']But as Gunn has showed over over the course of these increasingly soupy sci-fi spectacles, the genetically spliced DNA of his chaotic, cartoonish cosmic vision is a double helix of opposites. Breezy ’70s rock papers over extreme violence. Cynical exteriors cloak sentimental emotions. A ragtag group of outcasts, more so than even the cast of \u003cem>Fast and the Furious\u003c/em>, talk a lot about “family” and “friends.” Against the odds, “Come and get your love” has turned out to be a legit invitation.\u003c/p>\n\u003cp>\u003cem>Vol. 3\u003c/em> is a messy, overstuffed finale. But you rarely question whether Gunn’s heart is in it. Sometimes it spoils some of that effect by trying too hard to juxtapose tonal extremes, and show off its brash juggling act. Yet whatever this sweet, surreal sci-fi shamble is that Gunn has created, everyone here seems to believe ardently in it. And for even a movie that sends a golden-hued Will Poulter shooting through space to the tune of Heart’s “Crazy on You,” that earnest belief goes a long way.\u003c/p>\n\u003cfigure id=\"attachment_13928610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928610\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-800x547.png\" alt=\"A white man with scruffy short beard and brown hair stands, flames burning behind him.\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-800x547.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-1020x698.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-768x525.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM.png 1222w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Pratt as Peter ‘Star-Lord’ Quill in ‘Guardians of the Galaxy Vol. 3.’ \u003ccite>(Marvel Studios-Disney via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song, though, that kicks off \u003cem>Guardians of the Galaxy Vol. 3\u003c/em> is not an upbeat one. Radiohead’s “Creep” casts a sour mood over the Guardians, who we find in a lethargic state of disarray in the spaceport Knowhere following their 2017 \u003cem>Empire Strikes Back\u003c/em>-esque second chapter.\u003c/p>\n\u003cp>Whether \u003cem>Guardians of the Galaxy\u003c/em> is best suited to strike these solemn notes, or reach for such last-chapter poignancy in \u003cem>Vol. 3\u003c/em> is debatable. I’ve always liked these films at their most cartoonish. Donning a degree of self-importance is probably the most Marvel thing about this \u003cem>Guardians\u003c/em>. Gunn’s films — which, unlike most of the comic-book studio’s releases, are both written and directed by him — have always stood out for their distinct lack of Marvel house style. \u003cem>Guardians 3\u003c/em>, unfortunately, has contracted a touch of \u003cem>Endgame\u003c/em> grandiosity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The group — including Star-Lord (Chris Pratt), Drax the Destroyer (Dave Bautista), Nebula (Karen Gillan) and Groot (voiced by Vin Diesel) — is quickly sent into emergency mode. Adam Warlock (Poulter), an artificial being created by the High Priestess Ayesha (Elizabeth Debicki), comes careening into their lair, leaving Rocket (voiced by Bradley Cooper and played in motion capture by Sean Gunn) on his deathbed. To save Rocket, a cybernetically enhanced raccoon, the Guardians must hurriedly resuscitate him with his original programming.\u003c/p>\n\u003cp>[aside postid='arts_13927554']This means traveling to the lab he was created in years before by the High Evolutionary (a sensational Chukwudi Iwuji, an all-time Marvel villain), a Doctor Moreau sort who’s been toiling to craft a “perfect” race of hybrid creatures to populate a copy of planet Earth. As the Guardians seek to infiltrate his realm, \u003cem>Vol. 3\u003c/em> repeatedly flashes back to Rocket’s experience with the High Evolutionary: his transformation from raccoon, his joyful experience with other experimental creations and his harrowing escape.\u003c/p>\n\u003cp>It’s telling that in this \u003cem>Guardians\u003c/em> swan song that Gunn centers Rocket and less so Quill, whose father-son drama dominated \u003cem>Vol. 2\u003c/em>. (Here, he’s mostly in save-my-friend mode when not wrestling with the heartbreak of this version of Zoe Saldaña’s Gamora. Thanks to some \u003cem>Avengers\u003c/em> events, she no longer even knows him.)\u003c/p>\n\u003cfigure id=\"attachment_13928611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-800x514.png\" alt=\"A woman with long auburn hair and a green face adopts a fight position close to the ground within a space craft.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-1020x655.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM.png 1240w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Saldana as Gamora in a scene from ‘Guardians of the Galaxy Vol. 3.’ \u003ccite>(Marvel Studios-Disney via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are foremost epics of orphandom about distinctly un-superhuman characters. Mother and father figures float in and out, while the Guardians attract one forlorn figure after another. In \u003cem>Vol. 3\u003c/em>, it’s both comical and even a little stirring just how far empathy reaches for all of God’s — and Marvel’s — creatures. Gunn has taken a woebegone B-team or C-team of comic book oddballs and cast them into a cosmic tapestry of weirdos and misfits, ranging wildly in size, shape, color and dancing ability.\u003c/p>\n\u003cp>[aside postid='arts_13927547']In \u003cem>Vol. 3\u003c/em>, Gunn really lets the freak flag fly, putting the Guardians in battle with not just the High Evolutionary but the notion of perfection. It’s not a coincidence that this \u003cem>Guardians\u003c/em> film arrives, finally, in the suburbs — or at least some slightly warped version of it.\u003c/p>\n\u003cp>Gunn, a B-movie director at heart, fills these films with more sinewy than sleek worlds, full of florid beauty and opulent grotesquerie. (\u003cem>Vol. 3\u003c/em>, more than the last two films, reminded me of \u003cem>The Fifth Element\u003c/em>, a good thing.) It’s often clear that his ambitions are sometimes just a bit too much; this, like his DC film \u003cem>The Suicide Squad\u003c/em>, \u003cem>Vol. 3\u003c/em> could have used a firmer editor to corral some of Gunn’s impulse for excess.\u003c/p>\n\u003cp>This installment, of course, nearly didn’t happen after Gunn’s firing years ago. And partially because of that forced hiatus, he’s now ruling an even larger, more mainstream superhero cosmos at DC. That surely has something to do with the sense of parting that permeates the final act of \u003cem>Guardians 3\u003c/em>. After so many speeches about friendship and togetherness, \u003cem>Vol. 3\u003c/em> ends curiously elegiacally, and with one last dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Peter “Star-Lord” Quill, while inspecting a murky extraterrestrial region, pressed play on Redbone’s “Come and Get Your Love” in the first \u003cem>Guardians of the Galaxy\u003c/em>, it would have been hard to imagine that James Gunn’s space opera would ultimately lead to something as sincere, poignant and kinda cornball as the trilogy-ending \u003cem>Guardians of the Galaxy Vol. 3\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But as Gunn has showed over over the course of these increasingly soupy sci-fi spectacles, the genetically spliced DNA of his chaotic, cartoonish cosmic vision is a double helix of opposites. Breezy ’70s rock papers over extreme violence. Cynical exteriors cloak sentimental emotions. A ragtag group of outcasts, more so than even the cast of \u003cem>Fast and the Furious\u003c/em>, talk a lot about “family” and “friends.” Against the odds, “Come and get your love” has turned out to be a legit invitation.\u003c/p>\n\u003cp>\u003cem>Vol. 3\u003c/em> is a messy, overstuffed finale. But you rarely question whether Gunn’s heart is in it. Sometimes it spoils some of that effect by trying too hard to juxtapose tonal extremes, and show off its brash juggling act. Yet whatever this sweet, surreal sci-fi shamble is that Gunn has created, everyone here seems to believe ardently in it. And for even a movie that sends a golden-hued Will Poulter shooting through space to the tune of Heart’s “Crazy on You,” that earnest belief goes a long way.\u003c/p>\n\u003cfigure id=\"attachment_13928610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928610\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-800x547.png\" alt=\"A white man with scruffy short beard and brown hair stands, flames burning behind him.\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-800x547.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-1020x698.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM-768x525.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.10.03-AM.png 1222w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Pratt as Peter ‘Star-Lord’ Quill in ‘Guardians of the Galaxy Vol. 3.’ \u003ccite>(Marvel Studios-Disney via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song, though, that kicks off \u003cem>Guardians of the Galaxy Vol. 3\u003c/em> is not an upbeat one. Radiohead’s “Creep” casts a sour mood over the Guardians, who we find in a lethargic state of disarray in the spaceport Knowhere following their 2017 \u003cem>Empire Strikes Back\u003c/em>-esque second chapter.\u003c/p>\n\u003cp>Whether \u003cem>Guardians of the Galaxy\u003c/em> is best suited to strike these solemn notes, or reach for such last-chapter poignancy in \u003cem>Vol. 3\u003c/em> is debatable. I’ve always liked these films at their most cartoonish. Donning a degree of self-importance is probably the most Marvel thing about this \u003cem>Guardians\u003c/em>. Gunn’s films — which, unlike most of the comic-book studio’s releases, are both written and directed by him — have always stood out for their distinct lack of Marvel house style. \u003cem>Guardians 3\u003c/em>, unfortunately, has contracted a touch of \u003cem>Endgame\u003c/em> grandiosity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The group — including Star-Lord (Chris Pratt), Drax the Destroyer (Dave Bautista), Nebula (Karen Gillan) and Groot (voiced by Vin Diesel) — is quickly sent into emergency mode. Adam Warlock (Poulter), an artificial being created by the High Priestess Ayesha (Elizabeth Debicki), comes careening into their lair, leaving Rocket (voiced by Bradley Cooper and played in motion capture by Sean Gunn) on his deathbed. To save Rocket, a cybernetically enhanced raccoon, the Guardians must hurriedly resuscitate him with his original programming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This means traveling to the lab he was created in years before by the High Evolutionary (a sensational Chukwudi Iwuji, an all-time Marvel villain), a Doctor Moreau sort who’s been toiling to craft a “perfect” race of hybrid creatures to populate a copy of planet Earth. As the Guardians seek to infiltrate his realm, \u003cem>Vol. 3\u003c/em> repeatedly flashes back to Rocket’s experience with the High Evolutionary: his transformation from raccoon, his joyful experience with other experimental creations and his harrowing escape.\u003c/p>\n\u003cp>It’s telling that in this \u003cem>Guardians\u003c/em> swan song that Gunn centers Rocket and less so Quill, whose father-son drama dominated \u003cem>Vol. 2\u003c/em>. (Here, he’s mostly in save-my-friend mode when not wrestling with the heartbreak of this version of Zoe Saldaña’s Gamora. Thanks to some \u003cem>Avengers\u003c/em> events, she no longer even knows him.)\u003c/p>\n\u003cfigure id=\"attachment_13928611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-800x514.png\" alt=\"A woman with long auburn hair and a green face adopts a fight position close to the ground within a space craft.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-1020x655.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-03-at-11.13.17-AM.png 1240w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Saldana as Gamora in a scene from ‘Guardians of the Galaxy Vol. 3.’ \u003ccite>(Marvel Studios-Disney via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are foremost epics of orphandom about distinctly un-superhuman characters. Mother and father figures float in and out, while the Guardians attract one forlorn figure after another. In \u003cem>Vol. 3\u003c/em>, it’s both comical and even a little stirring just how far empathy reaches for all of God’s — and Marvel’s — creatures. Gunn has taken a woebegone B-team or C-team of comic book oddballs and cast them into a cosmic tapestry of weirdos and misfits, ranging wildly in size, shape, color and dancing ability.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Vol. 3\u003c/em>, Gunn really lets the freak flag fly, putting the Guardians in battle with not just the High Evolutionary but the notion of perfection. It’s not a coincidence that this \u003cem>Guardians\u003c/em> film arrives, finally, in the suburbs — or at least some slightly warped version of it.\u003c/p>\n\u003cp>Gunn, a B-movie director at heart, fills these films with more sinewy than sleek worlds, full of florid beauty and opulent grotesquerie. (\u003cem>Vol. 3\u003c/em>, more than the last two films, reminded me of \u003cem>The Fifth Element\u003c/em>, a good thing.) It’s often clear that his ambitions are sometimes just a bit too much; this, like his DC film \u003cem>The Suicide Squad\u003c/em>, \u003cem>Vol. 3\u003c/em> could have used a firmer editor to corral some of Gunn’s impulse for excess.\u003c/p>\n\u003cp>This installment, of course, nearly didn’t happen after Gunn’s firing years ago. And partially because of that forced hiatus, he’s now ruling an even larger, more mainstream superhero cosmos at DC. That surely has something to do with the sense of parting that permeates the final act of \u003cem>Guardians 3\u003c/em>. After so many speeches about friendship and togetherness, \u003cem>Vol. 3\u003c/em> ends curiously elegiacally, and with one last dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Three Harry Belafonte Performances You Won't Want to Miss",
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"content": "\u003cp>On Tuesday, the towering pioneer \u003ca href=\"https://www.kqed.org/arts/13928229/harry-belafonte-dies\">Harry Belafonte\u003c/a> passed away at 96. For many, Belafonte’s image as a humanitarian looms large. Notably, he was a close friend and collaborator with Martin Luther King Jr., protested against South African apartheid, and was an outspoken critic of American leadership, including George W. Bush’s decision to invade Iraq.\u003c/p>\n\u003cp>[aside postid='arts_13928229']But he also rose to fame as a popular recording artist and star of stage and screen, in a career that spanned multiple decades. During the 1950s, he was the rare Black actor to achieve leading man status in Hollywood (see: \u003ca href=\"https://www.tcm.com/tcmdb/title/70323/carmen-jones/#overview\">\u003cem>Carmen Jones\u003c/em>\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=bOUBLJaVKNI\">\u003cem>The World, the Flesh and the Devil\u003c/em>\u003c/a>) and his album \u003cem>Calypso\u003c/em>, featuring his signature hit “\u003ca href=\"https://www.npr.org/2011/10/12/141243628/harry-belafonte-out-of-struggle-a-beautiful-voice\">Banana Boat Song\u003c/a>,” was a best-seller. He was an EGOT winner (including a non-competitive Jean Hersholt Humanitarian Oscar) and a driving force behind the creation of the 1985 all-star charity single, “\u003ca href=\"https://www.youtube.com/watch?v=s3wNuru4U0I\">We Are the World\u003c/a>.” He even created one of the most \u003ca href=\"https://www.youtube.com/watch?v=tPaKWihFs_Q\">memorable moments in Muppet history\u003c/a>.\u003c/p>\n\u003cp>Quite frankly: Belafonte’s influence touched so many corners of popular culture and political progress, and his death marks a huge loss for the arts and activist communities. The recommendations below represent a mere fraction of his immense wealth of creative contributions — but they’re among his very best.\u003c/p>\n\u003ch3>\u003cem>Odds Against Tomorrow \u003c/em>(1959)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=vSzDfNn3kYc\u003c/p>\n\u003cp>In one of the last great film noirs of the classic era, Belafonte stars as Johnny Ingram, a gambling addict and nightclub singer in deep debt to a mobster. Desperate to wipe the slate clean (and protect his ex-wife and their daughter), Johnny teams up with a crooked ex-cop, played by Ed Begley Sr. and a racist ex-con, played by Robert Ryan. The cast is stacked and director Robert Wise is working at the top of his game, but Belafonte stands out in part because he’s playing a complex character in an era where even his peer and close friend Sidney Poitier was often stuck in one-dimensional roles. Johnny is a tense and edgy performance, simmering with resentment and urgency from a hard life.\u003c/p>\n\u003ch3>\u003cem>Buck and the Preacher \u003c/em>(1972)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=r-24cY5PjSI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not to downplay his many accomplishments, but it’s worth noting Belafonte was also very beautiful. Those matinee idol looks helped propel him to stardom, but in the revisionist western \u003cem>Buck and the Preacher —\u003c/em> Sidney Poitier’s directorial debut — he gets to let loose by playing against type as a shady vagabond named Preacher, who dons matted hair and yellowed teeth. Set shortly after the end of the Civil War, Preacher teams up with Poitier’s solemn and stately Buck to help protect formerly enslaved Black people from white mercenaries who want to force them back to work on plantations. Preacher’s a huckster brimming with bombast, and Belafonte chews up the scenery in this great performance.\u003c/p>\n\u003ch3>\u003cem>BlacKKKlansman \u003c/em>(2018)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=1Aoukxd0GvI&t=1s\u003c/p>\n\u003cp>Belafonte’s final film appearance might also be among his most fitting. He only appears in one scene of Spike Lee’s historical drama as a fictional character recounting the real-life 1916 lynching of Jesse Washington. Belafonte, seated in a wicker chair that recalls a famous image of \u003ca href=\"https://www.archives.gov/research/african-americans/individuals/huey-newton\">Black Panther Huey P. Newton\u003c/a>, is positioned as an elder statesman. As he describes the horrors of that lynching and draws a connection to D.W. Griffith’s \u003cem>Birth of a Nation\u003c/em>, he’s essentially playing a version of himself: A stirring storyteller and political force, passing down wisdom and history to the next generation of activists.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Candice Lim and edited by Jessica Reedy. It was hosted by Stephen Thompson. The text was edited by Ciera Crawford. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+Harry+Belafonte+performances+you+won%27t+want+to+miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, the towering pioneer \u003ca href=\"https://www.kqed.org/arts/13928229/harry-belafonte-dies\">Harry Belafonte\u003c/a> passed away at 96. For many, Belafonte’s image as a humanitarian looms large. Notably, he was a close friend and collaborator with Martin Luther King Jr., protested against South African apartheid, and was an outspoken critic of American leadership, including George W. Bush’s decision to invade Iraq.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But he also rose to fame as a popular recording artist and star of stage and screen, in a career that spanned multiple decades. During the 1950s, he was the rare Black actor to achieve leading man status in Hollywood (see: \u003ca href=\"https://www.tcm.com/tcmdb/title/70323/carmen-jones/#overview\">\u003cem>Carmen Jones\u003c/em>\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=bOUBLJaVKNI\">\u003cem>The World, the Flesh and the Devil\u003c/em>\u003c/a>) and his album \u003cem>Calypso\u003c/em>, featuring his signature hit “\u003ca href=\"https://www.npr.org/2011/10/12/141243628/harry-belafonte-out-of-struggle-a-beautiful-voice\">Banana Boat Song\u003c/a>,” was a best-seller. He was an EGOT winner (including a non-competitive Jean Hersholt Humanitarian Oscar) and a driving force behind the creation of the 1985 all-star charity single, “\u003ca href=\"https://www.youtube.com/watch?v=s3wNuru4U0I\">We Are the World\u003c/a>.” He even created one of the most \u003ca href=\"https://www.youtube.com/watch?v=tPaKWihFs_Q\">memorable moments in Muppet history\u003c/a>.\u003c/p>\n\u003cp>Quite frankly: Belafonte’s influence touched so many corners of popular culture and political progress, and his death marks a huge loss for the arts and activist communities. The recommendations below represent a mere fraction of his immense wealth of creative contributions — but they’re among his very best.\u003c/p>\n\u003ch3>\u003cem>Odds Against Tomorrow \u003c/em>(1959)\u003c/h3>\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/vSzDfNn3kYc'\n title='//www.youtube.com/embed/vSzDfNn3kYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In one of the last great film noirs of the classic era, Belafonte stars as Johnny Ingram, a gambling addict and nightclub singer in deep debt to a mobster. Desperate to wipe the slate clean (and protect his ex-wife and their daughter), Johnny teams up with a crooked ex-cop, played by Ed Begley Sr. and a racist ex-con, played by Robert Ryan. The cast is stacked and director Robert Wise is working at the top of his game, but Belafonte stands out in part because he’s playing a complex character in an era where even his peer and close friend Sidney Poitier was often stuck in one-dimensional roles. Johnny is a tense and edgy performance, simmering with resentment and urgency from a hard life.\u003c/p>\n\u003ch3>\u003cem>Buck and the Preacher \u003c/em>(1972)\u003c/h3>\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/r-24cY5PjSI'\n title='//www.youtube.com/embed/r-24cY5PjSI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not to downplay his many accomplishments, but it’s worth noting Belafonte was also very beautiful. Those matinee idol looks helped propel him to stardom, but in the revisionist western \u003cem>Buck and the Preacher —\u003c/em> Sidney Poitier’s directorial debut — he gets to let loose by playing against type as a shady vagabond named Preacher, who dons matted hair and yellowed teeth. Set shortly after the end of the Civil War, Preacher teams up with Poitier’s solemn and stately Buck to help protect formerly enslaved Black people from white mercenaries who want to force them back to work on plantations. Preacher’s a huckster brimming with bombast, and Belafonte chews up the scenery in this great performance.\u003c/p>\n\u003ch3>\u003cem>BlacKKKlansman \u003c/em>(2018)\u003c/h3>\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/1Aoukxd0GvI'\n title='//www.youtube.com/embed/1Aoukxd0GvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Belafonte’s final film appearance might also be among his most fitting. He only appears in one scene of Spike Lee’s historical drama as a fictional character recounting the real-life 1916 lynching of Jesse Washington. Belafonte, seated in a wicker chair that recalls a famous image of \u003ca href=\"https://www.archives.gov/research/african-americans/individuals/huey-newton\">Black Panther Huey P. Newton\u003c/a>, is positioned as an elder statesman. As he describes the horrors of that lynching and draws a connection to D.W. Griffith’s \u003cem>Birth of a Nation\u003c/em>, he’s essentially playing a version of himself: A stirring storyteller and political force, passing down wisdom and history to the next generation of activists.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Candice Lim and edited by Jessica Reedy. It was hosted by Stephen Thompson. The text was edited by Ciera Crawford. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+Harry+Belafonte+performances+you+won%27t+want+to+miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Harry Belafonte, Civil Rights Giant and Humanitarian Entertainer, Dies at 96",
"headTitle": "Harry Belafonte, Civil Rights Giant and Humanitarian Entertainer, Dies at 96 | KQED",
"content": "\u003cp>Harry Belafonte, the civil rights and entertainment giant who began as a groundbreaking actor and singer and became an activist, humanitarian and conscience of the world, has died. He was 96.\u003c/p>\n\u003cp>Belafonte died Tuesday of congestive heart failure at his New York home, his wife Pamela by his side, said Ken Sunshine, of public relations firm Sunshine Sachs Morgan & Lylis.\u003c/p>\n\u003cp>With his glowing, handsome face and silky-husky voice, Belafonte was one of the first Black performers to gain a wide following on film and to sell a million records as a singer; many still know him for his signature hit “\u003ca href=\"https://www.youtube.com/watch?v=H5dpBWlRANE\">Banana Boat Song (Day-O)\u003c/a>,” and its call of “Day-O! Daaaaay-O.” But he forged a greater legacy once he scaled back his performing career in the 1960s and lived out his hero Paul Robeson’s decree that artists are “gatekeepers of truth.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H5dpBWlRANE\u003c/p>\n\u003cp>He stands as the model and the epitome of the celebrity activist. Few kept up with Belafonte’s time and commitment and none his stature as a meeting point among Hollywood, Washington and the civil rights movement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Belafonte not only participated in protest marches and benefit concerts, but helped organize and raise support for them. He worked closely with his friend and generational peer the Rev. Martin Luther King Jr., often intervening on his behalf with both politicians and fellow entertainers and helping him financially. He risked his life and livelihood and set high standards for younger Black celebrities, scolding Jay Z and Beyoncé for failing to meet their “social responsibilities,” and mentoring Usher, Common, Danny Glover and many others. In Spike Lee’s 2018 film \u003cem>BlacKkKlansman\u003c/em>, he was fittingly cast as an elder statesman schooling young activists about the country’s past.\u003c/p>\n\u003cp>Belafonte’s friend, civil rights leader Andrew Young, would note that Belafonte was the rare person to grow more radical with age. He was ever engaged and unyielding, willing to take on Southern segregationists, Northern liberals, the billionaire Koch brothers and the country’s first Black president, Barack Obama, whom Belafonte would remember asking to cut him “some slack.”\u003c/p>\n\u003cp>Belafonte responded, “What makes you think that’s not what I’ve been doing?”\u003c/p>\n\u003cfigure id=\"attachment_13928238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13928238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte attends the 2016 Library Lions gala at New York Public Library on November 7, 2016 in New York City. \u003ccite>(Gary Gershoff/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte had been a major artist since the 1950s. He won a Tony Award in 1954 for his starring role in John Murray Anderson’s \u003cem>Almanac\u003c/em> and five years later became the first Black performer to win an Emmy for the TV special “Tonight with Harry Belafonte.”\u003c/p>\n\u003cp>In 1954, he co-starred with Dorothy Dandridge in the Otto Preminger-directed musical \u003cem>Carmen Jones\u003c/em>, a popular breakthrough for an all-Black cast. The 1957 movie \u003cem>Island in the Sun\u003c/em> was banned in several Southern cities, where theater owners were threatened by the Ku Klux Klan because of the film’s interracial romance between Belafonte and Joan Fontaine.\u003c/p>\n\u003cp>His \u003cem>Calypso\u003c/em>, released in 1955, became the first officially certified million-selling album by a solo performer, and started a national infatuation with Caribbean rhythms (Belafonte was nicknamed, reluctantly, the “King of Calypso″). Admirers of Belafonte included a young Bob Dylan, who debuted on record in the early ’60s by playing harmonica on Belafonte’s “\u003ca href=\"https://www.youtube.com/watch?v=sRVlYpDAOEI\">Midnight Special\u003c/a>.”\u003c/p>\n\u003cp>“Harry was the best balladeer in the land and everybody knew it,” Dylan later wrote. “He was a fantastic artist, sang about lovers and slaves — chain gang workers, saints and sinners and children. … Harry was that rare type of character that radiates greatness, and you hope that some of it rubs off on you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kMXBJW1PuU8\u003c/p>\n\u003cp>Belafonte befriended King in the spring of 1956 after the young civil rights leader called and asked for a meeting. They spoke for hours, and Belafonte would remember feeling King raised him to the “higher plane of social protest.” Then at the peak of his singing career, Belafonte was soon producing a benefit concert for the bus boycott in Montgomery, Alabama that helped make King a national figure. By the early 1960s, he had decided to make civil rights his priority.\u003c/p>\n\u003cp>“I was having almost daily talks with Martin,” Belafonte wrote in his memoir \u003cem>My Song\u003c/em>, published in 2011. “I realized that the movement was more important than anything else.”\u003c/p>\n\u003cp>The Kennedys were among the first politicians to seek his opinions, which he willingly shared. John F. Kennedy, at a time when Blacks were as likely to vote for Republicans as for Democrats, was so anxious for his support that during the 1960 election he visited Belafonte at his Manhattan home. Belafonte schooled Kennedy on the importance of King, and arranged for them to speak.\u003c/p>\n\u003cp>“I was quite taken by the fact that he (Kennedy) knew so little about the Black community,” Belafonte told NBC in 2013. “He knew the headlines of the day, but he wasn’t really anywhere nuanced or detailed on the depth of Black anguish or what our struggle’s really about.”\u003c/p>\n\u003cp>Belafonte would often criticize the Kennedys for their reluctance to challenge the Southern segregationists who were then a substantial part of the Democratic Party. He argued with Attorney General Robert F. Kennedy, the president’s brother, over the government’s failure to protect the “Freedom Riders” trying to integrate bus stations. He was among the Black activists at a widely publicized meeting with the attorney general, when playwright Lorraine Hansberry and others stunned Kennedy by questioning whether the country even deserved Black allegiance.\u003c/p>\n\u003cp>“Bobby turned red at that. I had never seen him so shaken,” Belafonte later wrote.\u003c/p>\n\u003cfigure id=\"attachment_13928235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg\" alt=\"Two Black men in the 1960s dressed in formal evening wear.\" width=\"800\" height=\"652\" class=\"size-medium wp-image-13928235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-1020x831.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-768x626.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">American actor and singer Harry Belafonte with American actor Sidney Poitier at the New York premiere of director George Stevens’ film, ‘The Greatest Story Ever Told,’ in which Poitier starred, New York City, circa 1965. \u003ccite>(Photo by Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, Belafonte was deeply involved with the March on Washington. He recruited his close friend Sidney Poitier, Paul Newman and other celebrities and persuaded the left-wing Marlon Brando to co-chair the Hollywood delegation with the more conservative Charlton Heston, a pairing designed to appeal to the broadest possible audience. In 1964, he and Poitier personally delivered tens of thousands of dollar to activists in Mississippi after three “Freedom Summer” volunteers were murdered — the two celebrities were chased by car at one point by members of the KKK. The following year, he brought in Tony Bennett, Joan Baez and other singers to perform for the marchers in Selma, Alabama.\u003c/p>\n\u003cp>When King was assassinated, in 1968, Belafonte helped pick out the suit he was buried in, sat next to his widow, Coretta, at the funeral, and continued to support his family, in part through an insurance policy he had taken out on King in his lifetime.\u003c/p>\n\u003cp>“Much of my political outlook was already in place when I encountered Dr. King,” Belafonte later wrote. “I was well on my way and utterly committed to the civil rights struggle. I came to him with expectations and he affirmed them.”\u003c/p>\n\u003cp>King’s death left Belafonte isolated from the civil rights community. He was turned off by the separatist beliefs of Stokely Carmichael and other “Black Power” activists and had little chemistry with King’s designated successor, the Rev. Ralph Abernathy. But the entertainer’s causes extended well beyond the U.S.\u003c/p>\n\u003cp>He mentored South African singer and activist Miriam Makeba and helped introduce her to American audiences, the two winning a Grammy in 1964 for the concert record \u003cem>An Evening With Belafonte/Makeba\u003c/em>. He coordinated Nelson Mandela’s first visit to the U.S. since being released from prison in 1990. A few years earlier, he initiated the all-star, million-selling “We Are the World” recording, the Grammy-winning charity song for famine relief in Africa.\u003c/p>\n\u003cp>Belafonte’s early life and career paralleled those of Poitier, who died in 2022. Both spent part of their childhoods in the Caribbean and ended up in New York. Both served in the military during World War II, acted in the American Negro Theatre and then broke into film. Poitier shared his belief in civil rights, but still dedicated much of his time to acting, a source of some tension between them. While Poitier had a sustained and historic run in the 1960s as a leading man and box office success, Belafonte grew tired of acting and turned down parts he regarded as “neutered.”\u003c/p>\n\u003cp>“Sidney radiated a truly saintly dignity and calm. Not me,” Belafonte wrote in his memoir. “I didn’t want to tone down my sexuality, either. Sidney did that in every role he took.”\u003c/p>\n\u003cfigure id=\"attachment_13928231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg\" alt=\"A man in a dark jacket holds up a peace sign against overhead wires\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13928231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte joins more than 300,000 people in the hitherto biggest peace demonstration in Germany, October 1981. \u003ccite>(Klaus Roseullstein bild via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte was very much a human being. He acknowledged extra-marital affairs, negligence as a parent and a frightening temper, driven by lifelong insecurity. “Woe to the musician who missed his cue, or the agent who fouled up a booking,” he confided.\u003c/p>\n\u003cp>In his memoir, he chastised Poitier for a “radical breach″ by backing out on a commitment to star as Mandela in a TV miniseries Belafonte had conceived, then agreeing to play Mandela for a rival production. He became so estranged from King’s widow and children that he was not asked to speak at her funeral. In 2013, he sued three of King’s children over control of some of the civil rights leader’s personal papers. In his memoir, he would allege that the King children were more interested in “selling trinkets and memorabilia” than in serious thought.\u003c/p>\n\u003cp>He made news years earlier when he compared Colin Powell, the first Black secretary of state, to a slave “permitted to come into the house of the master” for his service in the George W. Bush administration. He was in Washington in January 2009 as Obama was inaugurated, officiating along with Baez and others at a gala called the Inaugural Peace Ball. But Belafonte would later criticize Obama for failing to live up to his promise and lacking “fundamental empathy with the dispossessed, be they white or Black.”\u003c/p>\n\u003cp>Belafonte did occasionally serve in government, as cultural adviser for the Peace Corps during the Kennedy administration and decades later as goodwill ambassador for UNICEF. For his film and music career, he received the motion picture academy’s Jean Hersholt Humanitarian Award, a National Medal of Arts, a Grammy for lifetime achievement and numerous other honorary prizes. He found special pleasure in winning a New York Film Critics Award in 1996 for his work as a gangster in Robert Altman’s \u003cem>Kansas City\u003c/em>.\u003c/p>\n\u003cp>“I’m as proud of that film critics’ award as I am of all my gold records,” he wrote in his memoir.\u003c/p>\n\u003cp>He was married three times, most recently to photographer Pamela Frank, and had four children. Three of them — Shari, David and Gina — became actors.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zh1ow6zKapQ\u003c/p>\n\u003cp>Harry Belafonte was born Harold George Bellanfanti Jr. in 1927, in a community of West Indians in Harlem. His father was a seaman and cook with Dutch and Jamaican ancestry and his mother, part Scottish, worked as a domestic. Both parents were undocumented immigrants and Belafonte recalled living “an underground life, as criminals of a sort, on the run.”\u003c/p>\n\u003cp>The household was violent: Belafonte sustained brutal beatings from his father, and he was sent to live for several years with relatives in Jamaica. Belafonte was a poor reader — he was probably dyslexic, he later realized — and dropped out of high school, soon joining the Navy. While in the service, he read \u003cem>Color and Democracy\u003c/em> by the Black scholar W.E.B. Du Bois and was deeply affected, calling it the start of his political education.\u003c/p>\n\u003cp>After the war, he found a job in New York as an assistant janitor for some apartment buildings. One tenant liked him enough to give him free tickets to a play at the American Negro Theatre, a community repertory for black performers. Belafonte was so impressed that he joined as a volunteer, then as an actor. Poitier was a peer, both of them “skinny, brooding and vulnerable within our hard shells of self-protection,” Belafonte later wrote.\u003c/p>\n\u003cp>Belafonte met Brando, Walter Matthau and other future stars while taking acting classes at the New School for Social Research. Brando was an inspiration as an actor, and he and Belafonte became close, sometimes riding on Brando’s motorcycle or double dating or playing congas together at parties. Over the years, Belafonte’s political and artistic lives would lead to friendships with everyone from Frank Sinatra and Lester Young to Eleanor Roosevelt and Fidel Castro.\u003c/p>\n\u003cfigure id=\"attachment_13928230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg\" alt=\"A man in a suit stands against a brick building in the 1960s\" width=\"800\" height=\"779\" class=\"size-medium wp-image-13928230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-1020x993.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-768x748.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Harry Belafonte in his film debut as Mr. Williams, School Principal, in ‘Bright Road.’ \u003ccite>(John Swope/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His early stage credits included \u003cem>Days of Our Youth\u003c/em> and Sean O’Casey’s \u003cem>Juno and the Peacock\u003c/em>, a play Belafonte remembered less because of his own performance than because of a backstage visitor, Robeson, the actor, singer and activist.\u003c/p>\n\u003cp>“What I remember more than anything Robeson said, was the love he radiated, and the profound responsibility he felt, as an actor, to use his platform as a bully pulpit,″ Belafonte wrote in his memoir. His friendship with Robeson and support for left-wing causes eventually brought trouble from the government. FBI agents visited him at home and allegations of Communism nearly cost him an appearance on \u003cem>The Ed Sullivan Show\u003c/em>. Leftists suspected, and Belafonte emphatically denied, that he had named names of suspected Communists so he could perform on Sullivan’s show.\u003c/p>\n\u003cp>By the 1950s, Belafonte was also singing, finding gigs at the Blue Note, the Vanguard and other clubs — he was backed for one performance by Charlie Parker and Max Roach — and becoming immersed in folk, blues, jazz and the calypso he had heard while living in Jamaica. Starting in 1954, he released such top 10 albums as \u003cem>Mark Twain and Other Folk Favorites\u003c/em> and \u003cem>Belafonte\u003c/em>, and his popular singles included “Mathilda,” “Jamaica Farewell″ and “The Banana Boat Song,” a reworked Caribbean ballad that was a late addition to his “Calypso″ record.\u003c/p>\n\u003cp>“We found ourselves one or two songs short, so we threw in `Day-O’ as filler,″ Belafonte wrote in his memoir.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DYYkJ0kwNss\u003c/p>\n\u003cp>He was a superstar, but one criticized, and occasionally sued, for taking traditional material and not sharing the profits. Belafonte expressed regret and also worried about being typecast as a calypso singer, declining for years to sing “Day-O″ live after he gave television performances against banana boat backdrops.\u003c/p>\n\u003cp>Belafonte was the rare young artist to think about the business side of show business. He started one of the first all-Black music publishing companies. He produced plays, movies and TV shows, including Off-Broadway’s \u003cem>To Be Young, Gifted, and Black\u003c/em>, in 1969. He was the first Black person to produce for TV.\u003c/p>\n\u003cp>Belafonte made history in 1968 by filling in for Johnny Carson on the “Tonight” show for a full week. Later that year, a simple, spontaneous gesture led to another milestone. Appearing on a taped TV special starring Petula Clark, Belafonte joined the British singer on the anti-war song “On the Path of Glory.” At one point, Clark placed a hand on Belafonte’s arm. The show’s sponsor, Chrysler, demanded the segment be reshot. Clark and Belafonte resisted, successfully, and for the first time a man and woman of different colors touched on national television.\u003c/p>\n\u003cp>In the 1970s, he returned to movie acting, co-starring with Poitier in \u003cem>Buck and the Preacher\u003c/em>, a commercial flop, and the raucous and popular comedy \u003cem>Uptown Saturday Night\u003c/em>. His other film credits include \u003cem>Bobby\u003c/em>, \u003cem>White Man’s Burden\u003c/em>, and cameos in Altman’s \u003cem>The Player\u003c/em> and \u003cem>Ready to Wear\u003c/em>. He also appeared in the Altman-directed TV series \u003cem>Tanner on Tanner\u003c/em> and was among those interviewed for \u003cem>When the Levees Broke\u003c/em>, Spike Lee’s HBO documentary about Hurricane Katrina. In 2011, HBO aired a documentary about Belafonte, \u003cem>Sing Your Song\u003c/em>.\u003c/p>\n\u003cp>Mindful to the end that he grew up in poverty, Belafonte did not think of himself as an artist who became an activist, but an activist who happened to be an artist.\u003c/p>\n\u003cp>“When you grow up, son,” Belafonte remembered his mother telling him, “never go to bed at night knowing that there was something you could have done during the day to strike a blow against injustice and you didn’t do it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In addition to his wife, Belafonte is survived by his children Adrienne Belafonte Biesemeyer, Shari Belafonte, Gina Belafonte and David Belafonte; two stepchildren, Sarah Frank and Lindsey Frank; and eight grandchildren.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harry Belafonte, the civil rights and entertainment giant who began as a groundbreaking actor and singer and became an activist, humanitarian and conscience of the world, has died. He was 96.\u003c/p>\n\u003cp>Belafonte died Tuesday of congestive heart failure at his New York home, his wife Pamela by his side, said Ken Sunshine, of public relations firm Sunshine Sachs Morgan & Lylis.\u003c/p>\n\u003cp>With his glowing, handsome face and silky-husky voice, Belafonte was one of the first Black performers to gain a wide following on film and to sell a million records as a singer; many still know him for his signature hit “\u003ca href=\"https://www.youtube.com/watch?v=H5dpBWlRANE\">Banana Boat Song (Day-O)\u003c/a>,” and its call of “Day-O! Daaaaay-O.” But he forged a greater legacy once he scaled back his performing career in the 1960s and lived out his hero Paul Robeson’s decree that artists are “gatekeepers of truth.”\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/H5dpBWlRANE'\n title='//www.youtube.com/embed/H5dpBWlRANE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He stands as the model and the epitome of the celebrity activist. Few kept up with Belafonte’s time and commitment and none his stature as a meeting point among Hollywood, Washington and the civil rights movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Belafonte not only participated in protest marches and benefit concerts, but helped organize and raise support for them. He worked closely with his friend and generational peer the Rev. Martin Luther King Jr., often intervening on his behalf with both politicians and fellow entertainers and helping him financially. He risked his life and livelihood and set high standards for younger Black celebrities, scolding Jay Z and Beyoncé for failing to meet their “social responsibilities,” and mentoring Usher, Common, Danny Glover and many others. In Spike Lee’s 2018 film \u003cem>BlacKkKlansman\u003c/em>, he was fittingly cast as an elder statesman schooling young activists about the country’s past.\u003c/p>\n\u003cp>Belafonte’s friend, civil rights leader Andrew Young, would note that Belafonte was the rare person to grow more radical with age. He was ever engaged and unyielding, willing to take on Southern segregationists, Northern liberals, the billionaire Koch brothers and the country’s first Black president, Barack Obama, whom Belafonte would remember asking to cut him “some slack.”\u003c/p>\n\u003cp>Belafonte responded, “What makes you think that’s not what I’ve been doing?”\u003c/p>\n\u003cfigure id=\"attachment_13928238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13928238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte attends the 2016 Library Lions gala at New York Public Library on November 7, 2016 in New York City. \u003ccite>(Gary Gershoff/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte had been a major artist since the 1950s. He won a Tony Award in 1954 for his starring role in John Murray Anderson’s \u003cem>Almanac\u003c/em> and five years later became the first Black performer to win an Emmy for the TV special “Tonight with Harry Belafonte.”\u003c/p>\n\u003cp>In 1954, he co-starred with Dorothy Dandridge in the Otto Preminger-directed musical \u003cem>Carmen Jones\u003c/em>, a popular breakthrough for an all-Black cast. The 1957 movie \u003cem>Island in the Sun\u003c/em> was banned in several Southern cities, where theater owners were threatened by the Ku Klux Klan because of the film’s interracial romance between Belafonte and Joan Fontaine.\u003c/p>\n\u003cp>His \u003cem>Calypso\u003c/em>, released in 1955, became the first officially certified million-selling album by a solo performer, and started a national infatuation with Caribbean rhythms (Belafonte was nicknamed, reluctantly, the “King of Calypso″). Admirers of Belafonte included a young Bob Dylan, who debuted on record in the early ’60s by playing harmonica on Belafonte’s “\u003ca href=\"https://www.youtube.com/watch?v=sRVlYpDAOEI\">Midnight Special\u003c/a>.”\u003c/p>\n\u003cp>“Harry was the best balladeer in the land and everybody knew it,” Dylan later wrote. “He was a fantastic artist, sang about lovers and slaves — chain gang workers, saints and sinners and children. … Harry was that rare type of character that radiates greatness, and you hope that some of it rubs off on you.”\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/kMXBJW1PuU8'\n title='//www.youtube.com/embed/kMXBJW1PuU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Belafonte befriended King in the spring of 1956 after the young civil rights leader called and asked for a meeting. They spoke for hours, and Belafonte would remember feeling King raised him to the “higher plane of social protest.” Then at the peak of his singing career, Belafonte was soon producing a benefit concert for the bus boycott in Montgomery, Alabama that helped make King a national figure. By the early 1960s, he had decided to make civil rights his priority.\u003c/p>\n\u003cp>“I was having almost daily talks with Martin,” Belafonte wrote in his memoir \u003cem>My Song\u003c/em>, published in 2011. “I realized that the movement was more important than anything else.”\u003c/p>\n\u003cp>The Kennedys were among the first politicians to seek his opinions, which he willingly shared. John F. Kennedy, at a time when Blacks were as likely to vote for Republicans as for Democrats, was so anxious for his support that during the 1960 election he visited Belafonte at his Manhattan home. Belafonte schooled Kennedy on the importance of King, and arranged for them to speak.\u003c/p>\n\u003cp>“I was quite taken by the fact that he (Kennedy) knew so little about the Black community,” Belafonte told NBC in 2013. “He knew the headlines of the day, but he wasn’t really anywhere nuanced or detailed on the depth of Black anguish or what our struggle’s really about.”\u003c/p>\n\u003cp>Belafonte would often criticize the Kennedys for their reluctance to challenge the Southern segregationists who were then a substantial part of the Democratic Party. He argued with Attorney General Robert F. Kennedy, the president’s brother, over the government’s failure to protect the “Freedom Riders” trying to integrate bus stations. He was among the Black activists at a widely publicized meeting with the attorney general, when playwright Lorraine Hansberry and others stunned Kennedy by questioning whether the country even deserved Black allegiance.\u003c/p>\n\u003cp>“Bobby turned red at that. I had never seen him so shaken,” Belafonte later wrote.\u003c/p>\n\u003cfigure id=\"attachment_13928235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg\" alt=\"Two Black men in the 1960s dressed in formal evening wear.\" width=\"800\" height=\"652\" class=\"size-medium wp-image-13928235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-1020x831.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-768x626.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">American actor and singer Harry Belafonte with American actor Sidney Poitier at the New York premiere of director George Stevens’ film, ‘The Greatest Story Ever Told,’ in which Poitier starred, New York City, circa 1965. \u003ccite>(Photo by Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, Belafonte was deeply involved with the March on Washington. He recruited his close friend Sidney Poitier, Paul Newman and other celebrities and persuaded the left-wing Marlon Brando to co-chair the Hollywood delegation with the more conservative Charlton Heston, a pairing designed to appeal to the broadest possible audience. In 1964, he and Poitier personally delivered tens of thousands of dollar to activists in Mississippi after three “Freedom Summer” volunteers were murdered — the two celebrities were chased by car at one point by members of the KKK. The following year, he brought in Tony Bennett, Joan Baez and other singers to perform for the marchers in Selma, Alabama.\u003c/p>\n\u003cp>When King was assassinated, in 1968, Belafonte helped pick out the suit he was buried in, sat next to his widow, Coretta, at the funeral, and continued to support his family, in part through an insurance policy he had taken out on King in his lifetime.\u003c/p>\n\u003cp>“Much of my political outlook was already in place when I encountered Dr. King,” Belafonte later wrote. “I was well on my way and utterly committed to the civil rights struggle. I came to him with expectations and he affirmed them.”\u003c/p>\n\u003cp>King’s death left Belafonte isolated from the civil rights community. He was turned off by the separatist beliefs of Stokely Carmichael and other “Black Power” activists and had little chemistry with King’s designated successor, the Rev. Ralph Abernathy. But the entertainer’s causes extended well beyond the U.S.\u003c/p>\n\u003cp>He mentored South African singer and activist Miriam Makeba and helped introduce her to American audiences, the two winning a Grammy in 1964 for the concert record \u003cem>An Evening With Belafonte/Makeba\u003c/em>. He coordinated Nelson Mandela’s first visit to the U.S. since being released from prison in 1990. A few years earlier, he initiated the all-star, million-selling “We Are the World” recording, the Grammy-winning charity song for famine relief in Africa.\u003c/p>\n\u003cp>Belafonte’s early life and career paralleled those of Poitier, who died in 2022. Both spent part of their childhoods in the Caribbean and ended up in New York. Both served in the military during World War II, acted in the American Negro Theatre and then broke into film. Poitier shared his belief in civil rights, but still dedicated much of his time to acting, a source of some tension between them. While Poitier had a sustained and historic run in the 1960s as a leading man and box office success, Belafonte grew tired of acting and turned down parts he regarded as “neutered.”\u003c/p>\n\u003cp>“Sidney radiated a truly saintly dignity and calm. Not me,” Belafonte wrote in his memoir. “I didn’t want to tone down my sexuality, either. Sidney did that in every role he took.”\u003c/p>\n\u003cfigure id=\"attachment_13928231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg\" alt=\"A man in a dark jacket holds up a peace sign against overhead wires\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13928231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte joins more than 300,000 people in the hitherto biggest peace demonstration in Germany, October 1981. \u003ccite>(Klaus Roseullstein bild via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte was very much a human being. He acknowledged extra-marital affairs, negligence as a parent and a frightening temper, driven by lifelong insecurity. “Woe to the musician who missed his cue, or the agent who fouled up a booking,” he confided.\u003c/p>\n\u003cp>In his memoir, he chastised Poitier for a “radical breach″ by backing out on a commitment to star as Mandela in a TV miniseries Belafonte had conceived, then agreeing to play Mandela for a rival production. He became so estranged from King’s widow and children that he was not asked to speak at her funeral. In 2013, he sued three of King’s children over control of some of the civil rights leader’s personal papers. In his memoir, he would allege that the King children were more interested in “selling trinkets and memorabilia” than in serious thought.\u003c/p>\n\u003cp>He made news years earlier when he compared Colin Powell, the first Black secretary of state, to a slave “permitted to come into the house of the master” for his service in the George W. Bush administration. He was in Washington in January 2009 as Obama was inaugurated, officiating along with Baez and others at a gala called the Inaugural Peace Ball. But Belafonte would later criticize Obama for failing to live up to his promise and lacking “fundamental empathy with the dispossessed, be they white or Black.”\u003c/p>\n\u003cp>Belafonte did occasionally serve in government, as cultural adviser for the Peace Corps during the Kennedy administration and decades later as goodwill ambassador for UNICEF. For his film and music career, he received the motion picture academy’s Jean Hersholt Humanitarian Award, a National Medal of Arts, a Grammy for lifetime achievement and numerous other honorary prizes. He found special pleasure in winning a New York Film Critics Award in 1996 for his work as a gangster in Robert Altman’s \u003cem>Kansas City\u003c/em>.\u003c/p>\n\u003cp>“I’m as proud of that film critics’ award as I am of all my gold records,” he wrote in his memoir.\u003c/p>\n\u003cp>He was married three times, most recently to photographer Pamela Frank, and had four children. Three of them — Shari, David and Gina — became actors.\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/Zh1ow6zKapQ'\n title='//www.youtube.com/embed/Zh1ow6zKapQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Harry Belafonte was born Harold George Bellanfanti Jr. in 1927, in a community of West Indians in Harlem. His father was a seaman and cook with Dutch and Jamaican ancestry and his mother, part Scottish, worked as a domestic. Both parents were undocumented immigrants and Belafonte recalled living “an underground life, as criminals of a sort, on the run.”\u003c/p>\n\u003cp>The household was violent: Belafonte sustained brutal beatings from his father, and he was sent to live for several years with relatives in Jamaica. Belafonte was a poor reader — he was probably dyslexic, he later realized — and dropped out of high school, soon joining the Navy. While in the service, he read \u003cem>Color and Democracy\u003c/em> by the Black scholar W.E.B. Du Bois and was deeply affected, calling it the start of his political education.\u003c/p>\n\u003cp>After the war, he found a job in New York as an assistant janitor for some apartment buildings. One tenant liked him enough to give him free tickets to a play at the American Negro Theatre, a community repertory for black performers. Belafonte was so impressed that he joined as a volunteer, then as an actor. Poitier was a peer, both of them “skinny, brooding and vulnerable within our hard shells of self-protection,” Belafonte later wrote.\u003c/p>\n\u003cp>Belafonte met Brando, Walter Matthau and other future stars while taking acting classes at the New School for Social Research. Brando was an inspiration as an actor, and he and Belafonte became close, sometimes riding on Brando’s motorcycle or double dating or playing congas together at parties. Over the years, Belafonte’s political and artistic lives would lead to friendships with everyone from Frank Sinatra and Lester Young to Eleanor Roosevelt and Fidel Castro.\u003c/p>\n\u003cfigure id=\"attachment_13928230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg\" alt=\"A man in a suit stands against a brick building in the 1960s\" width=\"800\" height=\"779\" class=\"size-medium wp-image-13928230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-1020x993.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-768x748.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Harry Belafonte in his film debut as Mr. Williams, School Principal, in ‘Bright Road.’ \u003ccite>(John Swope/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His early stage credits included \u003cem>Days of Our Youth\u003c/em> and Sean O’Casey’s \u003cem>Juno and the Peacock\u003c/em>, a play Belafonte remembered less because of his own performance than because of a backstage visitor, Robeson, the actor, singer and activist.\u003c/p>\n\u003cp>“What I remember more than anything Robeson said, was the love he radiated, and the profound responsibility he felt, as an actor, to use his platform as a bully pulpit,″ Belafonte wrote in his memoir. His friendship with Robeson and support for left-wing causes eventually brought trouble from the government. FBI agents visited him at home and allegations of Communism nearly cost him an appearance on \u003cem>The Ed Sullivan Show\u003c/em>. Leftists suspected, and Belafonte emphatically denied, that he had named names of suspected Communists so he could perform on Sullivan’s show.\u003c/p>\n\u003cp>By the 1950s, Belafonte was also singing, finding gigs at the Blue Note, the Vanguard and other clubs — he was backed for one performance by Charlie Parker and Max Roach — and becoming immersed in folk, blues, jazz and the calypso he had heard while living in Jamaica. Starting in 1954, he released such top 10 albums as \u003cem>Mark Twain and Other Folk Favorites\u003c/em> and \u003cem>Belafonte\u003c/em>, and his popular singles included “Mathilda,” “Jamaica Farewell″ and “The Banana Boat Song,” a reworked Caribbean ballad that was a late addition to his “Calypso″ record.\u003c/p>\n\u003cp>“We found ourselves one or two songs short, so we threw in `Day-O’ as filler,″ Belafonte wrote in his memoir.\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/DYYkJ0kwNss'\n title='//www.youtube.com/embed/DYYkJ0kwNss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He was a superstar, but one criticized, and occasionally sued, for taking traditional material and not sharing the profits. Belafonte expressed regret and also worried about being typecast as a calypso singer, declining for years to sing “Day-O″ live after he gave television performances against banana boat backdrops.\u003c/p>\n\u003cp>Belafonte was the rare young artist to think about the business side of show business. He started one of the first all-Black music publishing companies. He produced plays, movies and TV shows, including Off-Broadway’s \u003cem>To Be Young, Gifted, and Black\u003c/em>, in 1969. He was the first Black person to produce for TV.\u003c/p>\n\u003cp>Belafonte made history in 1968 by filling in for Johnny Carson on the “Tonight” show for a full week. Later that year, a simple, spontaneous gesture led to another milestone. Appearing on a taped TV special starring Petula Clark, Belafonte joined the British singer on the anti-war song “On the Path of Glory.” At one point, Clark placed a hand on Belafonte’s arm. The show’s sponsor, Chrysler, demanded the segment be reshot. Clark and Belafonte resisted, successfully, and for the first time a man and woman of different colors touched on national television.\u003c/p>\n\u003cp>In the 1970s, he returned to movie acting, co-starring with Poitier in \u003cem>Buck and the Preacher\u003c/em>, a commercial flop, and the raucous and popular comedy \u003cem>Uptown Saturday Night\u003c/em>. His other film credits include \u003cem>Bobby\u003c/em>, \u003cem>White Man’s Burden\u003c/em>, and cameos in Altman’s \u003cem>The Player\u003c/em> and \u003cem>Ready to Wear\u003c/em>. He also appeared in the Altman-directed TV series \u003cem>Tanner on Tanner\u003c/em> and was among those interviewed for \u003cem>When the Levees Broke\u003c/em>, Spike Lee’s HBO documentary about Hurricane Katrina. In 2011, HBO aired a documentary about Belafonte, \u003cem>Sing Your Song\u003c/em>.\u003c/p>\n\u003cp>Mindful to the end that he grew up in poverty, Belafonte did not think of himself as an artist who became an activist, but an activist who happened to be an artist.\u003c/p>\n\u003cp>“When you grow up, son,” Belafonte remembered his mother telling him, “never go to bed at night knowing that there was something you could have done during the day to strike a blow against injustice and you didn’t do it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to his wife, Belafonte is survived by his children Adrienne Belafonte Biesemeyer, Shari Belafonte, Gina Belafonte and David Belafonte; two stepchildren, Sarah Frank and Lindsey Frank; and eight grandchildren.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Joseph Bologne, the Chevalier de Saint-Georges, was an extraordinarily accomplished man in Marie Antoinette’s France. He was a scholar, a fencer, a virtuoso violinist and a famous and sought-after composer who wrote string quartets, symphonies and operas. His influence was vast, but he was all but erased from history books because Bologne was also Black, born in 1745 in the French colony of Guadeloupe to a wealthy French plantation owner and an enslaved Senegalese teenager.\u003c/p>\n\u003cp>At the height of his celebrity and renown in France, he even put his name forth to lead the Royal Academy of Music at the Paris Opera. Though qualified for the prestigious post, his appointment was blocked. He would later become a revolutionary and lead an all-Black regiment. Three years after his death in 1799, Napoleon Bonaparte reestablished slavery in France and many of his works were destroyed.\u003c/p>\n\u003cp>[aside postid='arts_13927621']It’s his story — or a fictionalized version of it with the requisite drama, romance, scandal and tears to fill in the many gaps in his biography — that’s told in the new film \u003cem>Chevalier\u003c/em>, which opens in theaters this week with Kelvin Harrison Jr. in the title role. In this France, everyone has English accents and he’s introduced having a very public violin-off with a very flustered Wolfgang Amadeus Mozart in front of a large audience. Though this makes for a rousing start to the film, this is very unlikely to have happened, like quite a bit in the film. But it’s inspired by something real — scholars have posited that Mozart would have been well aware of Bologne and was perhaps even directly influenced by his string concertos.\u003c/p>\n\u003cp>These and many more embellishments are easy to forgive, however. For one, they’re necessary to fill in the vast holes in a history that was purposefully neglected. It’s also entertainment that functions just as well if you have found yourself at \u003cem>Chevalier\u003c/em> not knowing that it is inspired by truth.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-LtCIImfSCk&t=30s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the film, directed by Stephen Williams, Bologne’s father recognizes him as a musical prodigy and sends him to a boarding school in France to nurture his talent. This is also likely a fabrication and apparently it was more common than the film shows for the fathers of mixed-race children to send them to these schools. But at school he distinguishes himself in spite of resistance and racism — his father leaves him with a haunting requirement that excellence is his only defense. After a tense bout with a champion fencer, he catches the attention of Queen Marie Antoinette (Lucy Boynton), who gives him the title of nobility.\u003c/p>\n\u003cp>[aside postid='arts_13927175']Harrison and the script (written by \u003cem>Atlanta\u003c/em> scribe Stefani Robinson) make Bologne quite arrogant, at least at first. He made incredible strides in French society and had the talent to back it up. When he decides to put his name in the hat for the Paris Opera position, he rebuffs the advances of an older star, Marie-Madeleine Guimard (Minnie Driver), and fixates on a younger talent Marie-Joséphine de Comarieu (Samara Weaving) who he later starts an ill-advised affair with while writing an opera for her. \u003cem>Fleabag\u003c/em>’s Sian Clifford is a nice presence too as an opera producer and Marie-Joséphine’s cousin. It is quite a bit of soap opera fabrication, that’s a bit melodramatic but not ineffective.\u003c/p>\n\u003cp>And it’s all serving to get Bologne, who had been quite content playing the necessary games to thrive within the system, to reach a moment of radicalization and revolt (along with much of France) as he grapples with injustices and prejudices. The arrival of his mother helps shatter his illusions too.\u003c/p>\n\u003cp>In the end, \u003cem>Chevalier\u003c/em> may be more fiction than history, but it’s worthwhile with effective acting, tension (helped by Kris Bowers’ score) and a decadently beautiful production. And it is especially important in a moment of fanciful \u003cem>Bridgerton\u003c/em>s to focus the lens on important people of color who did actually exist and who have been forgotten and erased.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Chevalier’ is out on April 21, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joseph Bologne, the Chevalier de Saint-Georges, was an extraordinarily accomplished man in Marie Antoinette’s France. He was a scholar, a fencer, a virtuoso violinist and a famous and sought-after composer who wrote string quartets, symphonies and operas. His influence was vast, but he was all but erased from history books because Bologne was also Black, born in 1745 in the French colony of Guadeloupe to a wealthy French plantation owner and an enslaved Senegalese teenager.\u003c/p>\n\u003cp>At the height of his celebrity and renown in France, he even put his name forth to lead the Royal Academy of Music at the Paris Opera. Though qualified for the prestigious post, his appointment was blocked. He would later become a revolutionary and lead an all-Black regiment. Three years after his death in 1799, Napoleon Bonaparte reestablished slavery in France and many of his works were destroyed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s his story — or a fictionalized version of it with the requisite drama, romance, scandal and tears to fill in the many gaps in his biography — that’s told in the new film \u003cem>Chevalier\u003c/em>, which opens in theaters this week with Kelvin Harrison Jr. in the title role. In this France, everyone has English accents and he’s introduced having a very public violin-off with a very flustered Wolfgang Amadeus Mozart in front of a large audience. Though this makes for a rousing start to the film, this is very unlikely to have happened, like quite a bit in the film. But it’s inspired by something real — scholars have posited that Mozart would have been well aware of Bologne and was perhaps even directly influenced by his string concertos.\u003c/p>\n\u003cp>These and many more embellishments are easy to forgive, however. For one, they’re necessary to fill in the vast holes in a history that was purposefully neglected. It’s also entertainment that functions just as well if you have found yourself at \u003cem>Chevalier\u003c/em> not knowing that it is inspired by truth.\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/-LtCIImfSCk'\n title='//www.youtube.com/embed/-LtCIImfSCk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the film, directed by Stephen Williams, Bologne’s father recognizes him as a musical prodigy and sends him to a boarding school in France to nurture his talent. This is also likely a fabrication and apparently it was more common than the film shows for the fathers of mixed-race children to send them to these schools. But at school he distinguishes himself in spite of resistance and racism — his father leaves him with a haunting requirement that excellence is his only defense. After a tense bout with a champion fencer, he catches the attention of Queen Marie Antoinette (Lucy Boynton), who gives him the title of nobility.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harrison and the script (written by \u003cem>Atlanta\u003c/em> scribe Stefani Robinson) make Bologne quite arrogant, at least at first. He made incredible strides in French society and had the talent to back it up. When he decides to put his name in the hat for the Paris Opera position, he rebuffs the advances of an older star, Marie-Madeleine Guimard (Minnie Driver), and fixates on a younger talent Marie-Joséphine de Comarieu (Samara Weaving) who he later starts an ill-advised affair with while writing an opera for her. \u003cem>Fleabag\u003c/em>’s Sian Clifford is a nice presence too as an opera producer and Marie-Joséphine’s cousin. It is quite a bit of soap opera fabrication, that’s a bit melodramatic but not ineffective.\u003c/p>\n\u003cp>And it’s all serving to get Bologne, who had been quite content playing the necessary games to thrive within the system, to reach a moment of radicalization and revolt (along with much of France) as he grapples with injustices and prejudices. The arrival of his mother helps shatter his illusions too.\u003c/p>\n\u003cp>In the end, \u003cem>Chevalier\u003c/em> may be more fiction than history, but it’s worthwhile with effective acting, tension (helped by Kris Bowers’ score) and a decadently beautiful production. And it is especially important in a moment of fanciful \u003cem>Bridgerton\u003c/em>s to focus the lens on important people of color who did actually exist and who have been forgotten and erased.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Chevalier’ is out on April 21, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been almost 20 years since Judy Irving’s \u003cem>The Wild Parrots of Telegraph Hill \u003c/em>made her something of a local folk hero. OK, the real folk hero who emerged from the documentary was Mark Bittner, the endearing, erstwhile Telegraph Hill philosopher who befriended the parrots. But what’s a star without a director?\u003c/p>\n\u003cp>Irving reclaimed the spotlight last month when the winged wildlife she made internationally famous topped the \u003ca href=\"https://www.sfchronicle.com/projects/2023/sf-official-animal-vote/\">\u003cem>Chronicle\u003c/em> contest to choose San Francisco’s official animal\u003c/a>. \u003cem>The Washington Post\u003c/em> quoted the filmmaker extensively in a lengthy article, and the Board of Supervisors scheduled a vote to turn the \u003cem>Chron\u003c/em>’s online tally into an official proclamation. (Cue the unofficial song of San Francisco, “\u003ca href=\"https://www.youtube.com/watch?v=1Cin0QzuEss\">White Bird\u003c/a>,” except the color scheme doesn’t match.)[aside postID='arts_10144277']\u003c/p>\n\u003cp>Irving and Bittner fell in love and married in the course of making what became one of the top-grossing docs of 2005. Following in the wake of \u003cem>Pelican Dreams\u003c/em> (2014), which circles outward from the rescue of an off-course bird that tied up traffic on the Golden Gate Bridge, Irving has a new film that solidifies her standing as the Bay Area’s preeminent environmental filmmaker.\u003c/p>\n\u003cp>\u003cem>Cold Refuge\u003c/em> (receiving its world premiere Sunday, April 16 at Cowell Theater in Fort Mason in the \u003ca href=\"https://intloceanfilmfest.org/2023-film-schedule\">International Ocean Film Festival\u003c/a>) recounts the journeys of half a dozen local swimmers to the open waters of San Francisco Bay. Friends of the filmmaker from the South End Rowing Club, where Irving has been a member since 1989, each hurdled a potentially debilitating event via immersing themselves in the quintessential postcard shot.\u003c/p>\n\u003cfigure id=\"attachment_13927806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-800x593.png\" alt=\"a man with brown skin stands with his shirt off and hands clasped in a yellow swim cap and goggles\" width=\"800\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-800x593.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1020x756.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-768x569.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1536x1139.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1920x1424.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media.png 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Naji Ali, a member of the South End Rowing Club, contemplates the water. \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you go in, you have to be completely focused on what you’re doing,” Irving says, leaning forward in a chair in her North Beach office. “There’s no multi-tasking. You’re paying attention to the tides and the currents and the waves and the wind and you are looking around to see if there are predators, or other swimmers or boats that might knock into you.”\u003c/p>\n\u003cp>Irving swam long distances in the Bay three or four times a week in the 1990s, including not-infrequent forays from the Bay Bridge to the club and around Alcatraz and back. She continues to swim in and around Aquatic Park, albeit less often, and \u003cem>Cold Refuge\u003c/em> combines that insider’s understanding with a birds-eye view of the landscape as well as the static perspective of someone sittin’ on the dock of the Bay watching the tide roll away.\u003c/p>\n\u003cp>The pleasure of watching \u003cem>Cold Refuge \u003c/em>— which provides a collage of inspiring characters, an irresistible bowl of eye candy for jaded locals and a timeless tribute to the revitalizing power of nature — consists of floating from vicarious observer of other folks’ shivery activities to experiencing their triumph and head-clearing submersion alongside them.\u003c/p>\n\u003cp>The cast includes cancer survivor and artist Zina Deretsky as well as Dr. Myles Cope, who was paralyzed from the waist down in a trench accident at 24. Nearly blind and deaf software engineer Corvin Bazgan swims tethered to a guide, while stressed-out employee benefits attorney Lisa Serebin serves as a stand-in for the overcommitted high achievers drowning (metaphorically) in details.\u003c/p>\n\u003cfigure id=\"attachment_13927801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Myles-Flirtation-With-Death.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13927801 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-800x450.jpg\" alt=\"a man in a red shirt sits in a wheelchair with his back to the camera looking out at the bay\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dr. Myles Cope in a still from ‘Cold Refuge.’ \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Irving appears briefly in \u003cem>Cold Refuge\u003c/em>, offscreen, to introduce each swimmer, and delivers a few choice observations at the end. Yet she’s fully present throughout, every frame dripping with her deep connection to her subjects. At the beginning of her career, she hired people to narrate her traditional short documentaries about Bay Area open space and wildlife.\u003c/p>\n\u003cp>The turning point was \u003cem>Dark Circle\u003c/em> (1982), the Emmy-winning exposé she made with Christopher Beaver and Ruth Landy about the links between nuclear power and nuclear weapons. Irving wanted Ellen Burstyn to narrate, but the actress watched the cut and said, “You’re nuts. You have to narrate this thing.”\u003c/p>\n\u003cp>Next time around, Irving felt comfortable including herself in \u003cem>The Wild Parrots of Telegraph Hill\u003c/em>. “I ask pointed questions of Mark, off-screen, like, ‘Why don’t you get a job?’ and ‘Why don’t you cut your hair?’ And then we got together at the end.”\u003c/p>\n\u003cp>Irving’s docs serve as personal expressions in another way: she subconsciously put her late grandfather’s passions in three of them. The filmmaker grew up in New Jersey and spent summers with her family on the north fork of Long Island at her grandparents’ house. “He was so important to my young life as a budding birder,” Irving recalls.\u003c/p>\n\u003cfigure id=\"attachment_13927803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927803\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-800x382.jpg\" alt=\"a harbor seal is seen poking its face out of blue water, following a swimmer in goggles and a swim cap \" width=\"800\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-800x382.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1020x487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-768x367.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1536x733.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-2048x978.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1920x917.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A curious seal follows a swimmer in ‘Cold Refuge.’ \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Irving’s four features, consequently, play like personal films, even though she isn’t the protagonist. It’s a delicate balance that doesn’t feel self-indulgent; to the contrary, her emotional investment in each story raises the stakes.\u003c/p>\n\u003cp>Irving came west in 1970 after working in Montreal trying to make a living as a freelance writer of magazine articles. She hitchhiked across the country and lived on the Queen Charlotte Islands in British Columbia in a hut on a raft for a bit before applying to Stanford’s master’s program in documentary. Irving notes that she made her thesis film in 1973, and this year marks her 50th anniversary behind the camera and the editing table.\u003c/p>\n\u003cp>While Irving has adapted and adjusted to the dramatic changes in technology across the decades, her values haven’t shifted. Nor has her ability to laugh at her quirks.\u003c/p>\n\u003cp>“I am one of the few people left in the world, probably, who does not have a cell phone,” Irving says. “I do not want a cell phone. I don’t want to spend my life looking at a screen, especially a small screen. The irony is that I make movies and people watch them on screens. So they’re watching a mediated experience that I’ve made for them. And I’m sorry about that,” Irving says, laughing, “but I’m a filmmaker.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Cold Refuge’ premieres at 10 a.m. on Sunday, April 16 at the Fort Mason Center’s Cowell Theater (2 Marina Blvd., San Francisco) as part of the International Ocean Film Festival. \u003ca href=\"https://intloceanfilmfest.org/\">More info and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been almost 20 years since Judy Irving’s \u003cem>The Wild Parrots of Telegraph Hill \u003c/em>made her something of a local folk hero. OK, the real folk hero who emerged from the documentary was Mark Bittner, the endearing, erstwhile Telegraph Hill philosopher who befriended the parrots. But what’s a star without a director?\u003c/p>\n\u003cp>Irving reclaimed the spotlight last month when the winged wildlife she made internationally famous topped the \u003ca href=\"https://www.sfchronicle.com/projects/2023/sf-official-animal-vote/\">\u003cem>Chronicle\u003c/em> contest to choose San Francisco’s official animal\u003c/a>. \u003cem>The Washington Post\u003c/em> quoted the filmmaker extensively in a lengthy article, and the Board of Supervisors scheduled a vote to turn the \u003cem>Chron\u003c/em>’s online tally into an official proclamation. (Cue the unofficial song of San Francisco, “\u003ca href=\"https://www.youtube.com/watch?v=1Cin0QzuEss\">White Bird\u003c/a>,” except the color scheme doesn’t match.)\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Irving and Bittner fell in love and married in the course of making what became one of the top-grossing docs of 2005. Following in the wake of \u003cem>Pelican Dreams\u003c/em> (2014), which circles outward from the rescue of an off-course bird that tied up traffic on the Golden Gate Bridge, Irving has a new film that solidifies her standing as the Bay Area’s preeminent environmental filmmaker.\u003c/p>\n\u003cp>\u003cem>Cold Refuge\u003c/em> (receiving its world premiere Sunday, April 16 at Cowell Theater in Fort Mason in the \u003ca href=\"https://intloceanfilmfest.org/2023-film-schedule\">International Ocean Film Festival\u003c/a>) recounts the journeys of half a dozen local swimmers to the open waters of San Francisco Bay. Friends of the filmmaker from the South End Rowing Club, where Irving has been a member since 1989, each hurdled a potentially debilitating event via immersing themselves in the quintessential postcard shot.\u003c/p>\n\u003cfigure id=\"attachment_13927806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-800x593.png\" alt=\"a man with brown skin stands with his shirt off and hands clasped in a yellow swim cap and goggles\" width=\"800\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-800x593.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1020x756.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-768x569.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1536x1139.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media-1920x1424.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Naji-Ali-contemplates-his-longest-swim-c-Pelican-Media.png 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Naji Ali, a member of the South End Rowing Club, contemplates the water. \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you go in, you have to be completely focused on what you’re doing,” Irving says, leaning forward in a chair in her North Beach office. “There’s no multi-tasking. You’re paying attention to the tides and the currents and the waves and the wind and you are looking around to see if there are predators, or other swimmers or boats that might knock into you.”\u003c/p>\n\u003cp>Irving swam long distances in the Bay three or four times a week in the 1990s, including not-infrequent forays from the Bay Bridge to the club and around Alcatraz and back. She continues to swim in and around Aquatic Park, albeit less often, and \u003cem>Cold Refuge\u003c/em> combines that insider’s understanding with a birds-eye view of the landscape as well as the static perspective of someone sittin’ on the dock of the Bay watching the tide roll away.\u003c/p>\n\u003cp>The pleasure of watching \u003cem>Cold Refuge \u003c/em>— which provides a collage of inspiring characters, an irresistible bowl of eye candy for jaded locals and a timeless tribute to the revitalizing power of nature — consists of floating from vicarious observer of other folks’ shivery activities to experiencing their triumph and head-clearing submersion alongside them.\u003c/p>\n\u003cp>The cast includes cancer survivor and artist Zina Deretsky as well as Dr. Myles Cope, who was paralyzed from the waist down in a trench accident at 24. Nearly blind and deaf software engineer Corvin Bazgan swims tethered to a guide, while stressed-out employee benefits attorney Lisa Serebin serves as a stand-in for the overcommitted high achievers drowning (metaphorically) in details.\u003c/p>\n\u003cfigure id=\"attachment_13927801\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Myles-Flirtation-With-Death.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13927801 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-800x450.jpg\" alt=\"a man in a red shirt sits in a wheelchair with his back to the camera looking out at the bay\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Myles-Flirtation-With-Death.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dr. Myles Cope in a still from ‘Cold Refuge.’ \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Irving appears briefly in \u003cem>Cold Refuge\u003c/em>, offscreen, to introduce each swimmer, and delivers a few choice observations at the end. Yet she’s fully present throughout, every frame dripping with her deep connection to her subjects. At the beginning of her career, she hired people to narrate her traditional short documentaries about Bay Area open space and wildlife.\u003c/p>\n\u003cp>The turning point was \u003cem>Dark Circle\u003c/em> (1982), the Emmy-winning exposé she made with Christopher Beaver and Ruth Landy about the links between nuclear power and nuclear weapons. Irving wanted Ellen Burstyn to narrate, but the actress watched the cut and said, “You’re nuts. You have to narrate this thing.”\u003c/p>\n\u003cp>Next time around, Irving felt comfortable including herself in \u003cem>The Wild Parrots of Telegraph Hill\u003c/em>. “I ask pointed questions of Mark, off-screen, like, ‘Why don’t you get a job?’ and ‘Why don’t you cut your hair?’ And then we got together at the end.”\u003c/p>\n\u003cp>Irving’s docs serve as personal expressions in another way: she subconsciously put her late grandfather’s passions in three of them. The filmmaker grew up in New Jersey and spent summers with her family on the north fork of Long Island at her grandparents’ house. “He was so important to my young life as a budding birder,” Irving recalls.\u003c/p>\n\u003cfigure id=\"attachment_13927803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927803\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-800x382.jpg\" alt=\"a harbor seal is seen poking its face out of blue water, following a swimmer in goggles and a swim cap \" width=\"800\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-800x382.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1020x487.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-768x367.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1536x733.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-2048x978.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Curious-harbor-seal-follows-swimmer-300-dpi-copy-1920x917.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A curious seal follows a swimmer in ‘Cold Refuge.’ \u003ccite>(Courtesy Pelican Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Irving’s four features, consequently, play like personal films, even though she isn’t the protagonist. It’s a delicate balance that doesn’t feel self-indulgent; to the contrary, her emotional investment in each story raises the stakes.\u003c/p>\n\u003cp>Irving came west in 1970 after working in Montreal trying to make a living as a freelance writer of magazine articles. She hitchhiked across the country and lived on the Queen Charlotte Islands in British Columbia in a hut on a raft for a bit before applying to Stanford’s master’s program in documentary. Irving notes that she made her thesis film in 1973, and this year marks her 50th anniversary behind the camera and the editing table.\u003c/p>\n\u003cp>While Irving has adapted and adjusted to the dramatic changes in technology across the decades, her values haven’t shifted. Nor has her ability to laugh at her quirks.\u003c/p>\n\u003cp>“I am one of the few people left in the world, probably, who does not have a cell phone,” Irving says. “I do not want a cell phone. I don’t want to spend my life looking at a screen, especially a small screen. The irony is that I make movies and people watch them on screens. So they’re watching a mediated experience that I’ve made for them. And I’m sorry about that,” Irving says, laughing, “but I’m a filmmaker.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Cold Refuge’ premieres at 10 a.m. on Sunday, April 16 at the Fort Mason Center’s Cowell Theater (2 Marina Blvd., San Francisco) as part of the International Ocean Film Festival. \u003ca href=\"https://intloceanfilmfest.org/\">More info and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Showing Up’ Depicts a Refreshingly Realistic Artistic Life, Without Skepticism or Gloss",
"headTitle": "‘Showing Up’ Depicts a Refreshingly Realistic Artistic Life, Without Skepticism or Gloss | KQED",
"content": "\u003cp>I regard most films about artists with trepidation. At its worst, the so-called “art world” — a complex and diverse conglomeration of working artists, art schools, galleries, nonprofit spaces, museums, curators, auction houses, critics, collectors and arts workers of all kinds — is ripe for satire. Please see \u003ci>\u003ca href=\"https://youtu.be/ON13zZv9G3E\">(Untitled)\u003c/a>\u003c/i> for my favorite tongue-in-cheek depiction of gallery inner-workings, with a bonus plot about avant-garde music.\u003c/p>\n\u003cp>At its best, making or experiencing visual art can be transcendent. It can connect us to others. It can get at things that are too large or too hard to express through other means. It can be deeply, personally rewarding.\u003c/p>\n\u003cp>On the spectrum of worst to best, Kelly Reichardt’s new film \u003ci>Showing Up\u003c/i> leans toward the latter, depicting, with a light touch, the very ordinary lives of those who make art.\u003c/p>\n\u003cp>Starring Michelle Williams (in her fourth Reichardt film) as the somewhat joyless ceramicist Lizzie, \u003ci>Showing Up\u003c/i> centers on an insular artistic community circling Portland’s Oregon College of Arts and Crafts. The production, instruction and presentation of art fills almost every scene of the movie. Long shots of Lizzie glazing her dancing women or of her landlord and friend Jo (Hong Chau) wrestling a chunk of foam give the film a gentle pace, even though there’s a deadline on the horizon. Lizzie is just a few days away from the opening of a solo show, and she has work to finish.\u003c/p>\n\u003cfigure id=\"attachment_13927633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927633\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/SHOWING-UP_03_1920.jpg\" alt=\"White woman with bob holds sculpture in hands, a Black man in coveralls stands behind her over kiln\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_03_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_03_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_03_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_03_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_03_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_03_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">André Benjamin and Michelle Williams in a scene from ‘Showing Up.’ \u003ccite>(Photo by Allyson Riggs; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The question isn’t really if Lizzie will be ready in time, but whether she’ll experience any pleasure in its pursuit. Small everyday inconveniences pile up, adding to her downtrodden demeanor: a broken hot-water heater; a draining office job at her alma mater (where her mother is her boss); an injured pigeon she first ignores then sanctimoniously cares for; an unstable brother to worry after.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a complicated, competitive friendship at the center of \u003ci>Showing Up\u003c/i>. Jo, a full-time artist of some local renown, is breezily confident and connected to a wider circle of friends. Meanwhile, Lizzie eats her lunch alone on the OCAC campus, muttering things like “she really figured it out” in regards to Jo’s landlord status. Both are no longer students, not yet established, navigating the weird in-between space where so many artists spend most — if not all — of their careers.\u003c/p>\n\u003cp>In the absence of a wider world (\u003ci>Showing Up\u003c/i> has no indication of even Portland’s tech sector), art becomes all-encompassing to the viewer, just as it is to Lizzie. And without that wider world, there’s no one around to question or lampoon the solitary, repetitive task of making art. Reichardt takes opportunities to poke slight fun at pretentious language, but she allows her artists to have real dignity — without offering any grandiose statements about the power or promise of their output.\u003c/p>\n\u003cfigure id=\"attachment_13927634\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927634\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/SHOWING-UP_05_1920.jpg\" alt=\"A Black man and an Asian woman lean over to look closely at a small figurative sculpture, smiling\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_05_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_05_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_05_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_05_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_05_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_05_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">André Benjamin and Hong Chau in a scene from ‘Showing Up.’ \u003ccite>(Photo by Allyson Riggs; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Showing Up\u003c/i>’s inward focus also yields a bit of a fantasy in an otherwise realistic plot. There are no existential dilemmas here. External economic pressures on artists and arts spaces never factor into the storyline. In the real world, OCAC — where the film’s many shots of weaving, painting, movement classes and liquid light shows were staged — closed in 2019, unable to sustain itself against the rising cost of running a small art college. (\u003ca href=\"https://www.kqed.org/arts/13925086/new-sfai-legacy-foundation-archive-art-school-closed\">Sound familiar?\u003c/a>)\u003c/p>\n\u003cp>Considered alongside other films about artists, \u003ci>Showing Up\u003c/i> is a quiet outlier. It does not judge Lizzie’s work (made in real life by OCAC alum \u003ca href=\"https://www.cynthialahti.com/\">Cynthia Lahti\u003c/a>) or Jo’s (made by \u003ca href=\"http://michellesegre.com/\">Michelle Segre\u003c/a>). Instead, it depicts the intricacies and difficulties of bringing these things to fruition. As with any other job, goals are set and projects undertaken. Some artists may lead glamorous, jet-setting lives, but the vast majority plug away under-recognized in whatever space they can call a studio. All that work is still, simply, work.\u003c/p>\n\u003cp>Perhaps the one thing artists have figured out better than most is to throw a small party at the end, complete with plenty of cheese and crackers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Showing Up’ opens in Bay Area theaters on April 14.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I regard most films about artists with trepidation. At its worst, the so-called “art world” — a complex and diverse conglomeration of working artists, art schools, galleries, nonprofit spaces, museums, curators, auction houses, critics, collectors and arts workers of all kinds — is ripe for satire. Please see \u003ci>\u003ca href=\"https://youtu.be/ON13zZv9G3E\">(Untitled)\u003c/a>\u003c/i> for my favorite tongue-in-cheek depiction of gallery inner-workings, with a bonus plot about avant-garde music.\u003c/p>\n\u003cp>At its best, making or experiencing visual art can be transcendent. It can connect us to others. It can get at things that are too large or too hard to express through other means. It can be deeply, personally rewarding.\u003c/p>\n\u003cp>On the spectrum of worst to best, Kelly Reichardt’s new film \u003ci>Showing Up\u003c/i> leans toward the latter, depicting, with a light touch, the very ordinary lives of those who make art.\u003c/p>\n\u003cp>Starring Michelle Williams (in her fourth Reichardt film) as the somewhat joyless ceramicist Lizzie, \u003ci>Showing Up\u003c/i> centers on an insular artistic community circling Portland’s Oregon College of Arts and Crafts. The production, instruction and presentation of art fills almost every scene of the movie. Long shots of Lizzie glazing her dancing women or of her landlord and friend Jo (Hong Chau) wrestling a chunk of foam give the film a gentle pace, even though there’s a deadline on the horizon. Lizzie is just a few days away from the opening of a solo show, and she has work to finish.\u003c/p>\n\u003cfigure id=\"attachment_13927633\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927633\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/SHOWING-UP_03_1920.jpg\" alt=\"White woman with bob holds sculpture in hands, a Black man in coveralls stands behind her over kiln\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_03_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_03_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_03_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_03_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_03_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_03_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">André Benjamin and Michelle Williams in a scene from ‘Showing Up.’ \u003ccite>(Photo by Allyson Riggs; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The question isn’t really if Lizzie will be ready in time, but whether she’ll experience any pleasure in its pursuit. Small everyday inconveniences pile up, adding to her downtrodden demeanor: a broken hot-water heater; a draining office job at her alma mater (where her mother is her boss); an injured pigeon she first ignores then sanctimoniously cares for; an unstable brother to worry after.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a complicated, competitive friendship at the center of \u003ci>Showing Up\u003c/i>. Jo, a full-time artist of some local renown, is breezily confident and connected to a wider circle of friends. Meanwhile, Lizzie eats her lunch alone on the OCAC campus, muttering things like “she really figured it out” in regards to Jo’s landlord status. Both are no longer students, not yet established, navigating the weird in-between space where so many artists spend most — if not all — of their careers.\u003c/p>\n\u003cp>In the absence of a wider world (\u003ci>Showing Up\u003c/i> has no indication of even Portland’s tech sector), art becomes all-encompassing to the viewer, just as it is to Lizzie. And without that wider world, there’s no one around to question or lampoon the solitary, repetitive task of making art. Reichardt takes opportunities to poke slight fun at pretentious language, but she allows her artists to have real dignity — without offering any grandiose statements about the power or promise of their output.\u003c/p>\n\u003cfigure id=\"attachment_13927634\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927634\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/SHOWING-UP_05_1920.jpg\" alt=\"A Black man and an Asian woman lean over to look closely at a small figurative sculpture, smiling\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_05_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_05_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_05_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_05_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_05_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/SHOWING-UP_05_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">André Benjamin and Hong Chau in a scene from ‘Showing Up.’ \u003ccite>(Photo by Allyson Riggs; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Showing Up\u003c/i>’s inward focus also yields a bit of a fantasy in an otherwise realistic plot. There are no existential dilemmas here. External economic pressures on artists and arts spaces never factor into the storyline. In the real world, OCAC — where the film’s many shots of weaving, painting, movement classes and liquid light shows were staged — closed in 2019, unable to sustain itself against the rising cost of running a small art college. (\u003ca href=\"https://www.kqed.org/arts/13925086/new-sfai-legacy-foundation-archive-art-school-closed\">Sound familiar?\u003c/a>)\u003c/p>\n\u003cp>Considered alongside other films about artists, \u003ci>Showing Up\u003c/i> is a quiet outlier. It does not judge Lizzie’s work (made in real life by OCAC alum \u003ca href=\"https://www.cynthialahti.com/\">Cynthia Lahti\u003c/a>) or Jo’s (made by \u003ca href=\"http://michellesegre.com/\">Michelle Segre\u003c/a>). Instead, it depicts the intricacies and difficulties of bringing these things to fruition. As with any other job, goals are set and projects undertaken. Some artists may lead glamorous, jet-setting lives, but the vast majority plug away under-recognized in whatever space they can call a studio. All that work is still, simply, work.\u003c/p>\n\u003cp>Perhaps the one thing artists have figured out better than most is to throw a small party at the end, complete with plenty of cheese and crackers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Showing Up’ opens in Bay Area theaters on April 14.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "barry-jenkins-nicholas-britell-interview-soundbox-san-francisco-symphony",
"title": "How to Write Film Music That Stops Time",
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"headTitle": "How to Write Film Music That Stops Time | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a standout scene in \u003cem>Moonlight\u003c/em>, Barry Jenkins’ widely acclaimed 2016 coming-of-age film, that doesn’t have the typical “pivotal moment” hallmarks of an \u003ca href=\"https://www.youtube.com/watch?v=GCQn_FkFElI\" target=\"_blank\" rel=\"noopener\">Oscars Best Picture winner\u003c/a>. There’s not a big speech. Not a lot really happens, even.\u003c/p>\n\u003cp>But the scene in which Juan (Mahershala Ali) teaches Little (Alex Hibbert) how to swim is rich text for other reasons. There’s the painterly light, athletic camera work. The symbolism is somehow both striking and understated — a rare glimpse of Black masculinity as a nurturing force, as well as what Jenkins has called a “spiritual transference” between these two characters.\u003c/p>\n\u003cp>Then there’s the music. Bright, anxious violins pick up speed as the figurative baptism progresses; over the course of a two-minute piece, composer Nicholas Britell’s score reflects the beauty and danger of the ocean, as well as the complex sea of emotions in our young protagonist: determination, hope and fear. I dare you to find me someone who didn’t sit in the movie theater holding their breath for the entire scene.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z6yMItXePG8\u003c/p>\n\u003cp>In the seven years since \u003cem>Moonlight\u003c/em>’s release, with films like \u003cem>If Beale Street Could Talk\u003c/em> and the limited series \u003cem>The Underground Railroad\u003c/em>, the partnership between Jenkins and Britell has produced numerous breathtaking moments like this. Jenkins tells stories of Black America, consistently turning an artful, unflinching eye on protagonists who are limited or literally trapped by injustice, by poverty and incarceration. And while Jenkins’ writing and direction are deeply empathetic, it’s often Britell’s scores — soaring, evocative works that apply R&B and hip-hop production techniques to classical music — that grant these characters their full humanity, reminding us that even people living in the most tragic of circumstances experience a vast range of emotion, including love and yearning along with anguish.[aside postid='forum_2010101892493']\u003c/p>\n\u003cp>A horn line swells, and we remember — oh, right. Every single person I meet has an entire universe of pain and beauty and unfulfilled dreams swirling inside them at all times. And then we weep uncontrollably into our popcorn.\u003c/p>\n\u003cp>Britell, a classically trained pianist, has been a “\u003ca href=\"https://www.sfsymphony.org/About-SFS/Collaborative-Partners\" target=\"_blank\" rel=\"noopener\">collaborative partner\u003c/a>” with the San Francisco Symphony since 2018. But his April 14–15 events with Jenkins at \u003ca href=\"https://www.kqed.org/arts/tag/soundbox\" target=\"_blank\" rel=\"noopener\">SoundBox\u003c/a>, with Symphony musicians performing works from \u003cem>Moonlight,\u003c/em> \u003cem>Beale Street\u003c/em> and \u003cem>The Underground Railroad\u003c/em>, will present his most personal collaboration yet with the organization.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Emma Silvers: Barry, your projects have always shown a love of music, even going back to \u003ca href=\"https://www.kqed.org/arts/24154/medicine_for_melancholy\">\u003cem>Medicine for Melancholy\u003c/em>\u003c/a>. Can you talk about where music lives in your writing process? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins:\u003c/strong> Music has always been part of it. I mean, I’ve always been surrounded by music — I grew up in a household where, even though we were so extremely poor, there was always music playing. Or I would go to the flea market and get tapes — and this is terrible as someone who now makes a living from copywritten material — but people would make these cassette tapes with all these different songs on them, and you could get a tape for like five bucks, as opposed to an album, which cost 15 or 20 bucks.\u003c/p>\n\u003cp>[aside postid='arts_13844783']And I’ve always listened to music while I write. When I first got to college and started pursuing creative writing and working on film, I would go to this café to work. And between coffee, wine and music, I found that I could slip into a place where I could translate the feeling of what was happening in the scene in my head to the page.\u003c/p>\n\u003cp>This was also when I was discovering the filmmakers who became foundational to my idea of what cinema was, people like Claire Denis and Wong Kar-wai, and they used music in a very open, very clear way. In film school, I was taught music is meant to be in the background of a film, which is kind of making it elevator music. So I was like, \u003cem>No, no, no:\u003c/em> I’ve seen films where you can use this combination of sound and images and score to really elevate what the character was feeling. That’s the place it’s always had for me.\u003c/p>\n\u003cfigure id=\"attachment_13927608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-800x530.jpg\" alt=\"a black and white photo of a young Black man in a dark collared shirt with glasses, smiling at the camera \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-2048x1358.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-1920x1273.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Barry Jenkins’ San Francisco-set debut feature, ‘Medicine for Melancholy,’ will be released by The Criterion Collection in June, with new commentary from the filmmaker. \u003ccite>(Matt Morris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’ve both spoken about not wanting to tell the audience how to feel, that it’s more about music that sounds the way the characters feel — kind of achieving interiority through music. Which, especially as a non-musician, seems mystical to me. Can you talk about what it looks like to get into that headspace and compose for different characters, especially people with very different lived experiences from your own?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> It can \u003cem>feel\u003c/em> mystical; I also use the word “alchemy” a lot. And so much of it is about this incredibly close collaboration, searching \u003cem>together\u003c/em> for things — I’m never working alone. Which is why it’s so special that Barry and I are doing this show; we get into this stream of consciousness when we’re in the room together.\u003c/p>\n\u003cp>On \u003cem>Beale Street\u003c/em>, for example, Barry said “I’m hearing brass and horns.” So I started thinking about the scene where Tish and Fonny have finally been able to rent that apartment, and they’re in the street and they start shouting to the sky with joy. I think a lot about shapes. I feel that the shapes of things in music actually affect us all in similar ways. So, OK, I want the music to go upward — to shout to the sky. Well, what if it’s a trumpet shouting to the sky? And then I start doing experiments with brass, French horns, clarinet, trumpet, flugelhorn, piccolo trumpet, and I kind of go off into the wilderness and try things.\u003c/p>\n\u003cp>Then, through experimenting together, we realized it was missing cellos. Like, \u003cem>oh, the cellos are the feeling of love.\u003c/em> And all of a sudden, if I take the chords that I was playing with brass but the cellos play them, everything feels different. It’s never, oh, what key signature is this, or what type of chord is this. It ultimately always comes back to feelings.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mmK71ZfaZO4\u003c/p>\n\u003cp>\u003cstrong>Audiences have these incredibly poignant, personal responses to these scores, where the music seems to help them access complicated feelings about their own lives. Have you seen \u003ca href=\"https://www.youtube.com/watch?v=eWQ7neoBhCE\" target=\"_blank\" rel=\"noopener\">the comments\u003c/a> on “Agape” on YouTube?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins:\u003c/strong> They’re nuts. (Laughs.) Nuts! Way more people have listened to that piece than have even heard of this film. Way more people are going to hear that song than will ever watch \u003cem>If Beale Street Could Talk\u003c/em>. And I remember being there at the moment of its creation, in this really diligent but simple process of chasing what that moment felt like, both within the film and within the characters’ lives. It’s this very aspirational moment, when Tish is at her most hopeful, like everything is on the table for this family. And Nick just did this thing where he had the song keep reaching \u003cem>up and up and up\u003c/em>.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Barry Jenkins\"]‘[James] Baldwin was … bottling this nuclear atom of the hopes, the aspirations, the yearning, the melancholy of Black life in America. And Nick somehow found a way to get in there and really translate that into music.’[/pullquote]But the way that piece of music connects with people, and this is me saying this, not Nick — these are Black films and this is Black music. It really is. And it’s amazing to me there are white people all over the world, we’ve seen this on Instagram, who walk down the aisle to this piece of music. I say it’s Black music because what Mr. Baldwin was writing, and what Regina and Stephan and KiKi are doing in that sequence, is bottling this nuclear atom of the hopes, the aspirations, the yearning, the melancholy of Black life in America. And Nick somehow found a way to get in there and really translate that into music.\u003c/p>\n\u003cp>When I get a little tipsy and I go read those comments on YouTube, I see that the whole journey of making that film, even if people only accessed it through hearing this one song, would have been worth it. Because the way people respond to the feeling of that music … I mean, sometimes it knocks me down. If you want to know the power, the effect, the legitimate movement that a piece of score can create, go look up that thing on YouTube and the things that complete strangers — who have no skin in the game on how successful this film is or isn’t! — and they’re just pouring themselves out about what this piece of music means to them.\u003c/p>\n\u003cfigure id=\"attachment_13927605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/image0-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/image0-800x533.jpg\" alt=\"a young white man with light brown hair in a black button-down shirt and glasses looks down away from the camera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nicholas Britell’s other scores include collaborations with director Adam McKay, including ‘The Big Short’ and ‘Don’t Look Up,’ as well as the HBO show ‘Succession.’ \u003ccite>(Emma McIntyre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> I’ll just add that the music that I write with Barry is unlike anything else that I write. In some ways, I think Barry lets me tap into different emotions, and there are certain feelings that I think we are both drawn to. And I get to figure out: what is the sound of that? So much of what we do is experimentation — Barry will like a kernel of something, so we follow that, but we don’t know where we’re going. Just that when we’re there, we’ll know.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Moonlight\u003c/em> and \u003cem>Beale Street\u003c/em> were both so rooted in Miami and New York, respectively, the cities where they took place. But \u003cem>The Underground Railroad\u003c/em> takes us to so many different locations, and then also has surreal elements. How do you find the sound for something of that scope, especially without the anchor of a specific, singular time or place?\u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13897166']\u003cstrong>Nicholas Britell:\u003c/strong> The scale and scope and difficulty of \u003cem>The Underground Railroad\u003c/em> was unlike anything I’d ever done. I remember Barry saying to me, you know, each state is a different state of mind for Cora — and we thought of it almost like different planets. Because that journey is unlike \u003cem>anything\u003c/em>. As a comparison, it’s not \u003cem>Succession,\u003c/em> where, from episode 1 to 2, we’re probably in New York City, probably in the Roy family. This is like we’re in a different \u003cem>universe\u003c/em>. We’re in a different dimension, possibly.\u003c/p>\n\u003cp>Then there’s the sonic experimentation, just the amount that we were going to push… we look at \u003cem>Moonlight\u003c/em>, where there was the idea of using \u003ca href=\"https://ra.co/features/4040\">chopped and screwed\u003c/a> as a technique, or in \u003cem>Beale Street\u003c/em>, where we’re taking the sounds of love and harming them so they’re broken and they become a sound of injustice. On \u003cem>Underground Railroad\u003c/em>, it was times 100. How do we push things to feel beyond what we can even imagine?\u003c/p>\n\u003cp>Then, what is the architecture? Because if you establish a musical idea at the very beginning of a film, part of the beauty, hopefully, is that if it comes back later, you have a memory of having felt it — even just subconsciously. So multiplying that across 10 episodes, when do we echo back? I remember showing Barry some new ideas at one point, and he was like, ‘You know what? No new ideas. We’re done.’\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-sUIo56q-Qw\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins: \u003c/strong>\u003cem>The Underground Railroad\u003c/em> was definitely less of a literal journey, but to me it was also a much more clear emotional one: every state is different, because Cora’s mental state has shifted in addition to the setting. What Nick said about planets — I love that because different planets have different atmospheres, and these soundscapes are like those atmospheres. Venus is not like Mars, you know, it’s got to be completely different.\u003c/p>\n\u003cp>And we’re also responding to the world around us. [At one point during production] Nick and Caitlin, his wife, who’s a cellist, had moved out to L.A., and Nick, do you remember Caitlin took up this hobby of birdwatching?\u003c/p>\n\u003cp>\u003cstrong>Nicholas Britell: \u003c/strong>She’s still doing it. She’s an avid birder.\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins:\u003c/strong> She had all these feeders around, so there were these hummingbirds always around the studio. And I was thinking the other day, Nick, about the track “Fireflies.” And there’s a harp that’s played really fast, and to me, that’s the hummingbird wings.\u003c/p>\n\u003cfigure id=\"attachment_13927602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC09282-grittani-creative-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC09282-grittani-creative-800x533.jpg\" alt=\"a crowd of people sits watching classical musicians perform in a dark club-like space with large artworks projected onto the walls and ceiling\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘SoundBox: Modern Sanctuary,’ conducted by Edwin Outwater in February 2020. \u003ccite>(Mike Grittani/Grittani Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you want people to know going into these SoundBox shows?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> These performances are something Barry and I have never really done. While we’ve played \u003cem>Moonlight\u003c/em> live to picture before with orchestras, we have never actually performed in the authentic forms of the film with the original orchestrations. This is something we’ve been talking about since these were first written — like, how could we do this? \u003cem>Can\u003c/em> we do this? Because, for example, \u003cem>Beale Street\u003c/em> is as much an orchestration exercise, with these different instrument colors, as it is about these very special reverbs at times, where you hear the sounds sort of floating and soaring and swirling.\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins: \u003c/strong>We have heard stories about the reverb quality of SoundBox and we are hoping to put it through its paces. We’ve heard it’s legit. And the cats that work there are out to prove to us that it’s legit, so we’re pushing the boundaries with this concert.\u003c/p>\n\u003cp>I’ll also say — I moved to the Bay at a time in my life when I was incredibly down on myself, and I went through some ups and downs there. And I’d walk past the Symphony all the time, and I just never thought … There are going to be images of Black folks projected all throughout this show. These folks are going to be playing music that I think organically reflects the experience of Black people. And I just never, never thought there was a world in which that would ever happen. It’s gonna be very cool.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘SoundBox: In Conversation With Nicholas Britell and Barry Jenkins’ takes place at 9 p.m. on Friday, April 14 and Saturday, April 15 at the San Francisco Symphony’s SoundBox (300 Franklin St., San Francisco). Tickets start at $99; \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/SBX-NicholasBritell\">details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a standout scene in \u003cem>Moonlight\u003c/em>, Barry Jenkins’ widely acclaimed 2016 coming-of-age film, that doesn’t have the typical “pivotal moment” hallmarks of an \u003ca href=\"https://www.youtube.com/watch?v=GCQn_FkFElI\" target=\"_blank\" rel=\"noopener\">Oscars Best Picture winner\u003c/a>. There’s not a big speech. Not a lot really happens, even.\u003c/p>\n\u003cp>But the scene in which Juan (Mahershala Ali) teaches Little (Alex Hibbert) how to swim is rich text for other reasons. There’s the painterly light, athletic camera work. The symbolism is somehow both striking and understated — a rare glimpse of Black masculinity as a nurturing force, as well as what Jenkins has called a “spiritual transference” between these two characters.\u003c/p>\n\u003cp>Then there’s the music. Bright, anxious violins pick up speed as the figurative baptism progresses; over the course of a two-minute piece, composer Nicholas Britell’s score reflects the beauty and danger of the ocean, as well as the complex sea of emotions in our young protagonist: determination, hope and fear. I dare you to find me someone who didn’t sit in the movie theater holding their breath for the entire scene.\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/z6yMItXePG8'\n title='//www.youtube.com/embed/z6yMItXePG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the seven years since \u003cem>Moonlight\u003c/em>’s release, with films like \u003cem>If Beale Street Could Talk\u003c/em> and the limited series \u003cem>The Underground Railroad\u003c/em>, the partnership between Jenkins and Britell has produced numerous breathtaking moments like this. Jenkins tells stories of Black America, consistently turning an artful, unflinching eye on protagonists who are limited or literally trapped by injustice, by poverty and incarceration. And while Jenkins’ writing and direction are deeply empathetic, it’s often Britell’s scores — soaring, evocative works that apply R&B and hip-hop production techniques to classical music — that grant these characters their full humanity, reminding us that even people living in the most tragic of circumstances experience a vast range of emotion, including love and yearning along with anguish.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A horn line swells, and we remember — oh, right. Every single person I meet has an entire universe of pain and beauty and unfulfilled dreams swirling inside them at all times. And then we weep uncontrollably into our popcorn.\u003c/p>\n\u003cp>Britell, a classically trained pianist, has been a “\u003ca href=\"https://www.sfsymphony.org/About-SFS/Collaborative-Partners\" target=\"_blank\" rel=\"noopener\">collaborative partner\u003c/a>” with the San Francisco Symphony since 2018. But his April 14–15 events with Jenkins at \u003ca href=\"https://www.kqed.org/arts/tag/soundbox\" target=\"_blank\" rel=\"noopener\">SoundBox\u003c/a>, with Symphony musicians performing works from \u003cem>Moonlight,\u003c/em> \u003cem>Beale Street\u003c/em> and \u003cem>The Underground Railroad\u003c/em>, will present his most personal collaboration yet with the organization.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Emma Silvers: Barry, your projects have always shown a love of music, even going back to \u003ca href=\"https://www.kqed.org/arts/24154/medicine_for_melancholy\">\u003cem>Medicine for Melancholy\u003c/em>\u003c/a>. Can you talk about where music lives in your writing process? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins:\u003c/strong> Music has always been part of it. I mean, I’ve always been surrounded by music — I grew up in a household where, even though we were so extremely poor, there was always music playing. Or I would go to the flea market and get tapes — and this is terrible as someone who now makes a living from copywritten material — but people would make these cassette tapes with all these different songs on them, and you could get a tape for like five bucks, as opposed to an album, which cost 15 or 20 bucks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And I’ve always listened to music while I write. When I first got to college and started pursuing creative writing and working on film, I would go to this café to work. And between coffee, wine and music, I found that I could slip into a place where I could translate the feeling of what was happening in the scene in my head to the page.\u003c/p>\n\u003cp>This was also when I was discovering the filmmakers who became foundational to my idea of what cinema was, people like Claire Denis and Wong Kar-wai, and they used music in a very open, very clear way. In film school, I was taught music is meant to be in the background of a film, which is kind of making it elevator music. So I was like, \u003cem>No, no, no:\u003c/em> I’ve seen films where you can use this combination of sound and images and score to really elevate what the character was feeling. That’s the place it’s always had for me.\u003c/p>\n\u003cfigure id=\"attachment_13927608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-800x530.jpg\" alt=\"a black and white photo of a young Black man in a dark collared shirt with glasses, smiling at the camera \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-2048x1358.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/3519cb71-3220-4c5f-bd61-a040847310ed-1920x1273.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Barry Jenkins’ San Francisco-set debut feature, ‘Medicine for Melancholy,’ will be released by The Criterion Collection in June, with new commentary from the filmmaker. \u003ccite>(Matt Morris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’ve both spoken about not wanting to tell the audience how to feel, that it’s more about music that sounds the way the characters feel — kind of achieving interiority through music. Which, especially as a non-musician, seems mystical to me. Can you talk about what it looks like to get into that headspace and compose for different characters, especially people with very different lived experiences from your own?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> It can \u003cem>feel\u003c/em> mystical; I also use the word “alchemy” a lot. And so much of it is about this incredibly close collaboration, searching \u003cem>together\u003c/em> for things — I’m never working alone. Which is why it’s so special that Barry and I are doing this show; we get into this stream of consciousness when we’re in the room together.\u003c/p>\n\u003cp>On \u003cem>Beale Street\u003c/em>, for example, Barry said “I’m hearing brass and horns.” So I started thinking about the scene where Tish and Fonny have finally been able to rent that apartment, and they’re in the street and they start shouting to the sky with joy. I think a lot about shapes. I feel that the shapes of things in music actually affect us all in similar ways. So, OK, I want the music to go upward — to shout to the sky. Well, what if it’s a trumpet shouting to the sky? And then I start doing experiments with brass, French horns, clarinet, trumpet, flugelhorn, piccolo trumpet, and I kind of go off into the wilderness and try things.\u003c/p>\n\u003cp>Then, through experimenting together, we realized it was missing cellos. Like, \u003cem>oh, the cellos are the feeling of love.\u003c/em> And all of a sudden, if I take the chords that I was playing with brass but the cellos play them, everything feels different. It’s never, oh, what key signature is this, or what type of chord is this. It ultimately always comes back to feelings.\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/mmK71ZfaZO4'\n title='//www.youtube.com/embed/mmK71ZfaZO4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Audiences have these incredibly poignant, personal responses to these scores, where the music seems to help them access complicated feelings about their own lives. Have you seen \u003ca href=\"https://www.youtube.com/watch?v=eWQ7neoBhCE\" target=\"_blank\" rel=\"noopener\">the comments\u003c/a> on “Agape” on YouTube?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins:\u003c/strong> They’re nuts. (Laughs.) Nuts! Way more people have listened to that piece than have even heard of this film. Way more people are going to hear that song than will ever watch \u003cem>If Beale Street Could Talk\u003c/em>. And I remember being there at the moment of its creation, in this really diligent but simple process of chasing what that moment felt like, both within the film and within the characters’ lives. It’s this very aspirational moment, when Tish is at her most hopeful, like everything is on the table for this family. And Nick just did this thing where he had the song keep reaching \u003cem>up and up and up\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘[James] Baldwin was … bottling this nuclear atom of the hopes, the aspirations, the yearning, the melancholy of Black life in America. And Nick somehow found a way to get in there and really translate that into music.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the way that piece of music connects with people, and this is me saying this, not Nick — these are Black films and this is Black music. It really is. And it’s amazing to me there are white people all over the world, we’ve seen this on Instagram, who walk down the aisle to this piece of music. I say it’s Black music because what Mr. Baldwin was writing, and what Regina and Stephan and KiKi are doing in that sequence, is bottling this nuclear atom of the hopes, the aspirations, the yearning, the melancholy of Black life in America. And Nick somehow found a way to get in there and really translate that into music.\u003c/p>\n\u003cp>When I get a little tipsy and I go read those comments on YouTube, I see that the whole journey of making that film, even if people only accessed it through hearing this one song, would have been worth it. Because the way people respond to the feeling of that music … I mean, sometimes it knocks me down. If you want to know the power, the effect, the legitimate movement that a piece of score can create, go look up that thing on YouTube and the things that complete strangers — who have no skin in the game on how successful this film is or isn’t! — and they’re just pouring themselves out about what this piece of music means to them.\u003c/p>\n\u003cfigure id=\"attachment_13927605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/image0-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/image0-800x533.jpg\" alt=\"a young white man with light brown hair in a black button-down shirt and glasses looks down away from the camera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/image0-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nicholas Britell’s other scores include collaborations with director Adam McKay, including ‘The Big Short’ and ‘Don’t Look Up,’ as well as the HBO show ‘Succession.’ \u003ccite>(Emma McIntyre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> I’ll just add that the music that I write with Barry is unlike anything else that I write. In some ways, I think Barry lets me tap into different emotions, and there are certain feelings that I think we are both drawn to. And I get to figure out: what is the sound of that? So much of what we do is experimentation — Barry will like a kernel of something, so we follow that, but we don’t know where we’re going. Just that when we’re there, we’ll know.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Moonlight\u003c/em> and \u003cem>Beale Street\u003c/em> were both so rooted in Miami and New York, respectively, the cities where they took place. But \u003cem>The Underground Railroad\u003c/em> takes us to so many different locations, and then also has surreal elements. How do you find the sound for something of that scope, especially without the anchor of a specific, singular time or place?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> The scale and scope and difficulty of \u003cem>The Underground Railroad\u003c/em> was unlike anything I’d ever done. I remember Barry saying to me, you know, each state is a different state of mind for Cora — and we thought of it almost like different planets. Because that journey is unlike \u003cem>anything\u003c/em>. As a comparison, it’s not \u003cem>Succession,\u003c/em> where, from episode 1 to 2, we’re probably in New York City, probably in the Roy family. This is like we’re in a different \u003cem>universe\u003c/em>. We’re in a different dimension, possibly.\u003c/p>\n\u003cp>Then there’s the sonic experimentation, just the amount that we were going to push… we look at \u003cem>Moonlight\u003c/em>, where there was the idea of using \u003ca href=\"https://ra.co/features/4040\">chopped and screwed\u003c/a> as a technique, or in \u003cem>Beale Street\u003c/em>, where we’re taking the sounds of love and harming them so they’re broken and they become a sound of injustice. On \u003cem>Underground Railroad\u003c/em>, it was times 100. How do we push things to feel beyond what we can even imagine?\u003c/p>\n\u003cp>Then, what is the architecture? Because if you establish a musical idea at the very beginning of a film, part of the beauty, hopefully, is that if it comes back later, you have a memory of having felt it — even just subconsciously. So multiplying that across 10 episodes, when do we echo back? I remember showing Barry some new ideas at one point, and he was like, ‘You know what? No new ideas. We’re done.’\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/-sUIo56q-Qw'\n title='//www.youtube.com/embed/-sUIo56q-Qw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Barry Jenkins: \u003c/strong>\u003cem>The Underground Railroad\u003c/em> was definitely less of a literal journey, but to me it was also a much more clear emotional one: every state is different, because Cora’s mental state has shifted in addition to the setting. What Nick said about planets — I love that because different planets have different atmospheres, and these soundscapes are like those atmospheres. Venus is not like Mars, you know, it’s got to be completely different.\u003c/p>\n\u003cp>And we’re also responding to the world around us. [At one point during production] Nick and Caitlin, his wife, who’s a cellist, had moved out to L.A., and Nick, do you remember Caitlin took up this hobby of birdwatching?\u003c/p>\n\u003cp>\u003cstrong>Nicholas Britell: \u003c/strong>She’s still doing it. She’s an avid birder.\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins:\u003c/strong> She had all these feeders around, so there were these hummingbirds always around the studio. And I was thinking the other day, Nick, about the track “Fireflies.” And there’s a harp that’s played really fast, and to me, that’s the hummingbird wings.\u003c/p>\n\u003cfigure id=\"attachment_13927602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC09282-grittani-creative-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC09282-grittani-creative-800x533.jpg\" alt=\"a crowd of people sits watching classical musicians perform in a dark club-like space with large artworks projected onto the walls and ceiling\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC09282-grittani-creative-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘SoundBox: Modern Sanctuary,’ conducted by Edwin Outwater in February 2020. \u003ccite>(Mike Grittani/Grittani Creative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you want people to know going into these SoundBox shows?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nicholas Britell:\u003c/strong> These performances are something Barry and I have never really done. While we’ve played \u003cem>Moonlight\u003c/em> live to picture before with orchestras, we have never actually performed in the authentic forms of the film with the original orchestrations. This is something we’ve been talking about since these were first written — like, how could we do this? \u003cem>Can\u003c/em> we do this? Because, for example, \u003cem>Beale Street\u003c/em> is as much an orchestration exercise, with these different instrument colors, as it is about these very special reverbs at times, where you hear the sounds sort of floating and soaring and swirling.\u003c/p>\n\u003cp>\u003cstrong>Barry Jenkins: \u003c/strong>We have heard stories about the reverb quality of SoundBox and we are hoping to put it through its paces. We’ve heard it’s legit. And the cats that work there are out to prove to us that it’s legit, so we’re pushing the boundaries with this concert.\u003c/p>\n\u003cp>I’ll also say — I moved to the Bay at a time in my life when I was incredibly down on myself, and I went through some ups and downs there. And I’d walk past the Symphony all the time, and I just never thought … There are going to be images of Black folks projected all throughout this show. These folks are going to be playing music that I think organically reflects the experience of Black people. And I just never, never thought there was a world in which that would ever happen. It’s gonna be very cool.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘SoundBox: In Conversation With Nicholas Britell and Barry Jenkins’ takes place at 9 p.m. on Friday, April 14 and Saturday, April 15 at the San Francisco Symphony’s SoundBox (300 Franklin St., San Francisco). Tickets start at $99; \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/SBX-NicholasBritell\">details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
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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": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
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"mindshift": {
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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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