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Once it becomes like Brittany Spears, that’s when we’re done.”\u003c/p>\n\u003cp>\u003cb>On interviewing his nearly 80-year-old mom about her sex life for the parenting podcast \"\u003ca href=\"https://longestshortesttime.com/\">The Longest Shortest Time\"\u003c/a>\u003c/b>\u003c/p>\n\u003cp>“I mean, it made me blush. There’s a couple points where I was like, that’s enough, where I cut her off. You’re not supposed to do that in an interview. But it was my mom. It’s funny, a lot of the work I do, people sort of talk about it as something I’m doing for the world, or maybe for my community. It’s really all pretty selfish.\u003c/p>\n\u003cp>\"I wanted to have that conversation with my mom for a long time because I didn’t know what was going on. We were really close, and there was this one aspect of her life that we hadn’t talked about, her dating life. I sort of had this narrative in my head that my mom was this lonely person.”\u003c/p>\n\u003cp>\u003cb>On being a dad to two mixed-race daughters with different complexions:\u003c/b>\u003c/p>\n\u003cp>“While they’re clearly sisters, our youngest daughter is much lighter, her hair is much thinner, it’s not as kinky as her sister's. And we’re like, 'Oh, they’re going to have very different experiences.' My wife is #woke. She’s like, ‘Juno’s going to pass.’ And it’s just like wow. There’s two things there. Sami will probably be exotified by some people. And Juno may not be exotified, but she will be able to get into spaces that Sami won’t be able to get into and hear. 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So, let’s get happy.”\u003c/p>\n\u003cp>\u003cb>On interviewing a fully hooded member of the Ku Klux Klan in the woods for his show “United Shades of America\" with a mostly white TV crew:\u003c/b>\u003c/p>\n\u003cp>“I kept having to sort of advocate for ‘I need help here,’ that’s a different kind of help than just like, 'What do you need, water?' It’s not that the producers and crew didn’t have my back. They had my physical back but they didn’t have my racial back. Nobody knew how to reach out. Eventually I formed a very deep friendship with them, and now we’re all waking up together. Now they realize, Kamau is actually feeling all this stuff, he’s having a real experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wGBooYqU1dg\u003c/p>\n\u003cp>“The guy who runs the show now [in the second season] is a black guy who has a Ph.D. in psychology. And there’s more black and brown faces on the crew. So when we do things that sometimes seem crazy, we have each other’s back physically and emotionally. It’s great to have a crew that you can immediately get into the van when you drive away from the scene and be like, ‘That was crazy!’ ”\u003c/p>\n\u003cp>\u003cb>On making a podcast called \u003ca href=\"https://itunes.apple.com/us/podcast/denzel-washington-is-the-greatest-actor-of-all-time-period/id935756902?mt=2\">\"Denzel Washington is the Greatest Actor of All Time, Period.”\u003c/a> With 118 episodes!\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We didn’t realize how many other people out there felt the same way we did. Fans, other actors, people who auditioned for roles in Denzel Washington movies and didn’t get 'em. There’s a lot of talk in Hollywood, 'Tom Hanks is so great,' 'Will Ferrell is so great.' Why aren’t people doing that for Denzel? How come whenever we have the conversation about who the greatest actors are, it’s always the same white dudes? It’s like De Niro, Pacino, Brando, DiCaprio – all the “o” actors. How come Denzel’s not in that conversation?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian and talk show host \u003ca href=\"http://www.wkamaubell.com/\">W. Kamau Bell\u003c/a> has interviewed fully hooded Klansmen in a dark forest at night. But one of his most vulnerable interviews came when he \u003ca href=\"http://longestshortesttime.com/episode-88-w-kamau-bell-asks-his-mom-about-sex/\">talked with his nearly 80-year- old mother\u003c/a> about her sex life.\u003c/p>\n\u003cp>Bell’s fame has spread from Bay Area comedy clubs to the national stage with his hit CNN show \u003ca href=\"http://www.cnn.com/shows/united-shades-of-america\">\u003cspan style=\"font-weight: 400\">“United Shades of America”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> -- where he takes a road trip across the country to explore themes of race, identity and politics.\u003c/span>\u003c/p>\n\u003cp>His new memoir, which came out this month, is called \u003ci>The Awkward Thoughts of W. Kamau Bell: Tales of a 6’4” African American, Heterosexual, Cisgender, Left-Leaning, Asthmatic, Black and Proud Blerd, Mama’s Boy, Dad, and Stand-Up Comedian\u003c/i>. He sat down with The California Report Magazine’s host, Sasha Khokha.\u003c/p>\n\u003ch3>Interview Highlights:\u003c/h3>\n\u003cp>\u003cb>On being black, 6'4\", and not playing basketball:\u003c/b>\u003c/p>\n\u003cp>\"I tried, but I didn’t play that well. If I had been great at it, it would be a different book. Then it would be an NBA memoir on ‘how I went from poor to now I’m a gillionaire.’ I just met someone who asked, ‘Were you good at basketball, or were you a waste of height?’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>On being hip in his 40s:\u003c/b>\u003c/p>\n\u003cp>“We are the age of the current culture. Every record store you walk into is playing '90s music. The '90s are currently what everybody’s into. Once it becomes like Brittany Spears, that’s when we’re done.”\u003c/p>\n\u003cp>\u003cb>On interviewing his nearly 80-year-old mom about her sex life for the parenting podcast \"\u003ca href=\"https://longestshortesttime.com/\">The Longest Shortest Time\"\u003c/a>\u003c/b>\u003c/p>\n\u003cp>“I mean, it made me blush. There’s a couple points where I was like, that’s enough, where I cut her off. You’re not supposed to do that in an interview. But it was my mom. It’s funny, a lot of the work I do, people sort of talk about it as something I’m doing for the world, or maybe for my community. It’s really all pretty selfish.\u003c/p>\n\u003cp>\"I wanted to have that conversation with my mom for a long time because I didn’t know what was going on. We were really close, and there was this one aspect of her life that we hadn’t talked about, her dating life. I sort of had this narrative in my head that my mom was this lonely person.”\u003c/p>\n\u003cp>\u003cb>On being a dad to two mixed-race daughters with different complexions:\u003c/b>\u003c/p>\n\u003cp>“While they’re clearly sisters, our youngest daughter is much lighter, her hair is much thinner, it’s not as kinky as her sister's. And we’re like, 'Oh, they’re going to have very different experiences.' My wife is #woke. She’s like, ‘Juno’s going to pass.’ And it’s just like wow. There’s two things there. Sami will probably be exotified by some people. And Juno may not be exotified, but she will be able to get into spaces that Sami won’t be able to get into and hear. We’ll have to have two different manuals [for raising our kids.]”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>On staying funny when performing for people with post-election political depression:\u003c/b>\u003c/p>\n\u003cp>“I have to make sure that the jokes that I’m telling are taking that perspective in, like I’m not talking at you, I’m like, 'I know, I know where we’re all at.'\u003c/p>\n\u003cp>\"I was also heartbroken by the election, so I wasn’t different from the audience. I was actually right there with them. Laughter can sort of help motivate. I don’t want you to be sad. I also know how serious the consequences are. If you stay sad, then we’re not going to win. So, let’s get happy.”\u003c/p>\n\u003cp>\u003cb>On interviewing a fully hooded member of the Ku Klux Klan in the woods for his show “United Shades of America\" with a mostly white TV crew:\u003c/b>\u003c/p>\n\u003cp>“I kept having to sort of advocate for ‘I need help here,’ that’s a different kind of help than just like, 'What do you need, water?' It’s not that the producers and crew didn’t have my back. They had my physical back but they didn’t have my racial back. Nobody knew how to reach out. Eventually I formed a very deep friendship with them, and now we’re all waking up together. Now they realize, Kamau is actually feeling all this stuff, he’s having a real experience.”\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/wGBooYqU1dg'\n title='//www.youtube.com/embed/wGBooYqU1dg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The guy who runs the show now [in the second season] is a black guy who has a Ph.D. in psychology. And there’s more black and brown faces on the crew. So when we do things that sometimes seem crazy, we have each other’s back physically and emotionally. It’s great to have a crew that you can immediately get into the van when you drive away from the scene and be like, ‘That was crazy!’ ”\u003c/p>\n\u003cp>\u003cb>On making a podcast called \u003ca href=\"https://itunes.apple.com/us/podcast/denzel-washington-is-the-greatest-actor-of-all-time-period/id935756902?mt=2\">\"Denzel Washington is the Greatest Actor of All Time, Period.”\u003c/a> With 118 episodes!\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We didn’t realize how many other people out there felt the same way we did. Fans, other actors, people who auditioned for roles in Denzel Washington movies and didn’t get 'em. There’s a lot of talk in Hollywood, 'Tom Hanks is so great,' 'Will Ferrell is so great.' Why aren’t people doing that for Denzel? How come whenever we have the conversation about who the greatest actors are, it’s always the same white dudes? It’s like De Niro, Pacino, Brando, DiCaprio – all the “o” actors. How come Denzel’s not in that conversation?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tabitha Soren Captures the Other Side of Baseball in New Book",
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"content": "\u003cp>During her eight years with MTV News, Tabitha Soren brought journalistic gravitas to a network that focused on celebrity and drama. Her interview with Tupac Shakur still stands as one of his most insightful, and her coverage of Bill Clinton’s 1992 presidential campaign earned MTV News a Peabody Award. \u003c/p>\n\u003cp>After leaving MTV in 1998, Soren moved to the Bay Area with her husband, the author Michael Lewis. While he worked on books like \u003ci>The New New Thing,\u003c/i> Soren attended Stanford on a fellowship, spending most of her time in the fine arts department. She decided she wanted to become a photographer — pursuing art with her camera instead of news, Soren said, allowed her to be more honest.\u003c/p>\n\u003cp>“It’s coming from my heart instead of my head. Journalism was about searching for an objective truth, and my artwork is searching for an emotional truth,” Soren said.\u003c/p>\n\u003cp>In 2003, Soren attended the Oakland Athletics’ Spring Training camp while her husband researched the team for his book \u003cem>Moneyball\u003c/em>. Though she wasn’t a fan of baseball at the time, seeing the team’s new recruits inspired her to start a massive project. \u003c/p>\n\u003cfigure id=\"attachment_11565939\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132-457x600.jpg\" alt=\"Tin Type of a player on the Stockton Ports\" width=\"457\" height=\"600\" class=\"size-medium wp-image-11565939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132-457x600.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132-400x525.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132.jpg 640w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Tintype of a player on the Stockton Ports. \u003ccite>(Photo: Tabitha Soren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I met a draft class who was arriving at Spring Training for the very first time,” Soren said. “And I saw all these kids with their faces full of hope, all going to work towards playing on a major league team, and I thought, ‘Wow, wouldn’t this be great to shoot their picture every year and see how their faces change, because they can’t remain this hopeful.'” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That idea, born 14 years ago, comes to fruition with her newest book of photographs, \u003cem>Fantasy Life\u003c/em>. Her idea of chronicling the players losing faith in the game didn’t pan out; the changes weren’t as visual as she hoped. But what Soren did find was a whole other world built around what she once thought was America’s most boring pastime. \u003c/p>\n\u003cp>“Even the guys in the dugout, they looked so bored in half of my pictures, making sculptures out of peanut shells or tobacco cans,” Soren said. “You know, the things that go on in there are not scintillating.”\u003c/p>\n\u003cp>But Soren found a way to bring out the more artistic qualities of the game. She experimented with tintype, a technology first developed in the 1860s. It made for beautiful images that, unlike other sports photographs, didn’t depend on action or celebrity. \u003ci>Fantasy Life\u003c/i> collects the best of those tintypes as well as an assortment of other photos she took at games — both major and minor league — all over the state. \u003c/p>\n\u003cp>For baseball fans, \u003ci>Fantasy Life\u003c/i> provides a look at star players you won’t get from ESPN, and that’s thanks to Billy Beane, the executive vice president of baseball operations for the Oakland A’s, who gave Soren complete access to the team during her 14-year project. Beane said he’s not much of an art fan, but that there was plenty for him to appreciate in Soren’s photographs.\u003c/p>\n\u003cp>“When I was able to look back at her exhibition, and knowing all the time she put into it — I’m going “God, she’s putting a lot of time into it this. What are going to be the results?” But looking back at it now, it sort of acts as a time capsule,” Beane said. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" 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>Read more about Soren’s baseball photos \u003ca href=\"https://ww2.kqed.org/arts/2016/05/10/tabitha-sorens-fantasy-life-processes-baseball-through-artistic-filter/\" target=\"_blank\" rel=\"noopener\">in our previous story.\u003c/a> Nearly 200 photos from \u003cb>Fantasy Life\u003c/b> will be on display at San Francisco City Hall from July 20–Dec. 15, 2017, across two floors — including many players from the San Francisco Giants — and admission is free.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During her eight years with MTV News, Tabitha Soren brought journalistic gravitas to a network that focused on celebrity and drama. Her interview with Tupac Shakur still stands as one of his most insightful, and her coverage of Bill Clinton’s 1992 presidential campaign earned MTV News a Peabody Award. \u003c/p>\n\u003cp>After leaving MTV in 1998, Soren moved to the Bay Area with her husband, the author Michael Lewis. While he worked on books like \u003ci>The New New Thing,\u003c/i> Soren attended Stanford on a fellowship, spending most of her time in the fine arts department. She decided she wanted to become a photographer — pursuing art with her camera instead of news, Soren said, allowed her to be more honest.\u003c/p>\n\u003cp>“It’s coming from my heart instead of my head. Journalism was about searching for an objective truth, and my artwork is searching for an emotional truth,” Soren said.\u003c/p>\n\u003cp>In 2003, Soren attended the Oakland Athletics’ Spring Training camp while her husband researched the team for his book \u003cem>Moneyball\u003c/em>. Though she wasn’t a fan of baseball at the time, seeing the team’s new recruits inspired her to start a massive project. \u003c/p>\n\u003cfigure id=\"attachment_11565939\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132-457x600.jpg\" alt=\"Tin Type of a player on the Stockton Ports\" width=\"457\" height=\"600\" class=\"size-medium wp-image-11565939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132-457x600.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132-400x525.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SOREN_Stockton_Ports_0132.jpg 640w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Tintype of a player on the Stockton Ports. \u003ccite>(Photo: Tabitha Soren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I met a draft class who was arriving at Spring Training for the very first time,” Soren said. “And I saw all these kids with their faces full of hope, all going to work towards playing on a major league team, and I thought, ‘Wow, wouldn’t this be great to shoot their picture every year and see how their faces change, because they can’t remain this hopeful.'” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That idea, born 14 years ago, comes to fruition with her newest book of photographs, \u003cem>Fantasy Life\u003c/em>. Her idea of chronicling the players losing faith in the game didn’t pan out; the changes weren’t as visual as she hoped. But what Soren did find was a whole other world built around what she once thought was America’s most boring pastime. \u003c/p>\n\u003cp>“Even the guys in the dugout, they looked so bored in half of my pictures, making sculptures out of peanut shells or tobacco cans,” Soren said. “You know, the things that go on in there are not scintillating.”\u003c/p>\n\u003cp>But Soren found a way to bring out the more artistic qualities of the game. She experimented with tintype, a technology first developed in the 1860s. It made for beautiful images that, unlike other sports photographs, didn’t depend on action or celebrity. \u003ci>Fantasy Life\u003c/i> collects the best of those tintypes as well as an assortment of other photos she took at games — both major and minor league — all over the state. \u003c/p>\n\u003cp>For baseball fans, \u003ci>Fantasy Life\u003c/i> provides a look at star players you won’t get from ESPN, and that’s thanks to Billy Beane, the executive vice president of baseball operations for the Oakland A’s, who gave Soren complete access to the team during her 14-year project. Beane said he’s not much of an art fan, but that there was plenty for him to appreciate in Soren’s photographs.\u003c/p>\n\u003cp>“When I was able to look back at her exhibition, and knowing all the time she put into it — I’m going “God, she’s putting a lot of time into it this. What are going to be the results?” But looking back at it now, it sort of acts as a time capsule,” Beane said. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" 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>Read more about Soren’s baseball photos \u003ca href=\"https://ww2.kqed.org/arts/2016/05/10/tabitha-sorens-fantasy-life-processes-baseball-through-artistic-filter/\" target=\"_blank\" rel=\"noopener\">in our previous story.\u003c/a> Nearly 200 photos from \u003cb>Fantasy Life\u003c/b> will be on display at San Francisco City Hall from July 20–Dec. 15, 2017, across two floors — including many players from the San Francisco Giants — and admission is free.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Denis Johnson, Author Who Wrote of the 'Painfully Beautiful,' Dies at 67",
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"content": "\u003cp>\u003cstrong>Updated at 10:47 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Denis Johnson, the author behind the seminal collection \u003cem>Jesus’ Son\u003c/em>, has died at the age of 67. Jeff Seroy, a spokesperson for Johnson’s publisher, Farrar Straus and Giroux, confirmed that the National Book Award-winning novelist died but offered no further details.\u003c/p>\n\u003cp>https://twitter.com/fsgbooks/status/868115191501914112\u003c/p>\n\u003cp>“Denis was one of the great writers of his generation,” FSG’s president and publisher, Jonathan Galassi, said in a statement Friday. “He wrote prose with the imaginative concentration and empathy of the poet he was.”\u003c/p>\n\u003cp>“Brutally honest and painfully beautiful” — that’s how novelist Nathan Englander described Johnson’s work in 1992’s \u003cem>Jesus’ Son\u003c/em>, a brief, unvarnished set of interwoven stories that focus on the desperate lives of drug addicts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He doesn’t ever romanticize these dark settings while leaving his narrator open to the fact that, despite it all, we may live in a heartbreakingly romantic world,” Englander \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11531765\" target=\"_blank\" rel=\"noopener\">wrote of Johnson in 2007\u003c/a>, adding: “With dialogue that feels like you’re getting it verbatim and stripped-down prose, he writes simple, honest stories that have the bigness of great work.”\u003c/p>\n\u003cp>The same year that Englander praised him on NPR, Johnson went on to win the National Book Award for a significantly heftier work — at least in physical size. \u003cem>Tree of Smoke\u003c/em>, a deep dive into covert operations during the Vietnam War, only added proof to the notion Johnson was “a fine stylist of the world of soulful disaster,” reviewer Alan Cheuse \u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=14162036\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a>.\u003c/p>\n\u003cp>And Johnson, whose novella \u003cem>Train Dreams\u003c/em> was also a finalist for the 2012 Pulitzer, proved to be prolific both on the page and off: The author of about 20 books, including several collections of poetry, he pursued journalistic stories in Somalia and Liberia, among other places around the world.\u003c/p>\n\u003cp>In Liberia’s capital city in 1990, the dogs were doing well “because they feed on human corpses,” he wrote in “The Civil War in Hell,” a piece included in the nonfiction collection \u003cem>Seek\u003c/em>. “The people are starving, but the dogs have put on weight.”\u003c/p>\n\u003cp>https://twitter.com/alexanderchee/status/867973643539587076\u003c/p>\n\u003cp>https://twitter.com/AimeeBender/status/867975314265186304\u003c/p>\n\u003cp>From book to book, the protean writer frequently defied readers’ expectations, slipping into new voices with each publication.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I get bored quickly and try another style, another genre, another form,” he \u003ca href=\"http://www.latimes.com/books/jacketcopy/la-ca-jc-denis-johnson-20141102-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times\u003c/a> in 2014, around the time he released his 10th novel, \u003cem>Laughing Monsters\u003c/em>. “To me the writing is all one thing, or maybe I should say it’s all nothing. The truth is, I just write sentences.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Denis+Johnson%2C+Author+Who+Wrote+Of+The+%27Painfully+Beautiful%2C%27+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The National Book Award-winning novelist was perhaps best known for 'Jesus' Son', a book of interwoven stories focused on the lives of addicts. A spokesman for his publisher tells NPR he died this week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Denis was one of the great writers of his generation,” FSG’s president and publisher, Jonathan Galassi, said in a statement Friday. “He wrote prose with the imaginative concentration and empathy of the poet he was.”\u003c/p>\n\u003cp>“Brutally honest and painfully beautiful” — that’s how novelist Nathan Englander described Johnson’s work in 1992’s \u003cem>Jesus’ Son\u003c/em>, a brief, unvarnished set of interwoven stories that focus on the desperate lives of drug addicts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He doesn’t ever romanticize these dark settings while leaving his narrator open to the fact that, despite it all, we may live in a heartbreakingly romantic world,” Englander \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11531765\" target=\"_blank\" rel=\"noopener\">wrote of Johnson in 2007\u003c/a>, adding: “With dialogue that feels like you’re getting it verbatim and stripped-down prose, he writes simple, honest stories that have the bigness of great work.”\u003c/p>\n\u003cp>The same year that Englander praised him on NPR, Johnson went on to win the National Book Award for a significantly heftier work — at least in physical size. \u003cem>Tree of Smoke\u003c/em>, a deep dive into covert operations during the Vietnam War, only added proof to the notion Johnson was “a fine stylist of the world of soulful disaster,” reviewer Alan Cheuse \u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=14162036\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a>.\u003c/p>\n\u003cp>And Johnson, whose novella \u003cem>Train Dreams\u003c/em> was also a finalist for the 2012 Pulitzer, proved to be prolific both on the page and off: The author of about 20 books, including several collections of poetry, he pursued journalistic stories in Somalia and Liberia, among other places around the world.\u003c/p>\n\u003cp>In Liberia’s capital city in 1990, the dogs were doing well “because they feed on human corpses,” he wrote in “The Civil War in Hell,” a piece included in the nonfiction collection \u003cem>Seek\u003c/em>. “The people are starving, but the dogs have put on weight.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>From book to book, the protean writer frequently defied readers’ expectations, slipping into new voices with each publication.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I get bored quickly and try another style, another genre, another form,” he \u003ca href=\"http://www.latimes.com/books/jacketcopy/la-ca-jc-denis-johnson-20141102-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times\u003c/a> in 2014, around the time he released his 10th novel, \u003cem>Laughing Monsters\u003c/em>. “To me the writing is all one thing, or maybe I should say it’s all nothing. The truth is, I just write sentences.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Denis+Johnson%2C+Author+Who+Wrote+Of+The+%27Painfully+Beautiful%2C%27+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "40 Years Ago, In A Galaxy Far, Far Away, an Iconic Film Score Was Born",
"headTitle": "40 Years Ago, In A Galaxy Far, Far Away, an Iconic Film Score Was Born | KQED",
"content": "\u003cp>How is this for a first day on the job: Maurice Murphy, the \u003ca href=\"https://lso.co.uk/\" target=\"_blank\" rel=\"noopener\">London Symphony Orchestra\u003c/a> (LSO)’s late principal trumpet player, spent his very first day with the orchestra recording \u003cem>Star Wars\u003c/em>‘ iconic opening theme, with its incredible brass fanfare — and Murphy leading the trumpets.\u003c/p>\n\u003cp>“It was an amazing moment, that blast of brass that opens the film. It was the first sound I heard from Maurice, really,” the film’s composer, John Williams, told the London Symphony Orchestra in a 2007 \u003ca href=\"https://soundcloud.com/london-symphony-orchestra/maurice-murphy-podcast\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> celebrating Murphy, who was then retiring from the orchestra. “It was electrifying … Everyone felt it. And I think people around the world, whenever they hear that piece now, there’s a kind of instant reaction that I think really was elicited in its initial spirit by Maurice’s sound, and just that heraldic spirit that lies within everything he plays … I think of his playing, or the effect of his playing, as having created the voice of a hero.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZSthLmvh6Fk\u003c/p>\n\u003cp>\u003cem>Star Wars\u003c/em> opened 40 years ago today — and pop culture was changed forever with its release and the ensuing constellation of shorthand cultural references. Its epically scaled, lushly orchestrated score, written by John Williams and played by the LSO, became a global touchstone in music.\u003c/p>\n\u003cp>The LSO is celebrating the 40th anniversary of its most-famous recording with a \u003ca href=\"https://lso.co.uk/more/blog/653-happy-40th-birthday-star-wars.html\" target=\"_blank\" rel=\"noopener\">page\u003c/a> of goodies, including the attendance sheet for that first recording session. (If you’re a film-score buff, by the way, you might want to check out that whole podcast about Maurice Murphy — Williams also talks about working with Murphy on other films throughout the \u003cem>Star Wars\u003c/em> series as well as on the \u003cem>Harry Potter\u003c/em> films.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/13577781″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Williams’ heroic music, embedded with references to the music of composers like \u003ca href=\"http://www.npr.org/artists/91322541/gustav-holst\" target=\"_blank\" rel=\"noopener\">Gustav Holst\u003c/a>, \u003ca href=\"http://www.npr.org/artists/89337436/richard-wagner\" target=\"_blank\" rel=\"noopener\">Richard Wagner\u003c/a> and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15870129\" target=\"_blank\" rel=\"noopener\">Richard Strauss\u003c/a>, has been heralded as a musical landmark. When the Library of Congress added the \u003cem>Star Wars\u003c/em> soundtrack to the National Recording Registry in 2004, Emilio Audissino \u003ca href=\"https://www.loc.gov/programs/static/national-recording-preservation-board/documents/Star%20Wars-AUDISSINO.pdf\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on behalf of the Library:\u003c/p>\n\u003cblockquote>\n\u003cp>“Apart from the huge popularity and the many awards, Williams’s ‘Star Wars’ is a milestone because it was instrumental in reviving the musical style of the Golden Age of Hollywood (1930s to 1950s), and was seminal in boosting a new interest for symphonic film music … The score is rich in leitmotivs — à la Wagner through the Hollywood tradition — and is lushly orchestrated and highly coloristic, and follows tightly and extensively the visual actions and narrative lines.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>\u003c/strong>The matter of how a \u003cem>British\u003c/em> orchestra came to be associated with one of the U.S.’ most canonical pop-culture tentpoles might be simply a matter of economics. In those years — and in a situation that continues to this day — most American orchestras’ studio recording activities were tightly constrained by very strict union regulations and the associated costs of getting a major American orchestra into the recording studio under those union stipulations were, usually, deemed prohibitive. As a matter of comparison, the hourly rate for American players was roughly \u003ca href=\"https://www.stereophile.com/content/recording-rules-orchestras-page-2\" target=\"_blank\" rel=\"noopener\">three times\u003c/a> that of equally talented European musicians. According to a 1977 Twentieth Century-Fox budget breakdown \u003ca href=\"http://io9.gizmodo.com/5875998/behold-the-1977-budget-breakdown-for-star-wars\" target=\"_blank\" rel=\"noopener\">unearthed\u003c/a> a few years ago, the studio had allotted $100,000 for the score and recording costs, out of an $11 million total budget.\u003c/p>\n\u003cp>The LSO tells the story of their involvement from a different angle, recounted in the orchestra’s official history, the 2003 book \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/874363.Orchestra\" target=\"_blank\" rel=\"noopener\">A Century of Triumph and Turbulence\u003c/a>\u003c/em>, written by Richard Morrison. According to Anthony Camden, the orchestra’s former oboist and chairman, he had a business meeting with then-principal conductor André Previn, who was a widely heralded Hollywood composer, particularly for his work in the 1950s and 60s. During their meeting, Camden suggested that Previn write a new film score that the orchestra could then record. Previn declined, but proposed that Camden get in touch with another American film composer by the name of John Williams.\u003c/p>\n\u003cp>Previn promptly called Williams, and passed the phone over to Camden. Williams said that he was, in fact, just starting to work on a new score, but that “it wouldn’t interest the LSO because it was all ‘up in the universe.'”\u003c/p>\n\u003cp>The LSO already had a \u003ca href=\"https://lso.co.uk/orchestra/history/lso-and-film-music.html\" target=\"_blank\" rel=\"noopener\">long history\u003c/a> of working within film music, going all the way back to 1935. Coincidentally, its very first recorded score was for another science-fiction fantasy, Arthur Bliss’ music for \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">Things to Come\u003c/a>\u003c/em>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">\u003c/a>. It was H.G. Wells’ screen adaptation of his novel about the rebirth of civilization after a long world war — and whose population attempts space travel.\u003c/p>\n\u003cp>Even though the 1977 \u003cem>Star Wars\u003c/em> soundtrack became one of the most famous pieces of recorded music in the 20th century, it\u003cstrong> \u003c/strong>didn’t become a major money-maker for the British orchestra.\u003c/p>\n\u003cp>There’s a delicious-sounding, but apparently \u003ca href=\"http://www.theibanker.com/when-cash-is-not-king-star-wars-and-the-london-symphony-orchestra/\" target=\"_blank\" rel=\"noopener\">spurious\u003c/a>, anecdote floating online about supposed negotiations between the LSO musicians and the film’s director, George Lucas, in which Lucas allegedly offered the orchestra the choice of either receiving their regular fees for the work upfront, or waiting to receive a “small” share of any box-office profits.\u003c/p>\n\u003cp>The LSO’s archivist, Libby Rice, took a peek at the ensemble’s records for NPR, and confirmed that Twentieth Century-Fox paid the orchestra the standard British Musicians’ Union rates, as well as standard residuals from the album release and a standard administration fee to the LSO organization for arranging the sessions. According to the LSO, there is no record of any negotiations, or any discussions about the fee structure for \u003cem>Star Wars\u003c/em>, in the orchestra’s minute books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That first \u003cem>Star Wars \u003c/em>film went on to earn more than \u003ca href=\"http://www.the-numbers.com/movies/franchise/Star-Wars#tab=summary\" target=\"_blank\" rel=\"noopener\">$786 million\u003c/a> worldwide. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=40+Years+Ago%2C+In+A+Galaxy+Far%2C+Far+Away%2C+An+Iconic+Film+Score+Was+Born&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "'Star Wars' was released 40 years ago today — and it wasn't just the light sabers that changed pop culture. John Williams' epic music, played by the London Symphony Orchestra, became a touchstone.",
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"title": "40 Years Ago, In A Galaxy Far, Far Away, an Iconic Film Score Was Born | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How is this for a first day on the job: Maurice Murphy, the \u003ca href=\"https://lso.co.uk/\" target=\"_blank\" rel=\"noopener\">London Symphony Orchestra\u003c/a> (LSO)’s late principal trumpet player, spent his very first day with the orchestra recording \u003cem>Star Wars\u003c/em>‘ iconic opening theme, with its incredible brass fanfare — and Murphy leading the trumpets.\u003c/p>\n\u003cp>“It was an amazing moment, that blast of brass that opens the film. It was the first sound I heard from Maurice, really,” the film’s composer, John Williams, told the London Symphony Orchestra in a 2007 \u003ca href=\"https://soundcloud.com/london-symphony-orchestra/maurice-murphy-podcast\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> celebrating Murphy, who was then retiring from the orchestra. “It was electrifying … Everyone felt it. And I think people around the world, whenever they hear that piece now, there’s a kind of instant reaction that I think really was elicited in its initial spirit by Maurice’s sound, and just that heraldic spirit that lies within everything he plays … I think of his playing, or the effect of his playing, as having created the voice of a hero.”\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/ZSthLmvh6Fk'\n title='//www.youtube.com/embed/ZSthLmvh6Fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Star Wars\u003c/em> opened 40 years ago today — and pop culture was changed forever with its release and the ensuing constellation of shorthand cultural references. Its epically scaled, lushly orchestrated score, written by John Williams and played by the LSO, became a global touchstone in music.\u003c/p>\n\u003cp>The LSO is celebrating the 40th anniversary of its most-famous recording with a \u003ca href=\"https://lso.co.uk/more/blog/653-happy-40th-birthday-star-wars.html\" target=\"_blank\" rel=\"noopener\">page\u003c/a> of goodies, including the attendance sheet for that first recording session. (If you’re a film-score buff, by the way, you might want to check out that whole podcast about Maurice Murphy — Williams also talks about working with Murphy on other films throughout the \u003cem>Star Wars\u003c/em> series as well as on the \u003cem>Harry Potter\u003c/em> films.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/13577781″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/13577781″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Williams’ heroic music, embedded with references to the music of composers like \u003ca href=\"http://www.npr.org/artists/91322541/gustav-holst\" target=\"_blank\" rel=\"noopener\">Gustav Holst\u003c/a>, \u003ca href=\"http://www.npr.org/artists/89337436/richard-wagner\" target=\"_blank\" rel=\"noopener\">Richard Wagner\u003c/a> and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15870129\" target=\"_blank\" rel=\"noopener\">Richard Strauss\u003c/a>, has been heralded as a musical landmark. When the Library of Congress added the \u003cem>Star Wars\u003c/em> soundtrack to the National Recording Registry in 2004, Emilio Audissino \u003ca href=\"https://www.loc.gov/programs/static/national-recording-preservation-board/documents/Star%20Wars-AUDISSINO.pdf\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on behalf of the Library:\u003c/p>\n\u003cblockquote>\n\u003cp>“Apart from the huge popularity and the many awards, Williams’s ‘Star Wars’ is a milestone because it was instrumental in reviving the musical style of the Golden Age of Hollywood (1930s to 1950s), and was seminal in boosting a new interest for symphonic film music … The score is rich in leitmotivs — à la Wagner through the Hollywood tradition — and is lushly orchestrated and highly coloristic, and follows tightly and extensively the visual actions and narrative lines.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>\u003c/strong>The matter of how a \u003cem>British\u003c/em> orchestra came to be associated with one of the U.S.’ most canonical pop-culture tentpoles might be simply a matter of economics. In those years — and in a situation that continues to this day — most American orchestras’ studio recording activities were tightly constrained by very strict union regulations and the associated costs of getting a major American orchestra into the recording studio under those union stipulations were, usually, deemed prohibitive. As a matter of comparison, the hourly rate for American players was roughly \u003ca href=\"https://www.stereophile.com/content/recording-rules-orchestras-page-2\" target=\"_blank\" rel=\"noopener\">three times\u003c/a> that of equally talented European musicians. According to a 1977 Twentieth Century-Fox budget breakdown \u003ca href=\"http://io9.gizmodo.com/5875998/behold-the-1977-budget-breakdown-for-star-wars\" target=\"_blank\" rel=\"noopener\">unearthed\u003c/a> a few years ago, the studio had allotted $100,000 for the score and recording costs, out of an $11 million total budget.\u003c/p>\n\u003cp>The LSO tells the story of their involvement from a different angle, recounted in the orchestra’s official history, the 2003 book \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/874363.Orchestra\" target=\"_blank\" rel=\"noopener\">A Century of Triumph and Turbulence\u003c/a>\u003c/em>, written by Richard Morrison. According to Anthony Camden, the orchestra’s former oboist and chairman, he had a business meeting with then-principal conductor André Previn, who was a widely heralded Hollywood composer, particularly for his work in the 1950s and 60s. During their meeting, Camden suggested that Previn write a new film score that the orchestra could then record. Previn declined, but proposed that Camden get in touch with another American film composer by the name of John Williams.\u003c/p>\n\u003cp>Previn promptly called Williams, and passed the phone over to Camden. Williams said that he was, in fact, just starting to work on a new score, but that “it wouldn’t interest the LSO because it was all ‘up in the universe.'”\u003c/p>\n\u003cp>The LSO already had a \u003ca href=\"https://lso.co.uk/orchestra/history/lso-and-film-music.html\" target=\"_blank\" rel=\"noopener\">long history\u003c/a> of working within film music, going all the way back to 1935. Coincidentally, its very first recorded score was for another science-fiction fantasy, Arthur Bliss’ music for \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">Things to Come\u003c/a>\u003c/em>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">\u003c/a>. It was H.G. Wells’ screen adaptation of his novel about the rebirth of civilization after a long world war — and whose population attempts space travel.\u003c/p>\n\u003cp>Even though the 1977 \u003cem>Star Wars\u003c/em> soundtrack became one of the most famous pieces of recorded music in the 20th century, it\u003cstrong> \u003c/strong>didn’t become a major money-maker for the British orchestra.\u003c/p>\n\u003cp>There’s a delicious-sounding, but apparently \u003ca href=\"http://www.theibanker.com/when-cash-is-not-king-star-wars-and-the-london-symphony-orchestra/\" target=\"_blank\" rel=\"noopener\">spurious\u003c/a>, anecdote floating online about supposed negotiations between the LSO musicians and the film’s director, George Lucas, in which Lucas allegedly offered the orchestra the choice of either receiving their regular fees for the work upfront, or waiting to receive a “small” share of any box-office profits.\u003c/p>\n\u003cp>The LSO’s archivist, Libby Rice, took a peek at the ensemble’s records for NPR, and confirmed that Twentieth Century-Fox paid the orchestra the standard British Musicians’ Union rates, as well as standard residuals from the album release and a standard administration fee to the LSO organization for arranging the sessions. According to the LSO, there is no record of any negotiations, or any discussions about the fee structure for \u003cem>Star Wars\u003c/em>, in the orchestra’s minute books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That first \u003cem>Star Wars \u003c/em>film went on to earn more than \u003ca href=\"http://www.the-numbers.com/movies/franchise/Star-Wars#tab=summary\" target=\"_blank\" rel=\"noopener\">$786 million\u003c/a> worldwide. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=40+Years+Ago%2C+In+A+Galaxy+Far%2C+Far+Away%2C+An+Iconic+Film+Score+Was+Born&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Kidman, Pattinson and Sandler Lead Oscar Contenders Out of Cannes",
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"content": "\u003cp>It’s a long way from May in France to February in Los Angeles, but the Cannes Film Festival has often been a breeding ground for Academy Awards campaigns.\u003c/p>\n\u003cp>The Oscars aren’t much on the minds of the filmmakers or attendees in Cannes; the festival is its own achievement, with nearly as much spectacle and prestige as the Academy Awards. Oscar potential, though, is often born in Cannes, and some early handshaking with the Hollywood Foreign Press, which puts on the Golden Globes, is sometimes sneaked into busy schedules.\u003c/p>\n\u003cp>Not since 2011’s \u003cem>The Artist\u003c/em> has a Cannes Palme d’Or winner gone on to win best picture. And, if anything, the fall gauntlet of festivals — Telluride, Toronto, Venice, New York — has recently only reasserted itself as the premiere path to the Oscars. Such was the road of most of the recent best-picture winners, including \u003cem>Moonlight\u003c/em>, \u003cem>Birdman\u003c/em> and \u003cem>12 Years a Slav\u003c/em>e.\u003c/p>\n\u003cp>Still, Cannes last year kick-started eventual nominees like the best-picture candidate \u003cem>Hell or High Water\u003c/em>, Isabelle Huppert (\u003cem>Elle\u003c/em>), Ruth Negga (\u003cem>Loving\u003c/em>), \u003cem>The Lobster\u003c/em> (which scored a screenplay nod) and foreign-language winner \u003cem>The Salesman\u003c/em>. The 2015 Cannes accounted for nearly 20 nominations, including \u003cem>Mad Max: Fury Road\u003c/em>, \u003cem>Carol\u003c/em>, \u003cem>Inside Out\u003c/em> and \u003cem>Son of Saul\u003c/em>.\u003c/p>\n\u003cp>This year’s festival, which concludes Sunday with the Palme d’Or presentation, might not produce such a haul as that. But standing ovations on the Croisette appear likely to lead to awards consideration for a number of big names — some of whom aren’t the usual suspects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Adam Sandler\u003c/strong> — When Sandler has waded into drama, he’s often won raves. But even more than his turns in \u003cem>Punch Drunk Love\u003c/em> and \u003cem>Spanglish\u003c/em>, Sandler’s tender, rumpled performance as a recently divorced father in Noah Baumbach’s \u003cem>The Meyerowitz Stories (New and Selected)\u003c/em> was hailed as a new high point for the Sand Man. The Netflix release could also earn some attention for Dustin Hoffman, who with typical distinction plays the prickly father of Sandler in the film.\u003c/p>\n\u003cp>\u003cstrong>Nicole Kidman\u003c/strong> — It’s less a question of whether Kidman will be back in the Oscar hunt than for which film. She had two in competition in Cannes: Yorgos Lanthimos’ \u003cem>The Lobster\u003c/em> follow-up \u003cem>The Killing of a Sacred Deer\u003c/em> and Sofia Coppola’s \u003cem>The Beguiled\u003c/em>, a remake of Don Siegel’s 1971 Civil War thriller. While the nod for \u003cem>The Lobster\u003c/em> suggests considerable support for Lanthimos’ grandly demented comedies, the handsome period piece \u003cem>The Beguiled\u003c/em> — in which Kidman plays the headmaster of a Virginia girls’ boarding school — is probably the more likely shot. If the movie, which opens June 30, earned enough buzz, it could lead to attention for others, too, like Colin Farrell (Kidman’s co-star in \u003cem>Sacred Deer\u003c/em>), Kirsten Dunst and Coppola’s directing.\u003c/p>\n\u003cp>\u003cstrong>Robert Pattinson\u003c/strong> — Pattinson’s former \u003cem>Twilight\u003c/em> co-star, Kristen Stewart, has used Cannes to show a new side to herself in films like \u003cem>Clouds of Sils Maria\u003c/em> and \u003cem>Personal Shopper\u003c/em>. Now, Pattinson has, too. His scruffy, scuzzy performance as a Queens bank robber in Benny and Josh Safdie’s \u003cem>Good Time\u003c/em> was immediately hailed at a career-best for the 31-year-old actor.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Wind River\u003c/em>\u003c/strong> — As the writer of \u003cem>Hell or High Water\u003c/em> and \u003cem>Sicario\u003c/em>, Taylor Sheridan’s Texas tales have already earned him a reputation for intense and weighty crime dramas. \u003cem>Wind River\u003c/em>, which first premiered at Sundance in January, makes it three in a row for Sheridan, now making his directorial debut. The film is about a murder investigation on an Indian Reservation and its lead, Jeremy Renner, is also a standout.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Florida Project\u003c/em>\u003c/strong> — Sean Baker’s previous film, \u003cem>Tangerine\u003c/em>, didn’t make it to the Oscars, but it nearly did, landing on top-10 lists and taking critics awards — all despite being shot on an iPhone. For \u003cem>The Florida Project\u003c/em>, Baker switched to 35mm for this story about a pair of poor 6-year-old girls living in Orlando budget motels and in the shadow of Walt Disney World. It was one of the few runaway hits of the festival.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Wonderstruck\u003c/em>\u003c/strong> — Todd Haynes’ \u003cem>Wonderstruck\u003c/em> might not boast awards-friendly lead performances like Cate Blanchett and Rooney Mara in his last film, \u003cem>Carol\u003c/em>. But \u003cem>Wonderstruck\u003c/em>, Haynes’ adaptation of Brian Selznick’s young-adult book, is every bit as finely crafted in stitching together two parallel story lines between 1927 and 1977. Large parts of the film are also mostly wordless — there have been \u003cem>The Artist\u003c/em> comparisons — with Haynes using all his cinematic abilities to weave his magic. Carter Burwell’s score, at the least, should be an automatic.\u003c/p>\n\u003cp>\u003cstrong>Others\u003c/strong> — Cannes entries will surely help fill the foreign-language category, and early possibilities include the French AIDS drama \u003cem>120 Beats Per Minute\u003c/em>; Andrey Zvyagintsev’s \u003cem>Leviathan\u003c/em> follow-up, \u003cem>Loveless\u003c/em>; and Ruben Ostlund’s \u003cem>The Square\u003c/em>. And it would be difficult to ever count out Tilda Swinton, who — as she did in the Coen brothers’ \u003cem>Hail, Caesar!\u003c/em> — plays twin sisters, this time in Bong Joon-ho’s \u003cem>Okja\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Few would have guessed that Huppert or, for that matter, \u003cem>Mad Max\u003c/em>, would become such an awards force coming out the last two festivals. But with eight months to go until the Oscars, the bounty from Cannes surely holds more surprises in store.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a long way from May in France to February in Los Angeles, but the Cannes Film Festival has often been a breeding ground for Academy Awards campaigns.\u003c/p>\n\u003cp>The Oscars aren’t much on the minds of the filmmakers or attendees in Cannes; the festival is its own achievement, with nearly as much spectacle and prestige as the Academy Awards. Oscar potential, though, is often born in Cannes, and some early handshaking with the Hollywood Foreign Press, which puts on the Golden Globes, is sometimes sneaked into busy schedules.\u003c/p>\n\u003cp>Not since 2011’s \u003cem>The Artist\u003c/em> has a Cannes Palme d’Or winner gone on to win best picture. And, if anything, the fall gauntlet of festivals — Telluride, Toronto, Venice, New York — has recently only reasserted itself as the premiere path to the Oscars. Such was the road of most of the recent best-picture winners, including \u003cem>Moonlight\u003c/em>, \u003cem>Birdman\u003c/em> and \u003cem>12 Years a Slav\u003c/em>e.\u003c/p>\n\u003cp>Still, Cannes last year kick-started eventual nominees like the best-picture candidate \u003cem>Hell or High Water\u003c/em>, Isabelle Huppert (\u003cem>Elle\u003c/em>), Ruth Negga (\u003cem>Loving\u003c/em>), \u003cem>The Lobster\u003c/em> (which scored a screenplay nod) and foreign-language winner \u003cem>The Salesman\u003c/em>. The 2015 Cannes accounted for nearly 20 nominations, including \u003cem>Mad Max: Fury Road\u003c/em>, \u003cem>Carol\u003c/em>, \u003cem>Inside Out\u003c/em> and \u003cem>Son of Saul\u003c/em>.\u003c/p>\n\u003cp>This year’s festival, which concludes Sunday with the Palme d’Or presentation, might not produce such a haul as that. But standing ovations on the Croisette appear likely to lead to awards consideration for a number of big names — some of whom aren’t the usual suspects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Adam Sandler\u003c/strong> — When Sandler has waded into drama, he’s often won raves. But even more than his turns in \u003cem>Punch Drunk Love\u003c/em> and \u003cem>Spanglish\u003c/em>, Sandler’s tender, rumpled performance as a recently divorced father in Noah Baumbach’s \u003cem>The Meyerowitz Stories (New and Selected)\u003c/em> was hailed as a new high point for the Sand Man. The Netflix release could also earn some attention for Dustin Hoffman, who with typical distinction plays the prickly father of Sandler in the film.\u003c/p>\n\u003cp>\u003cstrong>Nicole Kidman\u003c/strong> — It’s less a question of whether Kidman will be back in the Oscar hunt than for which film. She had two in competition in Cannes: Yorgos Lanthimos’ \u003cem>The Lobster\u003c/em> follow-up \u003cem>The Killing of a Sacred Deer\u003c/em> and Sofia Coppola’s \u003cem>The Beguiled\u003c/em>, a remake of Don Siegel’s 1971 Civil War thriller. While the nod for \u003cem>The Lobster\u003c/em> suggests considerable support for Lanthimos’ grandly demented comedies, the handsome period piece \u003cem>The Beguiled\u003c/em> — in which Kidman plays the headmaster of a Virginia girls’ boarding school — is probably the more likely shot. If the movie, which opens June 30, earned enough buzz, it could lead to attention for others, too, like Colin Farrell (Kidman’s co-star in \u003cem>Sacred Deer\u003c/em>), Kirsten Dunst and Coppola’s directing.\u003c/p>\n\u003cp>\u003cstrong>Robert Pattinson\u003c/strong> — Pattinson’s former \u003cem>Twilight\u003c/em> co-star, Kristen Stewart, has used Cannes to show a new side to herself in films like \u003cem>Clouds of Sils Maria\u003c/em> and \u003cem>Personal Shopper\u003c/em>. Now, Pattinson has, too. His scruffy, scuzzy performance as a Queens bank robber in Benny and Josh Safdie’s \u003cem>Good Time\u003c/em> was immediately hailed at a career-best for the 31-year-old actor.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Wind River\u003c/em>\u003c/strong> — As the writer of \u003cem>Hell or High Water\u003c/em> and \u003cem>Sicario\u003c/em>, Taylor Sheridan’s Texas tales have already earned him a reputation for intense and weighty crime dramas. \u003cem>Wind River\u003c/em>, which first premiered at Sundance in January, makes it three in a row for Sheridan, now making his directorial debut. The film is about a murder investigation on an Indian Reservation and its lead, Jeremy Renner, is also a standout.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Florida Project\u003c/em>\u003c/strong> — Sean Baker’s previous film, \u003cem>Tangerine\u003c/em>, didn’t make it to the Oscars, but it nearly did, landing on top-10 lists and taking critics awards — all despite being shot on an iPhone. For \u003cem>The Florida Project\u003c/em>, Baker switched to 35mm for this story about a pair of poor 6-year-old girls living in Orlando budget motels and in the shadow of Walt Disney World. It was one of the few runaway hits of the festival.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Wonderstruck\u003c/em>\u003c/strong> — Todd Haynes’ \u003cem>Wonderstruck\u003c/em> might not boast awards-friendly lead performances like Cate Blanchett and Rooney Mara in his last film, \u003cem>Carol\u003c/em>. But \u003cem>Wonderstruck\u003c/em>, Haynes’ adaptation of Brian Selznick’s young-adult book, is every bit as finely crafted in stitching together two parallel story lines between 1927 and 1977. Large parts of the film are also mostly wordless — there have been \u003cem>The Artist\u003c/em> comparisons — with Haynes using all his cinematic abilities to weave his magic. Carter Burwell’s score, at the least, should be an automatic.\u003c/p>\n\u003cp>\u003cstrong>Others\u003c/strong> — Cannes entries will surely help fill the foreign-language category, and early possibilities include the French AIDS drama \u003cem>120 Beats Per Minute\u003c/em>; Andrey Zvyagintsev’s \u003cem>Leviathan\u003c/em> follow-up, \u003cem>Loveless\u003c/em>; and Ruben Ostlund’s \u003cem>The Square\u003c/em>. And it would be difficult to ever count out Tilda Swinton, who — as she did in the Coen brothers’ \u003cem>Hail, Caesar!\u003c/em> — plays twin sisters, this time in Bong Joon-ho’s \u003cem>Okja\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Few would have guessed that Huppert or, for that matter, \u003cem>Mad Max\u003c/em>, would become such an awards force coming out the last two festivals. But with eight months to go until the Oscars, the bounty from Cannes surely holds more surprises in store.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>California lawmakers heard testimony from artists, nonprofits and developers on Wednesday, in an effort to find out what the state can do to address a shortage of artist housing in the wake of Oakland's Ghost Ship fire.\u003c/p>\n\u003cp>The Legislature's Joint Committee on Arts held a hearing to review the state's \"creative economy,\" but the discussion centered on how to house artists in safe and affordable settings.\u003c/p>\n\u003cp>The \u003ca href=\"https://ww2.kqed.org/news/tag/ghost-ship-fire/\">Ghost Ship warehouse fire\u003c/a> in December \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\">killed 36 people\u003c/a>, all involved in the Bay Area arts scene. The two-story building was an un-permitted living space that was hosting an electronic music show when the fire broke out.\u003c/p>\n\u003cp>[contextly_sidebar id=\"7l3ni6gDn8nTgqTYw1ZFHTeefAvQ1gy1\"]\u003c/p>\n\u003cp>Ron Vidal, one of the founders of the group \u003ca href=\"http://artistsofthebay.org/\">We the Artists of the Bay Area\u003c/a>, encouraged artists to engage with policymakers on housing affordability and safety issues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Historically, the creative community hasn’t spoken in a collective voice,\" he said. \"We’ve never really had to talk to the government.\"\u003c/p>\n\u003cp>Vidal warned state and local lawmakers against using the fire as a reason to pursue code violations against similar artist live-work spaces. He suggested that cities consider temporary moratoriums on compliance.\u003c/p>\n\u003cp>In January, Oakland Mayor Libby Schaaf \u003ca href=\"https://ww2.kqed.org/arts/2017/01/11/oakland-mayor-issues-exec-order-protecting-tenants-of-unsafe-warehouse-spaces/\">signed an executive order\u003c/a> that pushed property owners to come into compliance with building codes without evicting their tenants.\u003c/p>\n\u003cp>Still, members of the Oakland arts community expressed concern at Wednesday's hearing that landlords were clearing out tenants to avoid lawsuits.\u003c/p>\n\u003cp>\"We have a lot of ‘liability-first’ concerns,\" said Jonah Strauss, executive director of the Oakland Warehouse Coalition. \"We have some very reactionary landlords who go after tenants.\"\u003c/p>\n\u003cp>The lawmakers at the hearing said they had little power to directly revise local building codes.\u003c/p>\n\u003cp>State Sen. Nancy Skinner (D-Oakland) said she wants to direct some state funding to fix up spaces similar to the Ghost Ship. Her legislation, \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201720180SB305\">SB 305\u003c/a>, would invest $20 million in low-interest loans to upgrade unsafe live-work buildings. The bill is currently in the Senate Appropriations Committee.\u003c/p>\n\u003cp>\"We wrote it to try to identify just some minimal safety standards that the loan would be able to be used for,\" Skinner said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Skinner added that her colleague. Sen. Mike McGuire (D-Healdsburg), is convening a working group of the Senate Governance and Finance Committee to look at legislative fixes to state building codes.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Historically, the creative community hasn’t spoken in a collective voice,\" he said. \"We’ve never really had to talk to the government.\"\u003c/p>\n\u003cp>Vidal warned state and local lawmakers against using the fire as a reason to pursue code violations against similar artist live-work spaces. He suggested that cities consider temporary moratoriums on compliance.\u003c/p>\n\u003cp>In January, Oakland Mayor Libby Schaaf \u003ca href=\"https://ww2.kqed.org/arts/2017/01/11/oakland-mayor-issues-exec-order-protecting-tenants-of-unsafe-warehouse-spaces/\">signed an executive order\u003c/a> that pushed property owners to come into compliance with building codes without evicting their tenants.\u003c/p>\n\u003cp>Still, members of the Oakland arts community expressed concern at Wednesday's hearing that landlords were clearing out tenants to avoid lawsuits.\u003c/p>\n\u003cp>\"We have a lot of ‘liability-first’ concerns,\" said Jonah Strauss, executive director of the Oakland Warehouse Coalition. \"We have some very reactionary landlords who go after tenants.\"\u003c/p>\n\u003cp>The lawmakers at the hearing said they had little power to directly revise local building codes.\u003c/p>\n\u003cp>State Sen. Nancy Skinner (D-Oakland) said she wants to direct some state funding to fix up spaces similar to the Ghost Ship. Her legislation, \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201720180SB305\">SB 305\u003c/a>, would invest $20 million in low-interest loans to upgrade unsafe live-work buildings. The bill is currently in the Senate Appropriations Committee.\u003c/p>\n\u003cp>\"We wrote it to try to identify just some minimal safety standards that the loan would be able to be used for,\" Skinner said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Skinner added that her colleague. Sen. Mike McGuire (D-Healdsburg), is convening a working group of the Senate Governance and Finance Committee to look at legislative fixes to state building codes.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003ch3>World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda (Luaka Bop)\u003c/h3>\n\u003cp>Before Alice McLeod met \u003ca href=\"http://www.johncoltrane.com\">saxophonist John Coltrane\u003c/a> she was already a respected jazz pianist who had studied with bebop genius Bud Powell in Paris and accompanied another modern jazz patriarch, expat \u003ca href=\"https://www.youtube.com/watch?v=Rb47-tIQRAc\">drummer Kenny Clarke\u003c/a>, on French television. Their fateful first encounter took place in the fall of 1963 when she was in a band led by \u003ca href=\"http://www.npr.org/programs/jazzprofiles/archive/gibbs.html\">vibraphonist Terry Gibbs\u003c/a> opening for Coltrane’s quartet at Birdland. Instantly smitten with each other, they quickly became a couple. In the years before Coltrane’s death from liver cancer in 1967 she was an essential part of his spiritually charged music as it became increasingly ecstatic, shedding conventional jazz harmony, rhythm and form.\u003c/p>\n\u003cp>Alice Coltrane only started recording under her own name after her husband’s death, releasing about a dozen albums of \u003ca href=\"https://www.youtube.com/watch?v=QUMuDWDVd20\">gorgeous celestial jazz\u003c/a> from 1968 to 1978 featuring her piano and harp alongside some of jazz's greatest improvisers. And legend has it that she withdrew from music to focus on her Vedic spiritual practice at an ashram, a public silence that lasted until her son, saxophonist Ravi Coltrane, coaxed her back into the studio for 2004’s “Translinear Light.\" She played a final concert at the Nob Hill Masonic Center on Nov. 4, 2006 with Ravi, Charlie Haden and Roy Haynes, before her death two months later.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/hyADcmvIbsQ?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The legend of Alice Coltrane’s silence was wrong though, and a new album by Luaka Bop fills in a richly creative and largely unknown chapter in her life. \u003c/p>\n\u003cp>“World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda” gathers pieces she created for worship at the Sai Anantam Ashram she created in Agoura Hills. Featuring Coltrane on vocals, synthesizer, organ and harp, the music is often breathtaking, albeit repetitive and hypnotic, which was her intention. Created to enhance meditative states, you could call the music new age, but that catch-all term hardly does it justice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album is full of surprises, as synthesizer passages give way to gospel-steeped refrains. I love the way she freely mixes styles and elements from her earlier musical incarnations as a young organist in Detroit’s Mount Olive Baptist Church and a 1950s bebop acolyte. About four minutes into the opening track “Om Rama,” Panduranga John Henderson’s vocals come in after her swooping synthesizer. He’s played organ and sung with Ray Charles in the mid-'70s, and he doesn’t shed his fervent feel for soul at the ashram door. Her vocals are calm, calming and incantatory on “Om Shanti,” where she’s joined by an echoing chorus. Some pieces stay at a low simmer, like the drone-driven “Rama Rama,” while others reach ecstatic heights propelled by chants, tambourines and hand claps (“Krishna Japaye” and “Hari Nayaran”).\u003c/p>\n\u003cp>“Ecstatic Music” draws from four cassettes that Coltrane released between 1982 and 1995 on a tiny local label devoted to Vedic teachings, and the original recording engineer Baker Bigsby did an impressive job transferring the tapes to new formats. One of my favorite pieces is “Journey to Satchidananda” which recasts a tune from her classic 1970 album \"\u003ca href=\"https://www.youtube.com/watch?v=NxPMKgY_8qk\">Journey in Satchidananda\u003c/a>.”\u003c/p>\n\u003cp>This music is worth spending time with, though it sometimes requires patience. On its own it offers enlightenment about a major artist, but I also hope the album points people back to her earlier music, which doesn’t get get nearly enough credit. Alice Coltrane and Pharoah Sanders’ cosmic jazz provides a good deal of the framework behind Kamasi Washington’s breakthrough album “The Epic.”\u003c/p>\n\u003cp>\u003cimg class=\" wp-image-11463346\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>Music Action Lab: Foundation (Giant Steps)\u003c/h3>\n\u003cp>If Alice Coltrane sought to enlighten with her music, the Music Action Ensemble was designed to change the world. It’s a project created by \u003ca href=\"http://giantstepsmusic.org/who-we-are/\">Drew Foxman\u003c/a>, which he calls “a global musical social entrepreneurship incubator.” Last year the initiative brought together an international cast of 10 young musicians in San Francisco. They worked with mentors, jazz drummer \u003ca href=\"http://www.ericharland.com\">extraordinaire Eric Harland\u003c/a> and Tunisian \u003ca href=\"http://emelmathlouthi.com\">singer/songwriter Emel Mathlouth\u003c/a>i, a harbinger of the Arab Spring, then spent three weeks playing together and composing songs, some of which are gathered on the new album “Foundation” (Giant Steps).\u003c/p>\n\u003cp>What’s most impressive is that the 10 players do sound like an ensemble, an accomplishment built on the rhythm section featuring powerhouse \u003ca href=\"http://giantstepsmusic.org/icaro-sa/\">percussionist Icaro Sá\u003c/a>, from Salvador da Bahia in Brazil’s northeast, Bay Area \u003ca href=\"http://giantstepsmusic.org/owen-clapp/\">bassist Owen Clapp\u003c/a>, and Chicago percussionist/drummer \u003ca href=\"http://giantstepsmusic.org/tyler-nam-berg/\">Tyler Nam Berg\u003c/a>. Sometimes the music is surprisingly familiar, drawing on the international lingua franca of hip hop and R&B, but there’s also Afropop, Brazilian grooves, classical Arabic cadences, and Pakistani folk music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=llwqXf2tyPo\u003c/p>\n\u003cp>The album opens with Pakastani rubab \u003ca href=\"http://www.pakium.pk/2011/09/16/introducing-farhan-bogra-young-talented-rubab-player-interview\">player Farhan Bogra\u003c/a>’s “Sheen Ghar,” a sinuous melody delivered by trumpeter Will Magid and Japanese-American \u003ca href=\"http://aishafukushima.com/bio\">vocalist/rapper Aisha Fukushima\u003c/a>, the project’s primary vocalist (who’s already a global force as an activist and educator). She trades verses with Rwandan \u003ca href=\"http://www.agrlcanmac.com/2015/03/learning-my-rwandan-heritage-rwandan.html\">vocalist Teta Diana\u003c/a> on Owen Clapp’s “Beautiful,” an anthem that decries the way society eats away at the confidence of young women.\u003c/p>\n\u003cp>If the lyrics tend toward the earnest and didactic, the music is consistently thoughtful and well-integrated despite the far-flung traditions and influences on tap. Even an undistinguished radio-friendly R&B number like Tyler Nam Berg’s “Dance Joint” holds interest with a polyrhythmic churn. The ensemble sounds far more at ease on Togolese guitarist Amen Viana’s\u003c/p>\n\u003cp>“Share,” with its graceful call and response between Viana’s vocals and the horns of Will Magid and saxophonist Derek Beckvold. One of the most successful tracks is Magid’s instrumental “King Cardamom” which opens with a sharp dialogue between his trumpet trumpet and Bogra’s rubab.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Foundation” is the first installment from the first Music Action Ensemble lab. The idea is that each lab culminates in an album that comes with an educational curriculum to teach and spread the message of the music. It’s a utopian undertaking that could easily fall flat. But judging by the tracks included here, this project has more than delivered on its musical promise.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda (Luaka Bop)\u003c/h3>\n\u003cp>Before Alice McLeod met \u003ca href=\"http://www.johncoltrane.com\">saxophonist John Coltrane\u003c/a> she was already a respected jazz pianist who had studied with bebop genius Bud Powell in Paris and accompanied another modern jazz patriarch, expat \u003ca href=\"https://www.youtube.com/watch?v=Rb47-tIQRAc\">drummer Kenny Clarke\u003c/a>, on French television. Their fateful first encounter took place in the fall of 1963 when she was in a band led by \u003ca href=\"http://www.npr.org/programs/jazzprofiles/archive/gibbs.html\">vibraphonist Terry Gibbs\u003c/a> opening for Coltrane’s quartet at Birdland. Instantly smitten with each other, they quickly became a couple. In the years before Coltrane’s death from liver cancer in 1967 she was an essential part of his spiritually charged music as it became increasingly ecstatic, shedding conventional jazz harmony, rhythm and form.\u003c/p>\n\u003cp>Alice Coltrane only started recording under her own name after her husband’s death, releasing about a dozen albums of \u003ca href=\"https://www.youtube.com/watch?v=QUMuDWDVd20\">gorgeous celestial jazz\u003c/a> from 1968 to 1978 featuring her piano and harp alongside some of jazz's greatest improvisers. And legend has it that she withdrew from music to focus on her Vedic spiritual practice at an ashram, a public silence that lasted until her son, saxophonist Ravi Coltrane, coaxed her back into the studio for 2004’s “Translinear Light.\" She played a final concert at the Nob Hill Masonic Center on Nov. 4, 2006 with Ravi, Charlie Haden and Roy Haynes, before her death two months later.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/hyADcmvIbsQ?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The legend of Alice Coltrane’s silence was wrong though, and a new album by Luaka Bop fills in a richly creative and largely unknown chapter in her life. \u003c/p>\n\u003cp>“World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda” gathers pieces she created for worship at the Sai Anantam Ashram she created in Agoura Hills. Featuring Coltrane on vocals, synthesizer, organ and harp, the music is often breathtaking, albeit repetitive and hypnotic, which was her intention. Created to enhance meditative states, you could call the music new age, but that catch-all term hardly does it justice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album is full of surprises, as synthesizer passages give way to gospel-steeped refrains. I love the way she freely mixes styles and elements from her earlier musical incarnations as a young organist in Detroit’s Mount Olive Baptist Church and a 1950s bebop acolyte. About four minutes into the opening track “Om Rama,” Panduranga John Henderson’s vocals come in after her swooping synthesizer. He’s played organ and sung with Ray Charles in the mid-'70s, and he doesn’t shed his fervent feel for soul at the ashram door. Her vocals are calm, calming and incantatory on “Om Shanti,” where she’s joined by an echoing chorus. Some pieces stay at a low simmer, like the drone-driven “Rama Rama,” while others reach ecstatic heights propelled by chants, tambourines and hand claps (“Krishna Japaye” and “Hari Nayaran”).\u003c/p>\n\u003cp>“Ecstatic Music” draws from four cassettes that Coltrane released between 1982 and 1995 on a tiny local label devoted to Vedic teachings, and the original recording engineer Baker Bigsby did an impressive job transferring the tapes to new formats. One of my favorite pieces is “Journey to Satchidananda” which recasts a tune from her classic 1970 album \"\u003ca href=\"https://www.youtube.com/watch?v=NxPMKgY_8qk\">Journey in Satchidananda\u003c/a>.”\u003c/p>\n\u003cp>This music is worth spending time with, though it sometimes requires patience. On its own it offers enlightenment about a major artist, but I also hope the album points people back to her earlier music, which doesn’t get get nearly enough credit. Alice Coltrane and Pharoah Sanders’ cosmic jazz provides a good deal of the framework behind Kamasi Washington’s breakthrough album “The Epic.”\u003c/p>\n\u003cp>\u003cimg class=\" wp-image-11463346\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>Music Action Lab: Foundation (Giant Steps)\u003c/h3>\n\u003cp>If Alice Coltrane sought to enlighten with her music, the Music Action Ensemble was designed to change the world. It’s a project created by \u003ca href=\"http://giantstepsmusic.org/who-we-are/\">Drew Foxman\u003c/a>, which he calls “a global musical social entrepreneurship incubator.” Last year the initiative brought together an international cast of 10 young musicians in San Francisco. They worked with mentors, jazz drummer \u003ca href=\"http://www.ericharland.com\">extraordinaire Eric Harland\u003c/a> and Tunisian \u003ca href=\"http://emelmathlouthi.com\">singer/songwriter Emel Mathlouth\u003c/a>i, a harbinger of the Arab Spring, then spent three weeks playing together and composing songs, some of which are gathered on the new album “Foundation” (Giant Steps).\u003c/p>\n\u003cp>What’s most impressive is that the 10 players do sound like an ensemble, an accomplishment built on the rhythm section featuring powerhouse \u003ca href=\"http://giantstepsmusic.org/icaro-sa/\">percussionist Icaro Sá\u003c/a>, from Salvador da Bahia in Brazil’s northeast, Bay Area \u003ca href=\"http://giantstepsmusic.org/owen-clapp/\">bassist Owen Clapp\u003c/a>, and Chicago percussionist/drummer \u003ca href=\"http://giantstepsmusic.org/tyler-nam-berg/\">Tyler Nam Berg\u003c/a>. Sometimes the music is surprisingly familiar, drawing on the international lingua franca of hip hop and R&B, but there’s also Afropop, Brazilian grooves, classical Arabic cadences, and Pakistani folk music.\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/llwqXf2tyPo'\n title='//www.youtube.com/embed/llwqXf2tyPo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The album opens with Pakastani rubab \u003ca href=\"http://www.pakium.pk/2011/09/16/introducing-farhan-bogra-young-talented-rubab-player-interview\">player Farhan Bogra\u003c/a>’s “Sheen Ghar,” a sinuous melody delivered by trumpeter Will Magid and Japanese-American \u003ca href=\"http://aishafukushima.com/bio\">vocalist/rapper Aisha Fukushima\u003c/a>, the project’s primary vocalist (who’s already a global force as an activist and educator). 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"content": "\u003cp>Mira Nair’s musical theater adaption of her much-loved film, \u003ca href=\"https://www.berkeleyrep.org/season/1617/10662.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Monsoon Wedding\u003c/em>\u003c/a>, is a headlong dash to the siren call of fun — and then strangely, and rather beautifully, a rueful reflection on its costs.\u003c/p>\n\u003cp>That such delightful froth should achieve a striking level of philosophical depth is kind of amazing, especially as it does so by haphazardly dashing its way through the lives of a party’s worth of characters. This is a wedding tale that understands that marriage is not just the union of two people, but also a clash of civilizations, a covert war that scars with equal parts care, beauty, and betrayal.\u003c/p>\n\u003cp>To begin with, the battlefield is complex, full of double agents and counter-insurgencies. Lalit and Pimmi Verma have negotiated a favorable marriage for their daughter Aditi: Hemant Rai, the son of an American-Indian family of some distinction, who is successful, handsome, and taken with the idea of an arranged marriage. He sees it as a kind of go-for-broke embrace of tradition. Little does Hermant know that Aditi, the angelic centerpiece of his infatuation with the old ways, is engaged in a torrid affair with her married boss, a sleazy television anchor with some rather impractical ideas of transcontinental cheating.\u003c/p>\n\u003cfigure id=\"attachment_13285881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-800x450.jpg\" alt=\"The father of the bride Lalit Verma (Jaaved Jaaferi) is a minor master of chaos in 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The father of the bride Lalit Verma (Jaaved Jaaferi) is a minor master of chaos in ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Add the visiting Rai family, the Vermas’ younger daughter and son, their niece, Ria, whom they’ve raised as one of their own, a slew of relatives both nasty and kind, and a wedding planner, Dubey, who eventually falls in love with Alice, the family housekeeper, and you’ve got yourself quite a happening. One might say that Lalit is not only the father of the bride, but also the father of chaos as well. He’s a minor-league Prospero trying to work a little magic to secure his daughter’s happiness.\u003c/p>\n\u003cp>The first scene in Berkeley Repertory Theatre’s world-premiere production lays out all the characters in a rather perfunctory way. But after that, Nair and Sabrina Dhawan, adapting the musical’s book from her original screenplay, give us scene after scene in which the Verma family’s sense of fun masks the out-and-out conflict. And their commitment to fun is absolute and transformative.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”BRtDkY8Pno8MQyJDlgPYrmP0t1j0S8pb”]\u003c/p>\n\u003cp>When Ria warns Aditi that an extramarital affair isn’t the best way to start off an arranged marriage, or indeed any marriage at all, Aditi uncharitably snaps back that Ria is single and 30. Undaunted, Ria presses on, giving a frank assessment of her cousin’s moral and emotional failings. Without ever resolving their argument or apologizing in any way, the two young women slip into a delightful song and dance routine. As the music explodes out of the drama, their anger dissipates into the sheer pleasure of performance, revealing a love that is as tempered as it is unconditional.\u003c/p>\n\u003cp>And so, over and over, Nair demonstrates how familial love takes conflict and turns it into a raucous good time. When the soon-to-be-married and barely acquainted Aditi and Hemant get caught in a too-public argument, both families — including the grandmothers — sing the young couple a jazzy tune about the difficulties of marriage. The older generation’s nutty serenade is embarrassing; it’s the kind of public disaster all children wish to avoid. But it’s also gracious and kind — wisdom’s gift to the young.\u003c/p>\n\u003cfigure id=\"attachment_13285883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-800x450.jpg\" alt=\"The Wedding Planner Dubey (Namit Das) and the woman of his dreams Alice (Anisha Naagarajan) in Mira Nair's musical theater adaption of her hit film, 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding Planner Dubey (Namit Das) and the woman of his dreams Alice (Anisha Naagarajan) in Mira Nair’s musical theater adaption of her hit film, ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mirroring all this wedding satire is the romance of the wedding planner and the family servant. Instead of the elaborate rituals of the arranged marriage, these two characters are left to their own devices. There is nothing to bring them together and so it feels that they can more easily be with each other. Yet, if Nair suggests that the moneyed Aditi and Hemant are caught in a daze of complex and confusing social expectations, the lack of expectations can be just as daunting.\u003c/p>\n\u003cp>When Dubay discovers that Alice is a Christian and will not convert, he renounces her. Nair and Dhawan might be following a simple boy-meets-girl, boy-loses-girl, boy-gets-girl script, but the loses-girl part comes off as rough and real. What Nair makes you understand is that none of this joy comes for free, that there is no escaping our differences, and that we will always be in conflict. It’s a bracing vision of the complexity of being alive to other people.\u003c/p>\n\u003cp>Nair’s execution of that vision isn’t perfect. Throughout the evening, you can feel the director struggling to stay the course. There are lapses: the first act drags towards the end, and the first couple of scenes of the second are flat. At times, Nair and her collaborators try to do too much. The full chorus reenactment of the partitioning of India and Pakistan is cumbersome and theme-driven. And the more traditional aspects of the Broadway musical feel tacked on, unnecessary to the realization of Nair’s more loose-leafed aesthetic.\u003c/p>\n\u003cfigure id=\"attachment_13285885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-800x451.jpg\" alt=\"It's a long haul to the ideal life for Aditi (Kuhoo Verma) and Hemant (Michael Maliakel) in Mira Nair's musical theater adaption of her hit movie, 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s a long haul to the ideal life for Aditi (Kuhoo Verma) and Hemant (Michael Maliakel) in Mira Nair’s musical theater adaption of her hit movie, ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, what you remember is a unique and stunning statement of joy, an embrace of the moment when these characters, in big and small ways, let it go and just take on the reckless abandon of fun. When you realize that this can only happen with the love of family, abandoning their own interests for those who’ve been entrusted to their care, you’ll never listen to a father and a mother, a brother and a sister, or an uncle and a niece sing together in quite the same way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>‘Monsoon Wedding’ runs through Sunday, July 9, at Berkeley Repertory Theatre. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>And for an in-depth look at the detail and design of the show from the Center for Asian American Media, \u003ca href=\"https://www.youtube.com/watch?v=BIEJONYNrso\" target=\"_blank\" rel=\"noopener noreferrer\">watch their short video here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "Berkeley Repertory Theatre's new stage adaption of Mira Nair's film is a headlong dash to the siren call of fun. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mira Nair’s musical theater adaption of her much-loved film, \u003ca href=\"https://www.berkeleyrep.org/season/1617/10662.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Monsoon Wedding\u003c/em>\u003c/a>, is a headlong dash to the siren call of fun — and then strangely, and rather beautifully, a rueful reflection on its costs.\u003c/p>\n\u003cp>That such delightful froth should achieve a striking level of philosophical depth is kind of amazing, especially as it does so by haphazardly dashing its way through the lives of a party’s worth of characters. This is a wedding tale that understands that marriage is not just the union of two people, but also a clash of civilizations, a covert war that scars with equal parts care, beauty, and betrayal.\u003c/p>\n\u003cp>To begin with, the battlefield is complex, full of double agents and counter-insurgencies. Lalit and Pimmi Verma have negotiated a favorable marriage for their daughter Aditi: Hemant Rai, the son of an American-Indian family of some distinction, who is successful, handsome, and taken with the idea of an arranged marriage. He sees it as a kind of go-for-broke embrace of tradition. Little does Hermant know that Aditi, the angelic centerpiece of his infatuation with the old ways, is engaged in a torrid affair with her married boss, a sleazy television anchor with some rather impractical ideas of transcontinental cheating.\u003c/p>\n\u003cfigure id=\"attachment_13285881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-800x450.jpg\" alt=\"The father of the bride Lalit Verma (Jaaved Jaaferi) is a minor master of chaos in 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWfather-e1495500520945-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The father of the bride Lalit Verma (Jaaved Jaaferi) is a minor master of chaos in ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Add the visiting Rai family, the Vermas’ younger daughter and son, their niece, Ria, whom they’ve raised as one of their own, a slew of relatives both nasty and kind, and a wedding planner, Dubey, who eventually falls in love with Alice, the family housekeeper, and you’ve got yourself quite a happening. One might say that Lalit is not only the father of the bride, but also the father of chaos as well. He’s a minor-league Prospero trying to work a little magic to secure his daughter’s happiness.\u003c/p>\n\u003cp>The first scene in Berkeley Repertory Theatre’s world-premiere production lays out all the characters in a rather perfunctory way. But after that, Nair and Sabrina Dhawan, adapting the musical’s book from her original screenplay, give us scene after scene in which the Verma family’s sense of fun masks the out-and-out conflict. And their commitment to fun is absolute and transformative.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When Ria warns Aditi that an extramarital affair isn’t the best way to start off an arranged marriage, or indeed any marriage at all, Aditi uncharitably snaps back that Ria is single and 30. Undaunted, Ria presses on, giving a frank assessment of her cousin’s moral and emotional failings. Without ever resolving their argument or apologizing in any way, the two young women slip into a delightful song and dance routine. As the music explodes out of the drama, their anger dissipates into the sheer pleasure of performance, revealing a love that is as tempered as it is unconditional.\u003c/p>\n\u003cp>And so, over and over, Nair demonstrates how familial love takes conflict and turns it into a raucous good time. When the soon-to-be-married and barely acquainted Aditi and Hemant get caught in a too-public argument, both families — including the grandmothers — sing the young couple a jazzy tune about the difficulties of marriage. The older generation’s nutty serenade is embarrassing; it’s the kind of public disaster all children wish to avoid. But it’s also gracious and kind — wisdom’s gift to the young.\u003c/p>\n\u003cfigure id=\"attachment_13285883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-800x450.jpg\" alt=\"The Wedding Planner Dubey (Namit Das) and the woman of his dreams Alice (Anisha Naagarajan) in Mira Nair's musical theater adaption of her hit film, 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWweddingplannerjpg-e1495500899908-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding Planner Dubey (Namit Das) and the woman of his dreams Alice (Anisha Naagarajan) in Mira Nair’s musical theater adaption of her hit film, ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mirroring all this wedding satire is the romance of the wedding planner and the family servant. Instead of the elaborate rituals of the arranged marriage, these two characters are left to their own devices. There is nothing to bring them together and so it feels that they can more easily be with each other. Yet, if Nair suggests that the moneyed Aditi and Hemant are caught in a daze of complex and confusing social expectations, the lack of expectations can be just as daunting.\u003c/p>\n\u003cp>When Dubay discovers that Alice is a Christian and will not convert, he renounces her. Nair and Dhawan might be following a simple boy-meets-girl, boy-loses-girl, boy-gets-girl script, but the loses-girl part comes off as rough and real. What Nair makes you understand is that none of this joy comes for free, that there is no escaping our differences, and that we will always be in conflict. It’s a bracing vision of the complexity of being alive to other people.\u003c/p>\n\u003cp>Nair’s execution of that vision isn’t perfect. Throughout the evening, you can feel the director struggling to stay the course. There are lapses: the first act drags towards the end, and the first couple of scenes of the second are flat. At times, Nair and her collaborators try to do too much. The full chorus reenactment of the partitioning of India and Pakistan is cumbersome and theme-driven. And the more traditional aspects of the Broadway musical feel tacked on, unnecessary to the realization of Nair’s more loose-leafed aesthetic.\u003c/p>\n\u003cfigure id=\"attachment_13285885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13285885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-800x451.jpg\" alt=\"It's a long haul to the ideal life for Aditi (Kuhoo Verma) and Hemant (Michael Maliakel) in Mira Nair's musical theater adaption of her hit movie, 'Monsoon Wedding' at the Berkeley Rep.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MWcouple-e1495501184539-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s a long haul to the ideal life for Aditi (Kuhoo Verma) and Hemant (Michael Maliakel) in Mira Nair’s musical theater adaption of her hit movie, ‘Monsoon Wedding’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, what you remember is a unique and stunning statement of joy, an embrace of the moment when these characters, in big and small ways, let it go and just take on the reckless abandon of fun. When you realize that this can only happen with the love of family, abandoning their own interests for those who’ve been entrusted to their care, you’ll never listen to a father and a mother, a brother and a sister, or an uncle and a niece sing together in quite the same way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>‘Monsoon Wedding’ runs through Sunday, July 9, at Berkeley Repertory Theatre. For tickets and information, \u003ca href=\"https://www.berkeleyrep.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>And for an in-depth look at the detail and design of the show from the Center for Asian American Media, \u003ca href=\"https://www.youtube.com/watch?v=BIEJONYNrso\" target=\"_blank\" rel=\"noopener noreferrer\">watch their short video here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jacques Pépin launched his long television career at KQED with a series called “Today’s Gourmet” and has since starred in almost a dozen other cooking shows at KQED. Now, a new American Masters documentary, \u003ca href=\"http://www.pbs.org/wnet/americanmasters/jacques-pepin-art-craft-film/8435/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jacques Pépin: The Art of Craft\u003c/em>\u003c/a>, explores Pépin’s love of cooking and how he has helped change cooking in America. He talks with KQED Newsroom about why he chose to work for the burgeoning Howard Johnson’s food chain instead of cooking for the Kennedy White House, his long friendship with Julia Child and his idea of a perfect meal.\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since the Golden Age of Hollywood, movies have largely lacked a woman’s perspective. Auteurs like \u003ca href=\"https://wfpp.cdrs.columbia.edu/pioneer/ccp-dorothy-arzner/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Arzner\u003c/a> were rare in the studio system, and 60 years later, things haven’t changed much.\u003c/p>\n\u003cp>According to \u003ca href=\"http://time.com/4087813/female-directors-study/\" target=\"_blank\" rel=\"noopener\">a 2015 San Diego State University study\u003c/a>, just 20 percent of all directors, writers, producers, executive producers, editors and cinematographers working on films released in 2014 were women. A woman didn’t win the Oscar for Best Director until 2010 — and none have won it since.\u003c/p>\n\u003cp>The lack of women at major studios has become such a problem that earlier this year, the \u003ca href=\"http://deadline.com/2017/02/hollywood-studios-female-directors-eeoc-investigation-1201912590/\" target=\"_blank\" rel=\"noopener noreferrer\">federal government threatened to sue the major studios\u003c/a> unless they hired more women.\u003c/p>\n\u003cp>But it’s not just limited to the Hollywood system: a \u003ca href=\"http://womenintvfilm.sdsu.edu/wp-content/uploads/2017/05/2016-17_Women_in_Independent_Film_Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">study released last week\u003c/a> by San Diego State University determined that women are also underrepresented in the independent film industry. The university’s Center for the Study of Women in Television & Film looked at 1,472 indie films released in the U.S. last year, and found that women made up just 25 percent of the directors of features, and 33 percent of the directors of documentaries.\u003c/p>\n\u003cfigure id=\"attachment_10286283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10286283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-800x450.jpg\" alt=\"Director Ava DuVernay on the set of 'Selma'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594.jpg 1243w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay on the set of ‘Selma’\u003c/figcaption>\u003c/figure>\n\u003cp>The study also examined 23 major film festivals in the U.S. and found that they favored films made by men. On average, festivals screened three times as many male-directed features, and twice as many male-helmed documentaries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Inclusion in these festivals provides the vital first step in the public life cycle of films with limited marketing resources, and can boost the reputation of their directors,” says Martha Lauzen, researcher and executive director of the center, and the author of the new study about the lack of opportunities for women on the festival circuit.\u003c/p>\n\u003cp>One of the festivals included in the study was the \u003ca href=\"http://www.sffilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Film Festival\u003c/a>. Representatives from the festival did not answer KQED’s requests for comment.\u003c/p>\n\u003cp>But there are some bright spots in the study. Lauzen found that the number of women working on films crews is increasing. On projects with women directing last year, women made up 74 percent of the writers, as opposed to only 7 percent on projects directed by men.\u003c/p>\n\u003cfigure id=\"attachment_13290818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-800x450.jpg\" alt=\"Chief Content Officer, Refinery29, Inc. Amy Emmerich, Tiffany Shlain attend the Women At Sundance Brunch - 2017.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13290818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chief Content Officer, Refinery29, Inc. Amy Emmerich, Tiffany Shlain attend the Women At Sundance Brunch – 2017.\u003cbr> \u003ccite>( Photo: Alberto E. Rodriguez/Getty Images for Sundance Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tiffany Shlain, a local documentarian who founded the Webby Awards, says the disparity between the number of men and women being hired to work on films is blatant. But she doesn’t understand why male crews don’t want more diversity. When making a film, Shlain says she wants to access as many perspectives as possible as it only benefits the picture.\u003c/p>\n\u003cp>“On a whole, there are so many studies that show that when you have a more diverse perspective working on any project, whether it’s corporate board, whether it’s on a creative project, you are going to come to better ideas, more innovation and better reflect our society,” Shlain says.\u003c/p>\n\u003cp>But Shlain says she’s seeing improvement in terms of diversity on film crews. She says expects the trend will continue, thanks to those pushing for change like the \u003ca href=\"https://seejane.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Geena Davis Institute\u003c/a> and \u003ca href=\"http://gamechanger-films.com/\" target=\"_blank\" rel=\"noopener noreferrer\">GAMECHANGER Films\u003c/a>. (Shlain herself works to create a more gender-balanced world through her project, \u003ca href=\"http://www.letitripple.org/films/50-50/5050-day/\" target=\"_blank\" rel=\"noopener noreferrer\">50/50 Day\u003c/a>.)\u003c/p>\n\u003cp>“The way change happens is through awareness, consciousness, talking about it, accountability, doing tactical actions,” Shlain says. “So many people are trying to tackle this issue, and I believe it’s going to change.”\u003c/p>\n\u003cp>Shlain says she doesn’t let the inequalities get in her way as a flimmaker. Her attitude is reminiscent of Kathryn Bigelow, the first, and to date, only woman to win an Oscar for Best Director.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If there’s specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons,” Bigelow once said. “I can’t change my gender, and I refuse to stop making movies.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since the Golden Age of Hollywood, movies have largely lacked a woman’s perspective. Auteurs like \u003ca href=\"https://wfpp.cdrs.columbia.edu/pioneer/ccp-dorothy-arzner/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Arzner\u003c/a> were rare in the studio system, and 60 years later, things haven’t changed much.\u003c/p>\n\u003cp>According to \u003ca href=\"http://time.com/4087813/female-directors-study/\" target=\"_blank\" rel=\"noopener\">a 2015 San Diego State University study\u003c/a>, just 20 percent of all directors, writers, producers, executive producers, editors and cinematographers working on films released in 2014 were women. A woman didn’t win the Oscar for Best Director until 2010 — and none have won it since.\u003c/p>\n\u003cp>The lack of women at major studios has become such a problem that earlier this year, the \u003ca href=\"http://deadline.com/2017/02/hollywood-studios-female-directors-eeoc-investigation-1201912590/\" target=\"_blank\" rel=\"noopener noreferrer\">federal government threatened to sue the major studios\u003c/a> unless they hired more women.\u003c/p>\n\u003cp>But it’s not just limited to the Hollywood system: a \u003ca href=\"http://womenintvfilm.sdsu.edu/wp-content/uploads/2017/05/2016-17_Women_in_Independent_Film_Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">study released last week\u003c/a> by San Diego State University determined that women are also underrepresented in the independent film industry. The university’s Center for the Study of Women in Television & Film looked at 1,472 indie films released in the U.S. last year, and found that women made up just 25 percent of the directors of features, and 33 percent of the directors of documentaries.\u003c/p>\n\u003cfigure id=\"attachment_10286283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10286283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-800x450.jpg\" alt=\"Director Ava DuVernay on the set of 'Selma'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594.jpg 1243w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Ava DuVernay on the set of ‘Selma’\u003c/figcaption>\u003c/figure>\n\u003cp>The study also examined 23 major film festivals in the U.S. and found that they favored films made by men. On average, festivals screened three times as many male-directed features, and twice as many male-helmed documentaries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Inclusion in these festivals provides the vital first step in the public life cycle of films with limited marketing resources, and can boost the reputation of their directors,” says Martha Lauzen, researcher and executive director of the center, and the author of the new study about the lack of opportunities for women on the festival circuit.\u003c/p>\n\u003cp>One of the festivals included in the study was the \u003ca href=\"http://www.sffilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Film Festival\u003c/a>. Representatives from the festival did not answer KQED’s requests for comment.\u003c/p>\n\u003cp>But there are some bright spots in the study. Lauzen found that the number of women working on films crews is increasing. On projects with women directing last year, women made up 74 percent of the writers, as opposed to only 7 percent on projects directed by men.\u003c/p>\n\u003cfigure id=\"attachment_13290818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-800x450.jpg\" alt=\"Chief Content Officer, Refinery29, Inc. Amy Emmerich, Tiffany Shlain attend the Women At Sundance Brunch - 2017.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13290818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tiffany-Shlain-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chief Content Officer, Refinery29, Inc. Amy Emmerich, Tiffany Shlain attend the Women At Sundance Brunch – 2017.\u003cbr> \u003ccite>( Photo: Alberto E. Rodriguez/Getty Images for Sundance Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tiffany Shlain, a local documentarian who founded the Webby Awards, says the disparity between the number of men and women being hired to work on films is blatant. But she doesn’t understand why male crews don’t want more diversity. When making a film, Shlain says she wants to access as many perspectives as possible as it only benefits the picture.\u003c/p>\n\u003cp>“On a whole, there are so many studies that show that when you have a more diverse perspective working on any project, whether it’s corporate board, whether it’s on a creative project, you are going to come to better ideas, more innovation and better reflect our society,” Shlain says.\u003c/p>\n\u003cp>But Shlain says she’s seeing improvement in terms of diversity on film crews. She says expects the trend will continue, thanks to those pushing for change like the \u003ca href=\"https://seejane.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Geena Davis Institute\u003c/a> and \u003ca href=\"http://gamechanger-films.com/\" target=\"_blank\" rel=\"noopener noreferrer\">GAMECHANGER Films\u003c/a>. (Shlain herself works to create a more gender-balanced world through her project, \u003ca href=\"http://www.letitripple.org/films/50-50/5050-day/\" target=\"_blank\" rel=\"noopener noreferrer\">50/50 Day\u003c/a>.)\u003c/p>\n\u003cp>“The way change happens is through awareness, consciousness, talking about it, accountability, doing tactical actions,” Shlain says. “So many people are trying to tackle this issue, and I believe it’s going to change.”\u003c/p>\n\u003cp>Shlain says she doesn’t let the inequalities get in her way as a flimmaker. Her attitude is reminiscent of Kathryn Bigelow, the first, and to date, only woman to win an Oscar for Best Director.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If there’s specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons,” Bigelow once said. “I can’t change my gender, and I refuse to stop making movies.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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