‘Glee’ actress Naya Rivera presumed dead after going missing while boating with son, officials say #ศาสตร์เกษตรดินปุ๋ย

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation.

‘Glee’ actress Naya Rivera presumed dead after going missing while boating with son, officials say


Jul 10. 2020

By The Washington Post · Timothy Bella, Sonia Rao · NATIONAL, ENTERTAINMENT, COURTSLAW, CELEBRITY, TV 
Actress Naya Rivera is missing and presumed dead in a Southern California lake, according to authorities, after officials found her 4-year-old son floating alone on their rented boat on Wednesday afternoon.


The Ventura County Sheriff’s Office confirmed late Wednesday that a “possible drowning victim” at Lake Piru was Rivera, 33, best known for her breakout role in the TV series “Glee.”

The office resumed its search-and-rescue mission “at first light” on Thursday, when officer Chris Dyer later confirmed at a news conference that it had turned into a search-and-recovery effort. He said the office is presuming Rivera drowned in the lake.

“There’s no signs of foul play, no signs of anything that went wrong besides a tragic accident,” Dyer added. “Switching that mode to a search-and-recovery mode, like I said, does not change the efforts and does not change the gusto, what we push forward with the search operation. The goal is still to bring Ms. Rivera home to her family, so they can have some closure.”

Rivera rented a pontoon boat with her child, Josey Hollis Dorsey, about 1 p.m. Wednesday on Lake Piru, a reservoir in Los Padres National Forest, according to authorities. About three hours later, when the boat was past its scheduled return time, another boater on the lake found Josey sleeping alone on the pontoon. Dive teams, helicopters and drones were deployed as part of the search-and-rescue mission that night.

Josey, who officials said was unharmed, told investigators he and his mother were swimming but she never got back to the boat. Josey was found wearing a life vest, and investigators located an adult life vest on the pontoon, sheriff’s office spokesman Eric Buschow said Wednesday. The child, whose father is actor Ryan Dorsey, was reunited with family members, police said. Rivera and Dorsey, who divorced in 2018, share custody of Josey.

Ventura County Sgt. Kevin Donoghue announced in a second news conference Thursday afternoon that there was “no indication, after talking to her son, that Ms. Rivera made it to shore, so the focus of our search efforts are in the water at this time.”

Donoghue said “technology like sonar” is being implemented to locate Rivera, as well as manpower that includes “over 100 personnel that are on-site, actively searching. The assets that we currently have in place looking for her include helicopters from both the sheriff’s office and from the U.S. Coast Guard; we have about a half a dozen boats out on the water; we have some personal water craft out on the water; multiple dive teams. We’re searching the northern half of the lake, which is a good size area, hoping to find any clues or evidence of her disappearance.”

Donoghue called it a “slow-going” process, largely because of the “terrible” visibility in the lake. “This particular lake, in that area, there’s a lot of trees and plants and such that are under the water that can cause entanglements. It makes it unsafe for the divers and it makes a more complicated search,” he said. He noted that while there will be “people [at the lake] through the night,” water and air operations would likely end at dark before resuming again Friday at daybreak.

Rivera’s acting career began when she was 4 on the CBS sitcom “The Royal Family.” Throughout her career, the Los Angeles native made guest appearances on shows such as “The Fresh Prince of Bel-Air,” “Family Matters” and “The Bernie Mac Show.”

She won critical acclaim in the role of cheerleader Santana Lopez on “Glee,” appearing as a main character for the majority of the show’s six-season run. She was nominated for a Grammy in 2011 as part of the “Glee” ensemble cast for their rendition of Journey’s “Don’t Stop Believin’.” While on the show, Rivera signed a record deal with Columbia Records in 2011, one of the first “Glee” actors to ink a solo artist contract. In 2016, she published the memoir “Sorry Not Sorry.”

She most recently had a recurring role on the YouTube Premium show “Step Up.”

Jackée Harry, who starred alongside Rivera on “The Royal Family,” said she was praying for her former co-star.

“Please God, don’t cut this life short,” she tweeted.

In the days leading to Wednesday’s boating trip, Rivera shared photos of her and Josey, as well as inspirational messages about enjoying life.

“No matter the year, circumstance, or strifes everyday you’re alive is a blessing,” she tweeted. “Make the most of today and every day you are given. tomorrow is not promised.”

These works by Richard Nelson and Lorraine Hansberry are some of the best plays online now #ศาสตร์เกษตรดินปุ๋ย

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation.

These works by Richard Nelson and Lorraine Hansberry are some of the best plays online now


Jul 09. 2020Clockwise from top left: Jay O. Sanders with Maryann Plunkett, Sally Murphy, Stephen Kunken and Laila Robins in Richard Nelson's latest online play, Clockwise from top left: Jay O. Sanders with Maryann Plunkett, Sally Murphy, Stephen Kunken and Laila Robins in Richard Nelson’s latest online play, “And So We Come Forth.” MUST CREDIT: Jason Ardizzone-West/Apple Family Productions

By The Washington Post · Peter Marks · ENTERTAINMENT, STAGEDANCE 

The question hangs in the virtual air of “And So We Come Forth,” Richard Nelson’s wistfully stirring new Apple Family play. “What have we done to ourselves?” asks Jane Apple, as her siblings and boyfriend-partner, Tim, peer out of their Zoom cubes. In this time of existential threat and social upheaval, they’re as ill-equipped to come up with an answer as she is. 

This second Zoom play – and sixth in the Apple Family series by its author-director – finds the Apples in early July 2020, in fragile states. The isolation created by the pandemic and introspection prompted by the Black Lives Matter movement have rattled Jane (Sally Murphy) and sisters Marian (Laila Robins) and Barbara (Maryann Plunkett) and brother Richard (Jay O. Sanders). A certain vague dread now dominates their dinnertime musings-by-laptop in their Rhinebeck, N.Y., homes. Despite the mutual family support, everything feels as if it is unraveling.

“I have never felt more lost,” Marian reads from a friend’s email to the others, who also include Tim (Stephen Kunken), logging on from Brooklyn, where he is visiting his daughter. All thinking people like the Apples are at this moment adrift, it seems, even as they are anchored in place. This fugue state is a function of the eddy of anxieties and terrors and injustices aswirl in our consciousness day after day now – and all with an election on the horizon whose outcome feels wrenchingly pivotal to the country’s survival.

The hour-long “And So We Come Forth,” available free this month and next at theapplefamilyplays.com, is an excellent example of the nourishment cooked up by theater minds while theater spaces remain shuttered. The first four Apple plays premiered at the Public Theater, and, unlike some stories, moving theirs online proves to be seamless. The characters, professionals with complicated histories, expounding on politics and art, have always been there for one another; separating them via digital quarantine in no way loosens that bond. Watching them all in close-up, you get a potent sense of the ineluctable effect they have on one another.

The impact, and the perspective, are strikingly different with another production being streamed free: the National Theatre in London, offering on NT Live a film of its 2016 revival of Lorraine Hansberry’s “Les Blancs.” The author of “A Raisin in the Sun” did not live to see her epic portrait of the ravages of white hegemony in an African colony; it ran for a month on Broadway in 1970 – five years after her death at age 34 – with a cast headed by James Earl Jones. 

Hansberry and her slightly older contemporary, Alice Childress, are getting a bit more of the attention equal to their achievements: Childress’s 1955 “Trouble in Mind,” about the casual racism backstage in a cast of white and black actors, is slated for a long overdue Broadway debut, at Roundabout Theatre Company, after theaters reopen. “Les Blancs” was on the agenda of Shakespeare Theatre Company for the 2020-2021 season before covid-19 made a shambles of theater calendars. Its director was to be Yael Farber, who directed “Mies Julie” and the world premiere of “Salome” for the Washington company.

Farber also staged the National Theatre’s version of “Les Blancs,” creating a galvanizing platform for dissecting white paternalism in the fade-out of 20th-century colonialism. The gallery of African, American and European characters, converging at a missionary hospital in the outback of the unnamed African colony, gives Hansberry a broad canvas to lay out a multiplicity of viewpoints. Central among them: a black African (Danny Sapani) returning home from Europe, where he has a white wife and mixed-race child, and a white journalist (Elliot Cowan) seeking a story about the reality on the ground at this remote outpost.

“Les Blancs” somewhat languidly embraces the task of balancing a spectrum of outlooks, from a virulently racist British army major (Clive Francis) to a conflicted young African (Tunji Kasim) being recruited for an uprising. (On hand, too, is the splendid Siân Phillips, as the Norwegian wife of the mission patriarch.) But once the volatile dynamics are set in motion, in this adaptation by Robert Nemiroff, the clarity of Hansberry’s perceptions take passionate hold. The degree to which the events correspond to racial conflicts occurring in this country now will deepen your appreciation of this dramatist’s visionary art.

“Les Blancs” is as lavish a spectacle as “And So We Come Forth” is devoid of it. I’ve had my quarrels with plays on film. But the manner in which Farber’s visual inspirations are ably recorded – depicting some hallucinogenic sequences of chanting African women and a haunting solitary figure (Sheila Atim) betokening silent suffering – redeems the static results of other such endeavors.

Nelson’s efforts, though, succeed by eschewing theatricality, perhaps because the difficult moment in which his play is set requires no imaginative filter. At the end of “And So We Come Forth,” the great Plunkett declares – and, heck, her castmates are all great – that she has never felt so old. We instantly understand the subtext, without any directorial intervention at all.

Kanye West says he’s running for president; Twitter explodes #ศาสตร์เกษตรดินปุ๋ย

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation.

Kanye West says he’s running for president; Twitter explodes


Jul 06. 2020

By Syndication Washington Post, Bloomberg · Derek Wallbank · ENTERTAINMENT, POLITICS, CELEBRITY, MUSIC 

Kanye West says he’s running for president. It’s not clear if the musician is serious, or if this is a publicity stunt for himself or a project unrelated to the presidency.

West’s Saturday night Twitter post instantly went viral, with more than 100,000 retweets within the first hour. West has 29.4 million followers on Twitter. ‘Kanye’ quickly became the No. 1 trending term on Twitter in the U.S.

If West is serious, there is a long list of hurdles toward running that would be nearly insurmountable for most candidates, including starting a campaign from scratch in July of an election year. He would need to qualify for ballot access across 50 states and the District of Columbia, as well as build a presidential-grade political organization from scratch without the support of a party infrastructure.

At the moment, West doesn’t appear to have filed forms with the Federal Election Commission to run for office, according to a Bloomberg review of FEC data.

West, 43, has talked about running for president for years, and last year told an audience he’d run for president in 2024. He and his wife, Kim Kardashian West, have worked with President Donald Trump a number of times including on the release of prisoners. West donned a red “Make America Great Again” hat for a meeting with Trump in the Oval Office in 2018.

Meanwhile, the retweets continue to pile up, pointing to their influence both in entertainment and even business.

A week ago, Gap Inc. shares surged the most in at least 40 years after it revealed a partnership agreement with the rapper and designer. West, whose sneaker line with Adidas AG routinely sells out, will work with the struggling apparel company on a new line for men, women and kids called Yeezy Gap.

Three days later, Coty Inc., the owner of Max Factor and Covergirl, reached an agreement to buy a 20% stake in Kardashian West’s beauty business for $200 million – valuing the business at $1 billion. West, who told Trump the Adidas deal made him a billionaire, also promptly crowned his reality TV star wife with the same status following the deal.

Tesla Inc. CEO Elon Musk, who previously supported former Democratic candidate Andrew Yang, quickly said he was on board. “You have my full support!” he responded to West’s tweet.

Chinese studio, Netflix team up to retell moon-related myth #ศาสตร์เกษตรดินปุ๋ย

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation.

Chinese studio, Netflix team up to retell moon-related myth


Jul 05. 2020A scene features that Fei Fei and her rabbit ride on a rocket heading for the Moon. [Photo provided to China Daily]A scene features that Fei Fei and her rabbit ride on a rocket heading for the Moon. [Photo provided to China Daily]

By China Daily

Perhaps one of the most popular bedtime stories in China, the myth of Chang’e – a beautiful woman who cheats her husband to get a magical pill to fly to the moon – has been part of a collective memory for generations over centuries.

The myth, which features love and betrayal, has inspired a feature-length animated film that will join the hands of Shanghai-based Pearl Studio and Netflix. Aside from the two production companies, the film has also drawn in CMC Inc and CMC Pictures.

Under the helm of Glen Keane, the movie, Over the Moon, is scheduled to be released in autumn, to coincide with the Mid-Autumn Festival, one of China’s most pivotal annual celebrations.

Keane is known for Beauty and the Beast (1991), Tarzan (1999) and Tangled (2010). He won an Academy Award for the animated short Dear Basketball, which is about the late NBA superstar Kobe Bryant.

In Over the Moon, Feifei, a young girl, builds a rocket ship to take her pet rabbit to the moon, as she wants to make her father believe the legend of Chang’e is true.

A lot of Chinese elements, from typical Chinese buildings to brush painting-style animation, can be seen in the Chinese-subtitled trailers, which have generated much excitement online.

11 things to watch to better understand America at this moment #ศาสตร์เกษตรดินปุ๋ย

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation.

11 things to watch to better understand America at this moment


Jul 03. 2020

By The Washington Post · Bethonie Butler 

“I love America more than any other country in this world, and, exactly for this reason, I insist on the right to criticize her perpetually,” James Baldwin wrote in “Notes of a Native Son.”

The 1955 essay collection featured the writer’s searing critiques of the deep racial injustice etched into the DNA of a nation that had continuously rejected him because of his skin color. The sentiment behind Baldwin’s words – that American patriotism necessitates that we confront inequality – has since been echoed by activists, writers and filmmakers across decades.

Baldwin’s words take on renewed resonance amid current protests over the killing of George Floyd, who died after a Minneapolis police officer knelt on his neck for nearly nine minutes, and other black men and women who have been killed by police in disproportionate numbers. With that in mind on this Fourth of July weekend, we’ve compiled a list of films, TV series and documentaries that offer poignant examinations of race in America.

“4 Little Girls”

In this documentary, available to stream on Hulu, Spike Lee examines in excruciating detail the Birmingham, Ala., church bombing that killed four young black girls in 1963. “It’s an angry movie and a tough movie, but it’s not a bitter movie,” noted a 1997 Washington Post review. “It speaks, ultimately, to the hope of reconciliation, and it specifies its evil in a single man, the Klan to which he belonged and to a generalized fear of change that seems now vanished.”


Ava DuVernay connects inequities within the American criminal justice system – including police brutality and sentencing disparities – with the legacies of slavery and Jim Crow laws in this stirring Netflix documentary, which feels as relevant now as it did when the film premiered ahead of the 2016 presidential election.

“Da Five Bloods”

Few scenes in Spike Lee’s well-reviewed film about a group of black Vietnam War veterans take place on American soil. But America is undoubtedly under the microscope in the Netflix movie, which shines light on the mistreatment of black veterans dating back to, as one central character declares, Crispus Attucks, a black man who is widely considered to be the first person to have died in the Revolutionary War.

“Do the Right Thing”

A hot summer day is the spark that ignites long-simmering racial tensions in Lee’s visceral 1989 film, which features a scene that bears unsettling similarities to the deaths of Floyd and Eric Garner, who told New York police officers he couldn’t breathe before dying in custody six years ago. The parallels were not lost on Lee, who last month released a short film juxtaposing footage of Floyd and Garner’s deaths with the indelible scene in which Radio Raheem, a beloved character from Lee’s notoriously Oscar-snubbed classic, is choked to death by police officers. “Do the Right Thing” is available to buy or rent on Amazon Prime.

“Get Out”

Jordan Peele’s 2017 feature directorial debut casts one of society’s most terrifying ills – racism – as the apt monster in this sharp and satisfying horror film. Upon the movie’s release three years ago, Peele told The Post that he began writing the satire as the nation prepared to elect its first black president. The result is a thrilling rebuke of what Peele called America’s “post-racial lie.” The film is available to rent or purchase on Amazon Prime.


The racial commentary in Lin-Manuel Miranda’s Tony Award-winning musical – the film version of which hits Disney Plus on Friday – is subtle but manifests in its largely black and Latino cast. “This is a story about America then, told by America now,” Miranda told the Atlantic in 2015 about his piece on the life of Alexander Hamilton.

Miranda – who apologized in May for not sooner using his “Hamilton” platform to publicly support the Black Lives Matter movement – reflected, in a recent USA Today interview, on seeing signs bearing lyrics from his masterpiece about the Founding Fathers at BLM protests. “That’s an unexpected resonance, just young people demanding change that kind of echoes across centuries.”

“I Am Not Your Negro”

Washington Post film critic Ann Hornaday called Raoul Peck’s 2016 documentary ″a stinging rebuke, searing provocation and soothing balm all in one.” Peck uses an unfinished Baldwin manuscript to offer a view into one of the nation’s most brilliant minds, as Baldwin reflects on his friendships with three slain civil rights leaders: Martin Luther King Jr., Medgar Evers and Malcolm X. The film is available to stream on Amazon Prime.

“O.J.: Made in America”

Ezra Edelman deconstructs the trial of the century with haunting insights on American race relations in this five-part documentary series, available to stream on ESPN Plus. “From start to finish ‘O.J. Made in America’ is a devastating study of a man,” Washington Post TV critic Hank Stuever wrote in his review, which dubbed the series “nothing short of a towering achievement.”


This electrifying HBO series is fictional but begins with scenes depicting the horrific Tulsa race massacre that unfolded after a white mob descended on a prosperous black business district in Oklahoma nearly a century ago. That painful legacy is then infused into the DC Comics’ franchise from which it borrows its title. “‘Watchmen’ had the guts to put a mask on the two biggest real-life threats to black existence – racism and white supremacy,” The Post’s David Betancourt wrote, “and turned those social ills into a supervillain (represented by the Seventh Kavalry) that Regina King could beat up.”

“What Happened, Miss Simone?”

Liz Garbus’s 2015 documentary explores the life and career of singer and activist Nina Simone, whose songbook is punctuated with urgent and devastating appeals for civil rights – including “Mississippi Goddam,” the searing anthem she performed at Carnegie Hall in 1964. As Simone tells it in an interview featured in the film, available to stream on Netflix, the Birmingham church bombing inspired her to write the controversial song.

“First you get depressed and then you get mad,” Simone explains. “And when these kids got bombed, I just sat down and wrote this song. And it’s a very moving, violent song.”

“When They See Us”

In this four-part Netflix miniseries, DuVernay highlights the staggering injustices faced by five teenagers – four black and one Latino – who were wrongfully convicted of raping a white woman in New York’s Central Park in 1989. Amid critical acclaim, the series was slammed as inaccurate by some, including former Manhattan prosecutor Linda Fairstein, who faced public fallout following the series’ release last year.

Blackpink says they want to spread positive energy with ‘How You Like That’ #ศาสตร์เกษตรดินปุ๋ย

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation.

Blackpink says they want to spread positive energy with ‘How You Like That’


Jun 28. 2020Photo credit: YG EntertainmentPhoto credit: YG Entertainment

By Yim Hyun-su
Korea Herald

The members of Blackpink say they want to spread positive energy with their new single, “How You Like That.”

It is the group’s first single since “Kill This Love,” which came out in April 2019.

Ahead of the song’s release Friday, the bandmates discussed the experience of recording their first full-length album and collaborating with Lady Gaga during a livestreamed press conference.

“This may sound a little bit grand. We really tried to give people a positive and hopeful message through this song. I sang with the true heart, hoping that people can stand up even though they face difficult situations,” Jisoo said.

Sporting her new two-toned hair, Jennie discussed working on new music that will be released in stages over the rest of the year.

“It’s been a long journey before we took on the challenge of making our first full-length studio album. As the pre-single ‘How You Like That’ will hint at, we wanted to try new and various genres this time,” she said.

During the online event, which drew nearly 700,000 viewers at one point, the presenter said Blackpink had the most popular YouTube channel in South Korea.

In a further sign of its global success, “Sour Candy,” a single the band produced in collaboration with Lady Gaga, had racked up over 63 million views as of Friday.

Jennie also explained how the collaboration came about — through a phone conversation with the pop star, who like Blackpink works with major US label Interscope Records.

“We are very glad to do the collaboration with her. We were a huge fan of Lady Gaga even before our debut. It was really fun working with her, and we are really thankful that many global fans loved it.”

Having also collaborated with Dua Lipa, the group touched upon working with other artists.

“I think collaboration is a work that gives positive energy to each other. Through musical exchanges we are inspired by each other and also has a new stimulus. As an artist we are always thinking hard to bring a new side of us and to become more confident,” Jisoo said.

After releasing “How You Like That,” the group is scheduled to appear on “The Tonight Show Starring Jimmy Fallon” later Friday.

YG Entertainment has said Blackpink would release another single before its first full-length album comes out in September, with solo projects in the works for later this year.

New movies to stream this week: ‘No Small Matter,’ ‘Ella Fitzgerald: Just One of Those Things’ and more #ศาสตร์เกษตรดินปุ๋ย

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation.

New movies to stream this week: ‘No Small Matter,’ ‘Ella Fitzgerald: Just One of Those Things’ and more


Jun 26. 2020Maggie Nichols in Maggie Nichols in “Athlete A.” MUST CREDIT: Netflix Photo by: Netflix — Netflix

By  The Washington Post · Michael O’Sullivan · ENTERTAINMENT, FILM

The celebrated jazz and scat singer Ella Fitzgerald is the subject of “Ella Fitzgerald: Just One of Those Things,” a suitably affectionate documentary portrait that walks us through her life and career, from her first appearance, as a skinny, nervous teen, on the stage of the Apollo Theater’s Amateur Night, to her death in 1996 at 79 (two years after having both of her legs amputated because of diabetes).

In between, the film hits all the expected notes, including anecdotes about her mentor and early bandleader Chick Webb, her two marriages, public criticism about her weight and struggles with racism in the 1950s and early 1960s. (In a 1963 radio interview with Fred Robins, never broadcast, she speaks about the importance of the civil rights movement, a rare moment for an artist who didn’t like to get political.) But the film’s most satisfying passages are when the talking heads shut up for a moment and let us listen to Fitzgerald, who, in the words of The Washington Post’s Richard Harrington, “almost single-handedly elevated the American popular song to the status of art in the tradition of Italian bel canto and German lieder.” Unrated. Available June 26 at theavalon.org, afisilver.afi.com, themiracletheatre.com and cinemaartstheatre.com. Contains brief rude language. 89 minutes.

Ella Fitzgerald at the Olympia Theatre in Paris, 1960. MUST CREDIT: Herman Leonard/Eagle Rock Films

Ella Fitzgerald at the Olympia Theatre in Paris, 1960. MUST CREDIT: Herman Leonard/Eagle Rock Films

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It takes 15 minutes or so for “No Small Matter” to get going. In that time, the documentary about the importance of early-childhood education issues an ominous warning about “an enemy that most of us don’t know to fight,” while making us wait to find out who or what that enemy is. But when the film’s core message finally kicks in – that investment in high-quality child care, good, well-paid teachers and the strong social support systems needed to help parents start their kids off on the right foot – it comes across loud, clear and convincing. Lucid, well-argued and urgent, this is a film that everyone who cares about the future of our country should consider seeing, especially people with kids or those who are thinking about having them. “No Small Matter” earns its title: If we want to transform future generations of Americans, we have to start with today’s moms and dads, and give them tools they need to build a better baby. Unrated. Contains nothing objectionable. Available on various streaming platforms. 116 minutes. 

A scene from "No Small Matter," a documentary about the importance of early-childhood education. MUST CREDIT: Siskel/Jacobs Productions

A scene from “No Small Matter,” a documentary about the importance of early-childhood education. MUST CREDIT: Siskel/Jacobs Productions

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In the noirish Italian thriller “The Invisible Witness,” a man wakes up with a cut on his forehead and his mistress lying dead in a pile of scattered cash. According to the Chicago Reader, “The best parts occur when you think you’ve clinched the plot, only to have it go one – or two or three – steps further.” Unrated. Available at cinemaartstheatre.com. In Italian with subtitles. 102 minutes.

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The documentary “Athlete A” centers on Larry Nassar and the serial sexual abuse perpetrated by the osteopathic physician who, for 29 years, was the doctor for the U.S. women’s Olympic gymnastics women’s team. The film, directed by Bonni Cohen and Jon Shenk (“An Inconvenient Sequel: Truth to Power”), is more than a testament to the perseverance of Nassar’s victims, according to Variety. It’s also “a testament to the obsession that gave cover to their abuse – to a culture that wanted winners at any cost.” PG-13. Available on Netflix. Contains mature thematic material, including detailed descriptions of sexual abuse of minors. 104 minutes. 

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In “Atypical Wednesday,” writer/director J Lee (“The Orville”) plays a man who is led on a comedic adventure when his effort to be a good Samaritan – giving a young boy a ride home from the therapist’s office – goes awry. Unrated. Available on iTunes. 91 minutes.

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A struggling British standup comedian (Kimberley Datnow) inherits her late father’s Los Angeles business in the comedy “Daddy Issues.” Unrated. Available on various streaming platforms. 90 minutes.

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In the documentary “Disarm Hate,” nine diverse members of the LGBTQ community travel to prominent sites of gun violence that have affected LGBTQ people, prompting discussion among themselves and the people they encounter. Unrated. Available on various streaming platforms. 85 minutes. 

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Jorge Garcia of “Lost'” plays a former child singing star who has become a recluse in the Chilean drama “Nobody Knows I’m Here.” TV-MA. Available on Netflix. In Spanish with subtitles. 91 minutes. 

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In “The 11th Green,” by filmmaker Christopher Munch (“The Hours and Times”), Campbell Scott plays an investigative journalist who stumbles upon documents and other clues suggesting a government coverup involving UFOs, dating from World War II. According to the Hollywood Reporter, the film “builds a convincing case for that hunch.” Unrated. Available on jomafilms.com. 109 minutes. 

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In “The Audition,” Nina Hoss plays Anna, a violin teacher at a Berlin music school whose attention to a young student becomes unhealthy. According to Variety, “The taut human time bomb (Hoss) makes of Anna is what makes the film consistently, anxiously engrossing even as the script goes through some soapier motions.” Unrated. Available at afisilver.afi.com. In German with subtitles. 99 minutes. 

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Raised by his foster mother in the English countryside, a boy of Nigerian ancestry struggles to adjust when his birth mother moves him into her small London flat in “The Last Tree.” According to the Guardian, “Powerful performances, tactile visuals and an elegantly fluid score add to the impact of this impressively understated yet profoundly moving tale.” Unrated. Available at afisilver.afi.com. 98 minutes.

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The 12th film in the “Puppet Master” horror series, “Blade: The Iron Cross” centers on a homicidal, hook-handed puppet assassin. Unrated. Available June 26 on the Full Moon Features app.

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In “Two Heads Creek,” a timid butcher and his twin sister travel from England to Australia in search of their birth mother, only to encounter townspeople who are hiding a dark secret. Ready Steady Cut calls the film, with a story that looks askance at anti-immigrant sentiment, “an anti-bigot satire in the guise of a blood-and-action horror-comedy.” Unrated. Available on various streaming platforms. 116 minutes.

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In “My Spy,” Dave Bautista plays a hard-boiled CIA agent who, while conducting surveillance on the ex-wife of a suspected terrorist, is exposed – and then befriended – by her young daughter (Chloe Coleman). PG-13. Available June 26 on Amazon Prime Video. Contains action, violence and strong language. 101 minutes.

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“Four Kids and It” is a fantasy adventure based on Jacqueline Wilson’s 2012 children’s book “Four Children and It” – which was in turn based on the 1902 novel “Five Children and It” by E. Nesbit – about several siblings who discover a magical, wish-granting creature called a Psammead. PG. Available June 30 on various streaming platforms. Contains mature thematic elements, some rude and sug¿gestive comments, fantasy violence and strong language. 110 minutes.

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“Beats” is a dramedy about ’90s rave culture in Scotland. Unrated. Available at afisilver.afi.com. Contains strong language, drug and alcohol use and some violence. 101 minutes. All ticket holders can also view a virtual Q&A, presented by Slamdance, between the film’s executive producer Steven Soderbergh and filmmaker Brian Welsh.

Darick Campbell, gospel musician who upheld sacred steel tradition, dies at 53 #ศาสตร์เกษตรดินปุ๋ย

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation.

Darick Campbell, gospel musician who upheld sacred steel tradition, dies at 53


Jun 22. 2020Darick CampbellDarick Campbell

Darick Campbell, a lap steel guitarist with the gospel band the Campbell Brothers, who took the musical style known as sacred steel from Pentecostal churches to the international stage, died May 11 at a hospital in Atlanta. He was 53. 

The cause was complications from heart surgery, said his brother Chuck Campbell. 

Sacred steel traces its roots to 1930s church services at the House of God, a small African American denomination where the steel guitar – a staple of Hawaiian and country music – emerged as a more portable alternative to the church organ. 

By turns mournful and joyous, the instrument energized congregations and fostered a call and response between the chancel and the pews. 

While his older brother Chuck played the pedal steel guitar, which uses knee levers to raise and lower its pitch, Campbell played a traditional Hawaiian lap steel. In his hands, the instrument sang like a human voice. He could create four or five distinct melodic notes while striking a string only once. And his use of the wah-wah pedal, an electronic device popularized by rock guitarists such as Jimi Hendrix, enhanced its plaintive quality. 

In House of God churches, steel guitarists typically began on the lap steel and advanced to the more complex pedal steel. But Campbell, who started out as the group’s drummer, found his niche on the old-style lap and stuck with it.

“He played more traditional House of God steel, whereas I was more progressive,” Chuck Campbell said in a phone interview. “We progressed into more of a rock-ish style because of the bigger amps, electronics and the more modern choir songs. Darick was a great drummer, too. He listened to Billy Cobham, Stewart Copeland and Tony Williams, all of whom are fusion players. But when it came to the steel, he was focused on the tradition.”

Darick Everett Campbell was born in Rochester, N.Y., on Nov. 12, 1966. His father was a bishop in the Keith Dominion, a House of God branch. By age 8, Campbell was drumming in the family church group with his older brothers, Chuck and Phillip, a guitarist and bassist, and studying the steel with such elder players as Henry Nelson, Ted Beard and Calvin Cooke. 

By the time the Campbell Brothers made their studio debut, with “Pass Me Not” in 1997, the group was rounded out by drummer Carlton Campbell, Phillip’s son, and guest singer Katie Jackson.

“Darick got so good that instead of having one steel player, both of us would play,” Chuck said. “Darick ended up a more soulful, melodic and old-school player than I was. It gave us a great contrast. Between the two of us, we had a great variety of sounds and covered the entire evolution of the steel in the church. Everything we tried to do with [electronic] effects – whether it was using an e-bow, phase shifters, flange or wah-wah pedals – was to mimic the voice of the singers in the church.”

Their fans included the Allman Brothers Band, who brought the Campbells onstage beginning in the early 2000s, and John Medeski of the jazz fusion trio Medeski Martin & Wood, who produced their 2005 album”Can You Feel It?”

Campbell also recorded with folk blues artist Keb’ Mo’ and gospel singer Mavis Staples. With his brother Chuck, he belonged to a steel guitar supergroup, the Slide Brothers, who performed alongside Buddy Guy and Bootsy Collins on a 2012 Hendrix tribute tour. 

As the Campbell Brothers became popular outside the church, they broadened their repertoire as well, premiering a steel guitar interpretation of John Coltrane’s spiritual jazz suite “A Love Supreme” at Lincoln Center in 2014.

Their renown in rock and jazz circles was not always well-received by House of God leaders in Nashville, Tenn., who reportedly wanted to keep the Campbell Brothers’ music situated within the sanctuary.

The title of their album “Beyond the 4 Walls” (2013) refers to that conflict, and to a civil suit that nearly drove them from the church. According to a report in the Rochester Democrat & Chronicle, church leaders sued the group in 2005, alleging a misuse of church funds allocated to a commissioned DVD and book. The case was thrown out of court five years later. 

The church barred the group from performing at services, and Campbell – who had learned steel from church elders – wondered whether the musical torch could continue to be passed. 

“All of these young players are coming along,” he told the Democrat & Chronicle in 2013. “But the cool guys who I looked up to, the guys who shared with me, they’re no longer there. The younger generation of the House of God, they have no one to watch.”

Campbell attended a House of God church in Atlanta in recent years.

His marriage to Sharon Moore ended in divorce. In addition to his two brothers, survivors include his wife of five years, Pamela Ross Campbell; a daughter from his first marriage, Alexis Campbell; a sister; and a granddaughter.

The Campbell Brothers took their music to more than 25 countries, by Chuck’s count. 

“It’s almost an out-of-body experience,” he said, “because it’s something we never expected – particularly because we only play what we played in church.” 

Christopher Nolan’s ‘Tenet’ pushed as Hollywood seeks to buy more time #ศาสตร์เกษตรดินปุ๋ย

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation.

Christopher Nolan’s ‘Tenet’ pushed as Hollywood seeks to buy more time


Jun 14. 2020

By The Washington Post · Steven Zeitchik 

Hollywood’s reopening will need to wait two more weeks – at least.

Warner Bros. announced Friday it was pushing “Tenet,” its new Christopher Nolan movie with designs on kick-starting the moribund theater economy, back two weeks. It will now open on July 31 instead of July 17.

The postponement signals the first crack in a studio, and filmmaker, that had previously remained steadfast in its belief that audiences will return to theaters in mid-July even as nearly every competitor was scrambling to push movies deeper into the summer or later with the spread of Covid-19. And it chips away at Hollywood’s broader hopes that it could salvage much of its important summer season during the pandemic.

In a statement, WB did not specify reasons for the postponement.

“We’re especially thrilled, in this complex and rapidly changing environment, to be bringing Christopher Nolan’s ‘Tenet,’ a global tentpole of jaw-dropping size, scope and scale, to theaters around the world on July 31,” said WB Motion Picture Group chairman Toby Emmerich. “It’s been longer than any of us could’ve imagined since we’ve seen a movie on the big screen.”

But concern has been rising in recent days that the kind of mass audience needed for a release of this scale would not be ready to return to theaters in just five weeks. The news comes as some states, like Arizona, have seen a rise in Covid hospitalizations and many California counties have been embroiled in controversy over how to impose safety measures like mask-wearing.

“Tenet,” starring John David Washington, is a $200 million action-adventure from a director with a strong box-office record, with Nolan’s “Inception,” “Dunkirk” and the “Dark Knight” movies generating billions of dollars in box office around the world. As theaters begin to reopen, theaters have placed their hopes on the filmmaker to rescue them from a disastrous 2020.

Publicly, at least, the National Association of Theatre Owners that represents theaters endorsed the delay.

“Over these last months we have been keeping Warner Bros. closely informed of our work toward reopening our theaters in accordance with governmental health and safety requirements, and we are looking forward to audiences enjoying Tenet in our theaters all around the world on July 31st,” it said in a statement.

But the move is likely to create a domino effect, delaying a series of movies. “Mulan,” the Disney action-adventure reboot, is scheduled to open one week after on July 24 after being postponed from its initial March date. Yet Disney chief executive Bob Chapek said on a conference call with analysts last month that he was grateful not to be going first, and some in the industry believe “Mulan” will now move too and come out after “Tenet,” no earlier than Aug. 7.

With that move, a carefully orchestrated sequence would be upended. Paramount Pictures is scheduled to open “The SpongeBob Movie: Sponge on the Run,” on Aug. 7 and Warner Bros is slated to turn around and open “Wonder Woman 1984″ the following week. Those films could now get pushed to late August or out of the summer entirely; studios are reluctant to go head-to-head with other films at a time when it is unclear there is a broad audience for even one film.

That would have a broad financial impact on Hollywood. Theaters have lost billions since movie theaters closed on a wide scale in March with the outbreak of the pandemic, as studios pushed all major movies coming out before July 4. Last year, the April-June period brought in $3.4 billion in box-office receipts. This year thus far it’s generated just $2 million, largely from a smattering of reopened theaters showing classic films.

On Friday, one domino already fell as “Unhinged” – an action-thriller starring Russell Crowe from the independent Solstice Studios that had been scheduled as a warmup act of sorts on July 1 – was moved to July 10 in the wake of the “Tenet” news.

Meanwhile, the push from some studios to release movies digitally during the pandemic remains strong. This weekend sees Universal Pictures put out “The King of Staten Island,” a much-anticipated new movie from Judd Apatow inspired by the life of and starring “SNL” personality Pete Davidson. Universal decided this week not to put the film even in the few theaters that are open so it could make the film available exclusively on digital rental platforms.

Richard Marx is webcasting during the pandemic #ศาสตร์เกษตรดินปุ๋ย

#ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation.

Richard Marx is webcasting during the pandemic

EntertainmentJun 13. 2020Washington Post arts reporter Geoff Edgers interviewed singer Richard Marx on Instagram Live on May 26 to talk about the singer's newest projects. (The Washington Post)
Washington Post arts reporter Geoff Edgers interviewed singer Richard Marx on Instagram Live on May 26 to talk about the singer’s newest projects. (The Washington Post)

By The Washington Post · Geoff Edgers · ENTERTAINMENT, MUSIC 
Like so many, national arts reporter Geoff Edgers has been grounded by the coronavirus. So he has launched an Instagram Live show from his barn in Concord, Mass. 


Every Tuesday and Friday afternoon, Edgers hosts “Stuck With Geoff,” an hour-long show with whoever will take his calls. So far, that has included musician David Byrne, Bill Nye “The Science Guy,” singer Annie Lennox, and actress Marlo Thomas and her husband, talk-show veteran Phil Donahue. 

Recently, Edgers chatted with pop singer Richard Marx, 56, from his home in Malibu, Calif. Here are some excerpts from their conversation.

Q: So your voice is impeccable and the falsetto, it’s all there. But I’m curious. My son, who’s 10 and plays guitar, is obsessed with getting an autotune pedal. Have you used autotune? His feeling was it wasn’t even about fixing the notes. It was because many of the songs he hears have that sound in it. He wants to re-create that. 

A: He’s absolutely right. And I was sort of on this get-off-my-lawn kind of bandwagon about never using autotune for people who can’t really sing. And then I listened to new music, to what’s on the radio. And there is a sound that the autotune processing creates. In some cases, people need it because they can’t sing in tune. But if you’re not insecure about it, sometimes it’s a really cool effect. 

Q: The Beatles, they used effects in their voices. And I know John Lennon was very insecure about his voice and would multiple track it. My boy loves Harry Styles, who performed a version of Peter Gabriel’s song “Sledgehammer” on Howard Stern’s show. 

A: I love Harry Styles, and I love the way the way he does it. But if I knew him, I’d be like, ‘Dude, you’re being so faithful to the Peter Gabriel version.” I would love to hear him sort of (mess) with it a little bit. Because I always feel like if you’re going to be really faithful to a song in a performance, then you’re just going to be constantly compared to the original as opposed to sort of doing it your own way. 

Q: Now we’re in this lockdown. You’re in Malibu, and I keep getting notes from your publicists and they’re like, “Richard’s launched this podcast called ‘Social Distancing.’ ” You’ve got like two videocast things. What’s going on? Why are you launching so many projects that have no clear revenue source? 

A: (Laughs.) The short answer is I was filling time to avoid my anxiety. The first couple of weeks, my wife (former MTV personality Daisy Fuentes) and I were, you know, we were acutely aware of how fortunate we are to be going through this in the way that we are. We have each other. But there was still a lot of anxiety about our three sons, grown men. I worry about them because I’m a dad. I have an 84-year-old immunocompromised mother. There were just a lot of things that were weighing heavily on me, and I found it was just a really great distraction. 

I’ve had no experience with this kind of thing (podcast on Zoom). But it’s been really fun. You know, people I’ve never met before. And we’ve posted it. I met Paul Stanley from KISS. We had the greatest conversation, and we text each other now. I met (designer) Steve Madden a week or so ago. He was really fascinating. I wouldn’t be arrogant enough to say that I’m interviewing these people as much as just chatting with them. 

Q: A couple of weeks ago, I covered my first assignment out of my barn in a long time. I covered a concert in New Hampshire as the first sanctioned concert, and it was a guy on a stage they built outside a venue called the Tupelo Music Hall. You know that place.

A: Yeah, I played there. I did my solo acoustic show there last year. 

Q: Great place. I mean, you played there, Richard Thompson, Buddy Guy. What they did was build a stage outside and they numbered parking spaces. Seventy-five spaces next to where you could put your chair. You weren’t allowed to wander in any way, and they just had a guy on the stage. It was really a test and it went OK, but the energy was different. What’s your kind of comfort level, or when do you actually get out there and perform again? 

A: That’s a really good question, and I think it’s going to be much like the reopening of state by state. I think it’s going to be a gradual process. And anything could happen. I think what we’re probably going to see over the next few months are things like you just described or where everybody’s in golf carts, distanced. There are going to be several iterations of it as we go. And then we probably are going to get hit with the second wave and all bets will be off again and again. It’s one of those weird things, especially because I tour. Probably 75 percent of my touring is just me, solo acoustic. 

I don’t think we’re going to really see what it’s going to look like for at least six or eight months. All my concerts for 2020 have been rescheduled to early 2021. But who knows? I get messages on social media all the time from people. Is the London show still gonna happen? Who knows.