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"content": "\u003cp>For millions of college students around the country, coronavirus lockdowns effectively canceled their hobbies and extracurriculars. But that’s not the case for Madison Cragle, a graphic design major at the State University of New York at Canton. She’s co-captain of her school’s Super Smash Bros. Ultimate team—an esports team. That’s right, varsity video games.\u003c/p>\n\u003cp>“There’s a joke going around that once the quarantine ends, everyone’s going to be like a thousand times better because we have nothing else to do,” Cragle says. Besides all the extra practice time, right now, Cragle’s actually playing in a tournament alongside hundreds of her fellow students. The $20,000 prize pool will go to a SUNY student emergency aid fund, medical research, personal protective equipment and student scholarships. It’s sponsored by Extreme Networks, a technology company that provides the technical infrastructure for varsity esports at Canton and other campuses around the country.\u003c/p>\n\u003cp>“We want to reach out and continue to build community,” says SUNY Chancellor Kristina Johnson. Over 400,000 SUNY students are now at home, and plans for returning to campuses are very much still in formation. In the meantime, Johnson saw an opportunity to bring students together virtually across SUNY’s 64 campuses. “The motivation was to get the students engaged, and then to raise money for students impacted by the crisis, and to pull together. ”\u003c/p>\n\u003cp>There are three separate games being played in the tournament, each by their own leagues. Super Smash Bros. Ultimate is a descendant of Nintendo’s beloved, 1980s vintage Mario Bros.; \u003ca href=\"https://www.kqed.org/pop/104193/why-children-love-the-fortnite-video-game-so-much-in-their-own-words\" target=\"_blank\" rel=\"noopener noreferrer\">Fortnite\u003c/a> is an immersive “battle royale,” and Rocket League is succinctly described by SUNY Canton sophomore Alec Knowles as “car soccer.”\u003c/p>\n\u003cp>Knowles, who hopped on a Zoom call along with Cragle to speak with NPR, is a “shoutcaster” for the tournament, meaning he provides play-by-play commentary over a livestream of the game. It takes a lot of time, he says: First, playing the game enough to learn the particulars so you can describe all the moves to fans. And then, the technical details. “We do all of our own streaming on Twitch,” a platform for livestreaming of all kinds of activities, from video gaming to DJ sets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So you have to put in the time to be able to set the stream up. Make sure that everything looks great, like the video and the pixels. … So we don’t have any issues where, like, it’s lagging.”\u003c/p>\n\u003cp>Cragle says that while confined to home, the tournament’s been a good social outlet. “I haven’t really had much to do at home. I was gonna get a job but when the quarantine happened, I couldn’t get the job I was gonna get.” Now, she says, students from different campuses all over the state are connecting on special chat rooms set up on a site, called Discord, especially for tournament competitors. And there’s a matchmaking function, so you can challenge people to side games.\u003c/p>\n\u003cp>I ask if there’s much trash talking on the Discord server, and Knowles chimes in: “Smash [Bros.] is the epicenter of salt [trash talk.]”\u003c/p>\n\u003cp>Cragle laughs: “Yeah, if you watch the top players, they’re so mean to each other sometimes. It makes for some good entertainment though, to be honest.”\u003c/p>\n\u003cp>Video game playing overall was \u003ca href=\"https://www.hollywoodreporter.com/news/gaming-usage-up-75-percent-coronavirus-outbreak-verizon-reports-1285140\" target=\"_blank\" rel=\"noopener noreferrer\">up a reported 75%\u003c/a> in the first week of U.S. coronavirus lockdowns, and streaming—live spectating of game play on platforms like Twitch—was up as well. Cragle and Knowles are hoping that the tournament helps win over new fans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Transitioning into college, like my parents were like, yeah, I don’t know if you can actually make a career off this,” says Knowles. “So I did it. And my parents are really supportive of me now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Can%27t+Leave+The+House%3F+Try+Playing+Competitive+Video+Games&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For millions of college students around the country, coronavirus lockdowns effectively canceled their hobbies and extracurriculars. But that’s not the case for Madison Cragle, a graphic design major at the State University of New York at Canton. She’s co-captain of her school’s Super Smash Bros. Ultimate team—an esports team. That’s right, varsity video games.\u003c/p>\n\u003cp>“There’s a joke going around that once the quarantine ends, everyone’s going to be like a thousand times better because we have nothing else to do,” Cragle says. Besides all the extra practice time, right now, Cragle’s actually playing in a tournament alongside hundreds of her fellow students. The $20,000 prize pool will go to a SUNY student emergency aid fund, medical research, personal protective equipment and student scholarships. It’s sponsored by Extreme Networks, a technology company that provides the technical infrastructure for varsity esports at Canton and other campuses around the country.\u003c/p>\n\u003cp>“We want to reach out and continue to build community,” says SUNY Chancellor Kristina Johnson. Over 400,000 SUNY students are now at home, and plans for returning to campuses are very much still in formation. In the meantime, Johnson saw an opportunity to bring students together virtually across SUNY’s 64 campuses. “The motivation was to get the students engaged, and then to raise money for students impacted by the crisis, and to pull together. ”\u003c/p>\n\u003cp>There are three separate games being played in the tournament, each by their own leagues. Super Smash Bros. Ultimate is a descendant of Nintendo’s beloved, 1980s vintage Mario Bros.; \u003ca href=\"https://www.kqed.org/pop/104193/why-children-love-the-fortnite-video-game-so-much-in-their-own-words\" target=\"_blank\" rel=\"noopener noreferrer\">Fortnite\u003c/a> is an immersive “battle royale,” and Rocket League is succinctly described by SUNY Canton sophomore Alec Knowles as “car soccer.”\u003c/p>\n\u003cp>Knowles, who hopped on a Zoom call along with Cragle to speak with NPR, is a “shoutcaster” for the tournament, meaning he provides play-by-play commentary over a livestream of the game. It takes a lot of time, he says: First, playing the game enough to learn the particulars so you can describe all the moves to fans. And then, the technical details. “We do all of our own streaming on Twitch,” a platform for livestreaming of all kinds of activities, from video gaming to DJ sets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So you have to put in the time to be able to set the stream up. Make sure that everything looks great, like the video and the pixels. … So we don’t have any issues where, like, it’s lagging.”\u003c/p>\n\u003cp>Cragle says that while confined to home, the tournament’s been a good social outlet. “I haven’t really had much to do at home. I was gonna get a job but when the quarantine happened, I couldn’t get the job I was gonna get.” Now, she says, students from different campuses all over the state are connecting on special chat rooms set up on a site, called Discord, especially for tournament competitors. And there’s a matchmaking function, so you can challenge people to side games.\u003c/p>\n\u003cp>I ask if there’s much trash talking on the Discord server, and Knowles chimes in: “Smash [Bros.] is the epicenter of salt [trash talk.]”\u003c/p>\n\u003cp>Cragle laughs: “Yeah, if you watch the top players, they’re so mean to each other sometimes. It makes for some good entertainment though, to be honest.”\u003c/p>\n\u003cp>Video game playing overall was \u003ca href=\"https://www.hollywoodreporter.com/news/gaming-usage-up-75-percent-coronavirus-outbreak-verizon-reports-1285140\" target=\"_blank\" rel=\"noopener noreferrer\">up a reported 75%\u003c/a> in the first week of U.S. coronavirus lockdowns, and streaming—live spectating of game play on platforms like Twitch—was up as well. Cragle and Knowles are hoping that the tournament helps win over new fans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Transitioning into college, like my parents were like, yeah, I don’t know if you can actually make a career off this,” says Knowles. “So I did it. And my parents are really supportive of me now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Can%27t+Leave+The+House%3F+Try+Playing+Competitive+Video+Games&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>During the pandemic lockdown, what’s left of Hollywood production has gone virtual. Late-night TV hosts \u003ca href=\"https://www.kqed.org/pop/15753/get-to-know-your-new-daily-show-host-south-african-comedian-trevor-noah\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Noah, \u003c/a>\u003ca href=\"https://www.npr.org/2016/11/02/500303201/late-show-host-stephen-colbert-says-hes-finally-found-his-post-report-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Colbert \u003c/a>and the Jimmys—\u003ca href=\"https://www.npr.org/2017/10/12/557331357/jimmy-fallon-on-the-school-of-snl-and-his-tendency-to-smile-too-much\" target=\"_blank\" rel=\"noopener noreferrer\">Fallon \u003c/a>and \u003ca href=\"https://www.npr.org/2019/12/01/783722818/jimmy-kimmel-writes-a-picture-book-says-kids-are-always-ready-to-laugh\" target=\"_blank\" rel=\"noopener noreferrer\">Kimmel\u003c/a>—record monologues \u003ca href=\"https://www.npr.org/2020/04/09/831174892/late-night-hosts-are-also-working-from-home-with-varying-results\" target=\"_blank\" rel=\"noopener noreferrer\">from their homes.\u003c/a> \u003cem>Saturday Night Live at Home\u003c/em>, which had its finale over the weekend, had its cast mates and guest stars tape themselves, too.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.npr.org/2020/04/30/848506248/from-parks-and-recreation-a-brief-but-delightful-return-to-pawnee\" target=\"_blank\" rel=\"noopener noreferrer\">special reunion episode\u003c/a> of \u003cem>Parks and Recreation\u003c/em> that aired recently was also written, shot, directed and edited remotely. Showrunner Mike Schur says he and the director, script supervisor and editors worked from their homes, watching on Zoom as the actors did their own camerawork.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bwYth4JZP3s\u003c/p>\n\u003cp>“We didn’t actually fully know what anything looked like until we got the footage back. It was always a little bit of a surprise,” Schur says. “There were things that were recorded at the wrong frame rate, the little lights that were attached to the mini-rigs that we sent out kept malfunctioning in the middle of takes. It was a struggle.”\u003c/p>\n\u003cp>In the end, Schur says the episode worked as a one-off since the series always had a “let’s put on a show” sensibility. But Schur, who created \u003ca href=\"https://www.kqed.org/pop/105436/what-the-good-place-has-taught-us-about-philosophy-and-life-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Good Place\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://www.kqed.org/pop/103753/saving-brooklyn-nine-nine-was-business-but-the-love-of-it-is-real\" target=\"_blank\" rel=\"noopener noreferrer\">Brooklyn Nine-Nine\u003c/a> \u003c/em>and the upcoming series \u003cem>Rutherford Falls\u003c/em>, says the do-it-yourself method isn’t a long-term solution because making a comedy is a team sport.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It can’t be everyone in his or her own house acting as his or her own hair, makeup, DP [director of photography], rigger, gaffer, grip,” Schur says. “It was really fun to do, but it’s not a blueprint for anything.”\u003c/p>\n\u003cp>Casting director Jennifer Euston can no longer safely audition actors in person at her small New York City office. And she can’t scout for talent at the theater, like she did for\u003cem>\u003ca href=\"https://www.kqed.org/pop/6932/5-reasons-to-start-watching-orange-is-the-new-black-right-now\" target=\"_blank\" rel=\"noopener noreferrer\"> Orange is the New Black. \u003c/a>\u003c/em>But she’s got a plan for casting the upcoming Netflix series \u003cem>Social Distance\u003c/em>, a scripted show set during the pandemic.\u003c/p>\n\u003cp>“I have to hire actors that are quarantining together as families, as husband and wife, as brother and sister, any combination of people—and it’s not just straight couples,” she says, adding that her goal is to add as much diversity to the show as possible. Not just racial and ethnic diversity, but “all shapes, and sizes, and faces, and looks.”\u003c/p>\n\u003cp>\u003cem>One Day at a Time\u003c/em> executive producer \u003ca href=\"https://www.npr.org/2019/06/29/737328745/after-new-season-pick-up-one-day-at-a-time-showrunner-looks-ahead\" target=\"_blank\" rel=\"noopener noreferrer\">Gloria Calderon Kellett \u003c/a>found an alternative to taping her show on a crowded set in front of a live audience. After her rebooted sitcom had to shut down midseason, she had an idea: “My husband’s a cartoonist, so animation is around me all the time. And I just thought maybe we can animate this particular episode.”\u003c/p>\n\u003cp>Kellett says the storyline of this particular episode, set to air in June, has her TV family dealing with the upcoming presidential election. She says it’s filled with fantasy sequences, making it easy to animate, but future episodes won’t necessarily be cartoons.\u003c/p>\n\u003cp>Animation is one of the few forms of entertainment still in production. For the series \u003ca href=\"https://www.kqed.org/pop/111678/8-ways-bobs-burgers-is-pure-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bob’s Burgers\u003c/em>, \u003c/a>animators in South Korea continue to work. And from their homes in Los Angeles, writers and sisters Wendy and Lizzie Molyneux work in the show’s virtual writers’ room.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Ru6bo3CHO4\u003c/p>\n\u003cp>“You lose a little bit of the fun and the magic of having everybody in the room together and seeing each other,” Lizzie Molyneux says. “But it’s good to remember that we’re all fortunate to be working.”\u003c/p>\n\u003cp>The Molyneux sisters are also co-executive producers of an upcoming animated sitcom, \u003cem>The Great North\u003c/em>. The cast, which features the voices of Megan Mullally and Will Forte, recently tested out lines during an online table read.\u003c/p>\n\u003cp>“Normally you get the big laughs from the room, but we had everyone other than our actors muted so there wouldn’t be a lot of noise,” Wendy Molyneux says. “But the actors were nice enough to laugh at the jokes themselves as it went along. So that helped it have the feeling of: We’re not saying jokes into an absolute vacuum.”\u003c/p>\n\u003cp>TV writers are now wrestling with how future storylines can deal with the coronavirus pandemic and an unknown future. Schur says his showrunner wife, J.J. Philbin, is waiting to see if her sitcom, \u003cem>Single Parents,\u003c/em> gets picked up for another season.\u003c/p>\n\u003cp>“Her daily question is: ‘When we come back, are these people living in this world?’ Do you ignore it, or do you run right at it?” he says. “It’s hard to know what people will want from TV, whether they’ll want pure escapism or whether they’ll want a sort of reflection of their own reality.”\u003c/p>\n\u003cp>Audiences may already be tired of watching actors in their living rooms or in mock Zoom meetings. Is it time to innovate new special effects or bring back canned laugh tracks? Stay tuned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+Hollywood+Works+From+Home%3A+Stay+Tuned+As+TV+Shows+Get+Creative&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the pandemic lockdown, what’s left of Hollywood production has gone virtual. Late-night TV hosts \u003ca href=\"https://www.kqed.org/pop/15753/get-to-know-your-new-daily-show-host-south-african-comedian-trevor-noah\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Noah, \u003c/a>\u003ca href=\"https://www.npr.org/2016/11/02/500303201/late-show-host-stephen-colbert-says-hes-finally-found-his-post-report-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Colbert \u003c/a>and the Jimmys—\u003ca href=\"https://www.npr.org/2017/10/12/557331357/jimmy-fallon-on-the-school-of-snl-and-his-tendency-to-smile-too-much\" target=\"_blank\" rel=\"noopener noreferrer\">Fallon \u003c/a>and \u003ca href=\"https://www.npr.org/2019/12/01/783722818/jimmy-kimmel-writes-a-picture-book-says-kids-are-always-ready-to-laugh\" target=\"_blank\" rel=\"noopener noreferrer\">Kimmel\u003c/a>—record monologues \u003ca href=\"https://www.npr.org/2020/04/09/831174892/late-night-hosts-are-also-working-from-home-with-varying-results\" target=\"_blank\" rel=\"noopener noreferrer\">from their homes.\u003c/a> \u003cem>Saturday Night Live at Home\u003c/em>, which had its finale over the weekend, had its cast mates and guest stars tape themselves, too.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.npr.org/2020/04/30/848506248/from-parks-and-recreation-a-brief-but-delightful-return-to-pawnee\" target=\"_blank\" rel=\"noopener noreferrer\">special reunion episode\u003c/a> of \u003cem>Parks and Recreation\u003c/em> that aired recently was also written, shot, directed and edited remotely. Showrunner Mike Schur says he and the director, script supervisor and editors worked from their homes, watching on Zoom as the actors did their own camerawork.\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/bwYth4JZP3s'\n title='//www.youtube.com/embed/bwYth4JZP3s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We didn’t actually fully know what anything looked like until we got the footage back. It was always a little bit of a surprise,” Schur says. “There were things that were recorded at the wrong frame rate, the little lights that were attached to the mini-rigs that we sent out kept malfunctioning in the middle of takes. It was a struggle.”\u003c/p>\n\u003cp>In the end, Schur says the episode worked as a one-off since the series always had a “let’s put on a show” sensibility. But Schur, who created \u003ca href=\"https://www.kqed.org/pop/105436/what-the-good-place-has-taught-us-about-philosophy-and-life-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Good Place\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://www.kqed.org/pop/103753/saving-brooklyn-nine-nine-was-business-but-the-love-of-it-is-real\" target=\"_blank\" rel=\"noopener noreferrer\">Brooklyn Nine-Nine\u003c/a> \u003c/em>and the upcoming series \u003cem>Rutherford Falls\u003c/em>, says the do-it-yourself method isn’t a long-term solution because making a comedy is a team sport.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It can’t be everyone in his or her own house acting as his or her own hair, makeup, DP [director of photography], rigger, gaffer, grip,” Schur says. “It was really fun to do, but it’s not a blueprint for anything.”\u003c/p>\n\u003cp>Casting director Jennifer Euston can no longer safely audition actors in person at her small New York City office. And she can’t scout for talent at the theater, like she did for\u003cem>\u003ca href=\"https://www.kqed.org/pop/6932/5-reasons-to-start-watching-orange-is-the-new-black-right-now\" target=\"_blank\" rel=\"noopener noreferrer\"> Orange is the New Black. \u003c/a>\u003c/em>But she’s got a plan for casting the upcoming Netflix series \u003cem>Social Distance\u003c/em>, a scripted show set during the pandemic.\u003c/p>\n\u003cp>“I have to hire actors that are quarantining together as families, as husband and wife, as brother and sister, any combination of people—and it’s not just straight couples,” she says, adding that her goal is to add as much diversity to the show as possible. Not just racial and ethnic diversity, but “all shapes, and sizes, and faces, and looks.”\u003c/p>\n\u003cp>\u003cem>One Day at a Time\u003c/em> executive producer \u003ca href=\"https://www.npr.org/2019/06/29/737328745/after-new-season-pick-up-one-day-at-a-time-showrunner-looks-ahead\" target=\"_blank\" rel=\"noopener noreferrer\">Gloria Calderon Kellett \u003c/a>found an alternative to taping her show on a crowded set in front of a live audience. After her rebooted sitcom had to shut down midseason, she had an idea: “My husband’s a cartoonist, so animation is around me all the time. And I just thought maybe we can animate this particular episode.”\u003c/p>\n\u003cp>Kellett says the storyline of this particular episode, set to air in June, has her TV family dealing with the upcoming presidential election. She says it’s filled with fantasy sequences, making it easy to animate, but future episodes won’t necessarily be cartoons.\u003c/p>\n\u003cp>Animation is one of the few forms of entertainment still in production. For the series \u003ca href=\"https://www.kqed.org/pop/111678/8-ways-bobs-burgers-is-pure-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bob’s Burgers\u003c/em>, \u003c/a>animators in South Korea continue to work. And from their homes in Los Angeles, writers and sisters Wendy and Lizzie Molyneux work in the show’s virtual writers’ room.\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/7Ru6bo3CHO4'\n title='//www.youtube.com/embed/7Ru6bo3CHO4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You lose a little bit of the fun and the magic of having everybody in the room together and seeing each other,” Lizzie Molyneux says. “But it’s good to remember that we’re all fortunate to be working.”\u003c/p>\n\u003cp>The Molyneux sisters are also co-executive producers of an upcoming animated sitcom, \u003cem>The Great North\u003c/em>. The cast, which features the voices of Megan Mullally and Will Forte, recently tested out lines during an online table read.\u003c/p>\n\u003cp>“Normally you get the big laughs from the room, but we had everyone other than our actors muted so there wouldn’t be a lot of noise,” Wendy Molyneux says. “But the actors were nice enough to laugh at the jokes themselves as it went along. So that helped it have the feeling of: We’re not saying jokes into an absolute vacuum.”\u003c/p>\n\u003cp>TV writers are now wrestling with how future storylines can deal with the coronavirus pandemic and an unknown future. Schur says his showrunner wife, J.J. Philbin, is waiting to see if her sitcom, \u003cem>Single Parents,\u003c/em> gets picked up for another season.\u003c/p>\n\u003cp>“Her daily question is: ‘When we come back, are these people living in this world?’ Do you ignore it, or do you run right at it?” he says. “It’s hard to know what people will want from TV, whether they’ll want pure escapism or whether they’ll want a sort of reflection of their own reality.”\u003c/p>\n\u003cp>Audiences may already be tired of watching actors in their living rooms or in mock Zoom meetings. Is it time to innovate new special effects or bring back canned laugh tracks? Stay tuned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+Hollywood+Works+From+Home%3A+Stay+Tuned+As+TV+Shows+Get+Creative&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "snl-just-wrapped-its-45th-season-its-time-to-cruelly-rank-its-musical-guests",
"title": "'SNL' Just Wrapped its 45th Season: It's Time to Cruelly Rank its Musical Guests",
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"headTitle": "‘SNL’ Just Wrapped its 45th Season: It’s Time to Cruelly Rank its Musical Guests | KQED",
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"content": "\u003cp>We’re roughly two months into a collective crisis that’s kept us sheltered in place, cut off from friends and fearful for the future of our health, our families and our economic well-being. Our emotions frequently form a thick slurry of anxiety, worry, boredom, rage and desperate desire for threads of normalcy; for moments of mundanity; for the calming comfort of the familiar.\u003c/p>\n\u003cp>Which is why, in the interest of national unity—of shared struggle, of resilience, of all-in-this-togetherness, of \u003cem>patriotism\u003c/em>—it is \u003cem>vital\u003c/em> that we reflect on the most recent season of \u003cem>Saturday Night Live\u003c/em> and mean-spiritedly rank the quality of its musical guests. We did this \u003ca href=\"https://www.npr.org/2019/05/20/724884348/snl-musical-guests-ranked-from-no-1-to-greta-van-fleet\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a> (with apologies to Greta Van Fleet) and \u003ca href=\"https://www.npr.org/sections/allsongs/2018/05/21/612911877/this-season-s-snl-musical-guests-cruelly-ranked\" target=\"_blank\" rel=\"noopener noreferrer\">the year before\u003c/a> (with apologies to James Bay, whose performance almost definitely happened, though we can’t be 100 percent certain). So now, friends, that tradition continues.\u003c/p>\n\u003cp>A few quick notes about \u003cem>SNL\u003c/em>‘s 45th season, which ended Saturday: Due to COVID-19, what was intended to be a 21-episode season was shortened to 18 shows, only 15 of which took place before a live audience. The last three, nicknamed \u003cem>Saturday Night Live at Home\u003c/em>, were cobbled together from performers’ residences—including those of the musical guests. \u003cem>SNL\u003c/em>‘s Studio 8H stage isn’t always kind to musicians, but it’s bound to present advantages over a setting that provides no audience feedback. We’ll attempt to take that into consideration.\u003c/p>\n\u003cp>Finally, maybe it was the smaller sample size, but no one in this year’s lineup toppled headlong into a grisly train wreck the way certain acts (\u003cem>cough\u003c/em> Kanye West \u003cem>cough\u003c/em> DJ Khaled \u003cem>cough\u003c/em> Greta Van Fleet) did last season. So last place in Season 45 should be read as more “meh” than… you know, traumatic.\u003c/p>\n\u003cp>All right, let’s do this! \u003cem>(Oh, and we’ve linked to every performance that’s still officially available on YouTube.)\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>18. The Weeknd, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=17GxpgE-Fwo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Blinding Lights\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=6Nm9RZqBaBM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Scared to Live\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6Nm9RZqBaBM\u003c/p>\n\u003cp>Okay, so let’s start with the weirdly busted-up face: As with The Weeknd’s other appearances in support of his new album \u003cem>After Hours\u003c/em>, the singer performed on \u003cem>SNL\u003c/em> wearing makeup designed to make it look as if he’d just broken his nose. (The album chronicles a rough night out on the town, after all.) So, you know: red suit jacket, nice shoes, blood streaming down his cheek.\u003c/p>\n\u003cp>To liven up the actual performances, it’s best to imagine a backstage scenario in which, say, Cecily Strong was like, “Hey, The Weeknd! Your 2016 song ‘I Feel It Coming (feat. Daft Punk),” while catchy, is nakedly derivative of Michael Jackson! [*bomp*]”\u003c/p>\n\u003cp>We certainly wouldn’t wish actual violence upon the singer, nor would anyone accuse Cecily Strong of such impudence. It’s just that a little bit of fiction livens up the fact that this performance of “Scared to Live” was \u003cem>so, so, so boring\u003c/em>. On the album, the song is a moody tone-setter; on the \u003cem>SNL\u003c/em> stage, it was a bathroom break in song form. With the singer standing gamely alongside bright panels of mirrors, “Blinding Lights” put a bit more pep in its step, but The Weeknd still seemed to have expended most of his energy and dynamism in the makeup chair.\u003c/p>\n\u003cp>\u003cstrong>17. Luke Combs, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=B38JvahZxlc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Lovin’ on You\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=7A_CIU4mU60\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Beer Never Broke My Heart\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=B38JvahZxlc\u003c/p>\n\u003cp>It’s unfair to Luke Combs to rank him on a scale that rewards onstage spectacle: The singer is one of the biggest stars in country music, at least in part \u003cem>because\u003c/em> his most muscular, rowdily beer-forward songs are so straight-ahead and lyrically unadorned. It’s not a putdown to say that Combs’ \u003cem>SNL\u003c/em> renditions of “Lovin’ on You” and “Beer Never Broke My Heart” are indistinguishable from performances he and his band would give in a bar. (Not that they’ve played bars in years; Combs was selling out arenas pre-COVID.)\u003c/p>\n\u003cp>The issue here is that the songs themselves just aren’t \u003cem>interesting\u003c/em>. “Lovin’ on You” is one of those here-is-a-list-of-things country songs that could have been written by an app, while “Beer Never Broke My Heart” sounds like… well, it could have been written by an app that makes beer commercials. With his bushy red beard and acrylic baseball cap, Combs is as approachable a superstar as you’ll find. But on \u003cem>SNL\u003c/em>, he stuck to his most boilerplate material, leaving softer stunners like “\u003ca href=\"https://www.youtube.com/watch?v=P7kqqmr2HWI\" target=\"_blank\" rel=\"noopener noreferrer\">Even Though I’m Leaving\u003c/a>” for another day.\u003c/p>\n\u003cp>\u003cstrong>16. Niall Horan, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=eRA-h44Nn98\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nice to Meet Ya\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=5iboimrLFE8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Put a Little Love on Me\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5iboimrLFE8\u003c/p>\n\u003cp>In a truncated \u003cem>SNL\u003c/em> season, fully one-ninth of the headlining musical guests were former members of One Direction: That’d be Harry Styles (see below) and Niall Horan, who put out a fine solo album back in March, just as the world was beginning to crumble around us. Horan previewed that record on \u003cem>SNL\u003c/em> by performing a pair of its singles: the chugging “Nice to Meet Ya” and the tender piano ballad “Put a Little Love on Me.”\u003c/p>\n\u003cp>Each song is sturdy enough—and catnip for Horan’s zillions of fans—but both felt a little drab on the \u003cem>SNL\u003c/em> stage. “Nice to Meet Ya” reverberated gamely with the reincarnated spirit of Rick Astley (who, it must be noted, is not dead), but little else about the performance would be remembered by morning. And while Horan gave “Put a Little Love on Me” his all vocally, the piano-bar arrangement generated scarcely enough energy to warm up a teacup full of skim milk.\u003c/p>\n\u003cp>Also, we got Harry Styles and Niall Horan, but no Zayn Malik? Bring us Zayn, you ghouls! #justiceforzayn #nozaynnopeace\u003c/p>\n\u003cp>\u003cstrong>15. Camila Cabello, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=yWLorxdRxRg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cry for Me\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Syzcvdm1hq4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Easy\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Syzcvdm1hq4\u003c/p>\n\u003cp>Camila Cabello has spent years on the pop-star treadmill—first in Fifth Harmony and then as the chart-topping singer of songs like “Havana” and “Señorita”—without establishing a terribly distinct public persona. The Cuban-American’s songs often evoke a sense of place to match their sultriness, but Cabello herself remains somewhat unknowable; no matter how thoughtfully \u003ca href=\"https://www.independent.co.uk/life-style/health-and-families/camila-cabello-anxiety-nervous-singing-public-shawn-mendes-senorita-a9015041.html\" target=\"_blank\" rel=\"noopener noreferrer\">she’s opened up to the public\u003c/a>, her candor rarely seems to seep into the songs she sings.\u003c/p>\n\u003cp>That didn’t change with the skillful-but-bloodless singles she performed in her \u003cem>SNL\u003c/em> debut, although “Cry for Me” at least got a grandly choreographed theatrical staging, complete with Marie Antoinette get-up and dancers twirling around in vintage attire. By comparison, “Easy” felt a bit stilted and pageant-y, as Cabello performed the song while standing in a white silk gown, her feet planted to the floor.\u003c/p>\n\u003cp>\u003cstrong>14. Boyz II Men with Babyface, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=pLLXlbaF9cE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>A Song for Mama\u003c/strong>\u003c/a>\u003cstrong>” (from \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live at Home\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pLLXlbaF9cE\u003c/p>\n\u003cp>The final episode of \u003cem>Saturday Night Live at Home\u003c/em>—and of the show’s 45th season—happened to take place on the eve of Mother’s Day. So the show opted for a brief, good-natured, low-key tribute courtesy of Babyface and Boyz II Men, whose members performed their 1997 chart-topper “A Song for Mama” from the confines of their respective domiciles. (\u003cem>SNL’\u003c/em>s home editions have provided peeks into many performers’ home lives. In this case, we learned that Babyface and Boyz II Men live among many, many framed gold and platinum records.)\u003c/p>\n\u003cp>As for “A Song for Mama,” the moment was sweet—and rendered that much more sentimental via the screening of archival photos of \u003cem>SNL\u003c/em> cast members with their moms. But with each performer appearing remotely, the finished product felt a little… well, remote.\u003c/p>\n\u003cp>That said, now that Mother’s Day is over, may we recommend \u003ca href=\"https://www.youtube.com/watch?v=sasPmpBhR10\" target=\"_blank\" rel=\"noopener noreferrer\">a far livelier COVID performance\u003c/a> by Boyz II Men, in which the singing sensations appear from their homes along with New Kids on the Block, Naughty by Nature, Big Freedia (!!!), Jordin Sparks and an assortment of bonkers cameos? Because it is ridiculous, and it is fun, and it’s a reminder that staying home doesn’t mean you can \u003cem>only\u003c/em> listen to songs about what a low-key bummer it is to stay home.\u003c/p>\n\u003cp>\u003cstrong>13. Justin Bieber, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=b9DBJsXtays\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Yummy\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jiJmC_kqXJ8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Intentions\u003c/strong>\u003c/a>\u003cstrong> feat. Quavo”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b9DBJsXtays\u003c/p>\n\u003cp>The good news: Justin Bieber tore through two new songs from \u003cem>Changes\u003c/em> with considerable energy, backed by starkly lit dancers, attention-grabbing sets and, late in “Intentions,” a welcome appearance by Migos rapper Quavo.\u003c/p>\n\u003cp>The less-good news: Bieber’s vocals were pretty wobbly and… yeah, “Yummy” is \u003cem>at least\u003c/em> as insipid as its title suggests.\u003c/p>\n\u003cp>All of which is to say: This was the latest mixed bag in a career that’s produced some A+ pop bangers, some forgettable trifles, a lavish assortment of embarrassing growing pains and one ugly-ass mustache.\u003c/p>\n\u003cp>\u003cstrong>12. Halsey, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jGYo1bmqn40\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>You Should Be Sad\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=RFcIBSgk9dQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Finally // Beautiful Stranger\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jGYo1bmqn40\u003c/p>\n\u003cp>Halsey grew up in New Jersey, which places her not terribly far from 30 Rockefeller Plaza. So, while we’re not suggesting that Halsey currently lives in a supply closet at 30 Rock so that she can be available to perform on \u003cem>SNL\u003c/em> at a moment’s notice, we’re also not \u003cem>not\u003c/em> suggesting that Halsey currently lives in a supply closet at 30 Rock so that she can be available to perform on \u003cem>SNL\u003c/em> at a moment’s notice. Halsey is on \u003cem>SNL\u003c/em> a \u003cem>lot\u003c/em>. From the beginning of 2018 through January of this year, the show featured women as headlining musical guests 16 out of a possible 44 times. Halsey has claimed \u003cem>three\u003c/em> of those spots, and that’s not even counting the time the singer popped up during Lil Wayne’s set.\u003c/p>\n\u003cp>The latest iteration of Halsey on \u003cem>SNL\u003c/em> felt oddly low-energy—which is kind of a feat when you consider that 1.) she performed the midtempo “You Should Be Sad” while glued into a Frederick’s of Hollywood castoff; and 2.) she opened her set astride a mechanical bull and later got hoisted aloft by scantily clad dancers. “Finally // Beautiful Stranger” was less eventful (by design) and slower still: a vocal showcase that demonstrated both Halsey’s range and her tendency to embellish her vocals with what can only be described as “simulated AutoTune.”\u003c/p>\n\u003cp>\u003cstrong>11. King Princess, “1950” and “Hit the Back”\u003c/strong>\u003c/p>\n\u003cp>King Princess (a.k.a. Mikaela Straus) has only released an album and an EP, but she’s already working from a toolkit that encompasses and transcends multiple blended genres. For her \u003cem>SNL\u003c/em> debut, the young shapeshifter showed off her affinity for two of them: the slick, wiry, slow-burning, guitar-wielding rock of “1950” and the coyly suggestive, alternately seething and propulsive dance-pop of “Hit the Back.”\u003c/p>\n\u003cp>Taken as a whole, the performance felt more like an introduction than a coronation: King Princess waited to really cut loose until late in “Hit the Back,” when a series of body-rolls gave way to full-blown thrashing. Norm-busting icons generally aren’t made overnight, but she’s well on her way; this relatively contained \u003cem>SNL\u003c/em> stop felt like Step 1 on a long journey.\u003c/p>\n\u003cp>\u003cstrong>10. Chris Martin, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=MdzFWMhNPc0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Shelter From The Storm\u003c/strong>\u003c/a>\u003cstrong>” (from \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live at Home\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MdzFWMhNPc0\u003c/p>\n\u003cp>Once COVID-19 made it impossible to put together a traditional episode of \u003cem>Saturday Night Live\u003c/em>—and forced the cancellation of a planned show with musical guest Dua Lipa—producers did what they could to assemble an episode cobbled together from material recorded at performers’ homes. Casualties of this arrangement included the live audience, the live laughter, the live applause, the 30 Rock soundstage, much of the interpersonal chemistry, the musical guest’s second song and an unwritten rule that prevents singers from headlining more than one episode in a single season.\u003c/p>\n\u003cp>Chris Martin’s band Coldplay was the musical guest back in November—see below—but he returned in April to perform a cover of Bob Dylan’s situationally appropriate 1975 classic “Shelter From the Storm.” Shot in dusky, grayish black-and-white (presumably to pay tribute to the film \u003ca href=\"https://www.imdb.com/title/tt0061589/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dont Look Back\u003c/em>\u003c/a>), the set-up felt bare-bones in a cable-access sort of way, as Martin wisely skipped embellishments that might have watered down the original. Hardly a Technicolor showstopper, but right for the moment at hand.\u003c/p>\n\u003cp>\u003cstrong>9. Harry Styles, “Lights Up” and “Watermelon Sugar”\u003c/strong>\u003c/p>\n\u003cp>It’s a wonder that Harry Styles found the time to put together grabby stage presentations of “Lights Up” and “Watermelon Sugar,” given his to-do list for the night: The former One Direction star (and current \u003ca href=\"https://www.npr.org/2020/03/13/814424330/2-green-bay-packers-fans-chat-behind-the-tiny-desk-and-one-of-them-is-harry-styl\" target=\"_blank\" rel=\"noopener noreferrer\">Green Bay Packers fan\u003c/a>) was also serving as \u003cem>SNL\u003c/em> \u003cem>host\u003c/em>, acting in a bunch of sketches and, at one point, appearing in a prerecorded video as the human embodiment of Aidy Bryant’s dog. The live songs, performed in the run-up to Styles’ recent album \u003cem>Fine Line\u003c/em>, could’ve easily registered as an afterthought, and they thankfully didn’t.\u003c/p>\n\u003cp>Opening with the more subdued “Lights Up,” Styles appeared with a stately band and a solemn choir. As such, the performance felt a little uneventful—though it should be noted that Styles brought his wardrobe A-game in a way other men seriously ought to emulate. (That sparkly jumpsuit is \u003cem>killer\u003c/em>.) “Watermelon Sugar” brings another great outfit and a nice jolt of fervent energy, as Styles danced and strutted about while surrounded by a crack band that included a four-piece horn section.\u003c/p>\n\u003cp>\u003cstrong>8. Taylor Swift, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=dmipFjOtMA8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Lover\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=kjD3LoXp-Pw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>False God\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dmipFjOtMA8\u003c/p>\n\u003cp>This was hardly Taylor Swift’s first \u003cem>SNL\u003c/em> rodeo, given that she’s been a host, made a few cameos and served as a headlining musical guest more than once. And Swift has spent countless promotional cycles serving up lavish, uneven, often high-concept performances at awards shows and on late-night TV. So it was actually refreshing to see her so dialed-down and at-ease in these stripped-down performances of highlights from her latest album, \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>That record’s wedding-ready title track got an especially raw treatment on \u003cem>SNL\u003c/em>, as her solo-piano rendition highlighted the song’s conversational emotionalism and a hook so subtle, you hardly notice it burrowing into your brain for eternity. Less emotionally rich but more visually eventful was “False God,” in which Swift glided through the song amid soft, floating coils of light and the prominent saxophone solos of \u003cem>SNL\u003c/em> bandleader (and former Tower of Power player) Lenny Pickett.\u003c/p>\n\u003cp>\u003cstrong>7. Miley Cyrus, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zUYo8xQf4PY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Wish You Were Here\u003c/strong>\u003c/a>\u003cstrong>” (from \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live at Home\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zUYo8xQf4PY\u003c/p>\n\u003cp>The first week of \u003cem>Saturday Night Live at Home\u003c/em> made a valiant attempt to re-create an episode of the show while juggling technological limitations, a dark national mood and the fact that virtually no one could be in the same room together. The second week ran far more smoothly: Funnier and slicker, it also benefited from the fact that its musical guest, Miley Cyrus, didn’t look as if she was starring in a hostage video.\u003c/p>\n\u003cp>Bathed in red light while sitting aside a fire pit at night, Cyrus belted out Pink Floyd’s 1975 lighter-waver “Wish You Were Here” with the socially distanced accompaniment of guitarist Andrew Watt. (The choice of Watt—a bestselling pop producer, guitarist and songwriter who’s working with Cyrus on her next album—felt notable, in part because Watt \u003ca href=\"https://variety.com/2020/music/news/music-producer-andrew-watt-coronavirus-pneumonia-1203537066/\" target=\"_blank\" rel=\"noopener noreferrer\">has written publicly\u003c/a> about his recent battle with COVID-19.)\u003c/p>\n\u003cp>For a simple set-up recorded under difficult circumstances, Cyrus’ performance did a pretty ingenious job of turning back-porch busking into the stuff of late-night sound stages. It had visual drama: smoke, flames, distinct lighting, moody accompaniment, lavish fashion. But it also served up the umpteenth reminder that Miley Cyrus is a marvelous singer, with vocal—and emotional—range to spare.\u003c/p>\n\u003cp>\u003cstrong>6. Coldplay, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=EUxsb0Zpe8w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Orphans\u003c/strong>\u003c/a>\u003cstrong>” and “Everyday Life”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EUxsb0Zpe8w\u003c/p>\n\u003cp>Bash Coldplay all you want, but this performance of “Orphans” showed exactly how to liven up a typical spot as a late-night musical guest: Chris Martin opened the song from a supply closet in the back of the room before making his way into the audience to perform with clusters of cast members, musicians and randos. He eventually ran to the stage, at which point he finished the song while backed by members of his band, a colorful animated video on a giant screen and an enormous throng of dancers. It was an immensely buoyant, memorable performance.\u003c/p>\n\u003cp>By comparison, “Everyday Life” couldn’t help but fizzle earnestly, though the song’s melancholy notes of tentatively uplifting empathy resonate more now than they did all the way back in November 2019. But let’s not neglect the \u003cem>real\u003c/em> takeaway here: Sure, Chris Martin’s distressed tee probably cost $1,400 or something, but he looked like he just got done insulating his attic. Could you imagine Halsey getting to perform in that grubby rag? We will never achieve gender equality until male performers dress better (see: Harry Styles) or female performers dress worse—preferably both.\u003c/p>\n\u003cp>\u003cstrong>5. DaBaby, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=YffEyeWn_fA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Bop\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=pbGLwe53-LI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Suge\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YffEyeWn_fA\u003c/p>\n\u003cp>DaBaby understands that you can perform a couple of songs on TV, or you can put on a show of your own. Backed by a few musicians, a giant throng of dancers and a woman who periodically twerked from a full handstand, DaBaby served as both rapper and ringmaster. Unafraid to dive into the choreography, he felt fully integrated into the mayhem—which featured not only the hip-hop dance crew Jabbawockeez, but also a whole bunch of stage fighting. (Why stage fighting? Hey, why did the other 17 entries on this list \u003cem>not\u003c/em> include stage fighting? Lookin’ your way, Niall Horan.)\u003c/p>\n\u003cp>Of course, all that ludicrous theatrical chaos wouldn’t have mattered much without tight, hooky songs to back it up, and DaBaby came to work there, too. Performing with a showman’s charisma, the young star seemed to be having a blast. That can be more than half the battle, right there.\u003c/p>\n\u003cp>\u003cstrong>4. Billie Eilish, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Jn1Uwsg3eRQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>bad guy\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=m6AdQLB_19g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>I Love You\u003c/strong>\u003c/a>\u003cstrong> (feat. Finneas O’Connell)”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jn1Uwsg3eRQ\u003c/p>\n\u003cp>Billie Eilish was basically bulletproof in 2019: Her debut album spawned a string of huge hits, and “bad guy” was the only juggernaut omnipresent enough to knock “Old Town Road” off its perch at the top of the pop charts. She kicked off 2020 by sweeping every major category at the Grammys—the youngest artist ever to do so. And, along the path to domination, she provided one of the biggest “wow” moments in recent \u003cem>SNL\u003c/em> history.\u003c/p>\n\u003cp>With a concept liberally borrowed from the 1951 film \u003cem>Royal Wedding\u003c/em>—the one in which Fred Astaire climbs the walls before dancing on the ceiling—Eilish’s pajama- and walking-boot-clad \u003cem>SNL\u003c/em> performance of “bad guy” duplicated the gravity-defying effect to perfection, thanks to a boxy miniaturized set (and a camera) that rotated like a hamster wheel. Before viewers could finish Googling “How did Billie Eilish do that \u003cem>SNL\u003c/em>,” the show panned out to reveal the trick, which somehow made the whole thing seem even more impressive.\u003c/p>\n\u003cp>After so much razzle-dazzle, Eilish hardly needed to return for a second song. But she took a decent-sized swing anyway, showcasing her balladeering softer side—still a new look for her back in September—in a whispery take on “I Love You.” Joined on guitar by her similarly Grammy-festooned brother Finneas O’Connell, Eilish more than held her own. But it was somewhat drowsy as a set-closer, especially after the sugar high she’d just pulled off.\u003c/p>\n\u003cp>\u003cstrong>3. Chance The Rapper, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=SnlUnGj54hM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Zanies and Fools\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=RwX2IpcmN_w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Handsome\u003c/strong>\u003c/a>\u003cstrong> (feat. Megan Thee Stallion)”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RwX2IpcmN_w\u003c/p>\n\u003cp>This was Chance the Rapper’s second stint as a musical guest, his second stint as an enormously funny and good-natured \u003cem>SNL\u003c/em> host, and his first time pulling double duty. Hell, he even introduced himself at the top of “Zanies and Fools,” letting a clip of his adorable daughter fill the time between his introduction (“Ladies and gentlemen, Chance the Rapper”) and the performance itself. The guy does it all, and does it extraordinarily well.\u003c/p>\n\u003cp>But Chance also knows how to share—and lavishly fill—a stage, and for “Zanies and Fools,” the rapper found himself surrounded by a swirl of dancers, not to mention a small army of percussionists and string players. The choreography unfurled around him without really involving him, but he compensated by unleashing a rapid-fire vocal that kept the viewer’s attention center stage.\u003c/p>\n\u003cp>In “Handsome,” Chance’s collaborators crowded into the background, which gave him the opportunity to move around a bit before ceding the spotlight to the most formidable presence imaginable: Megan Thee Stallion. Meg kept her intensity in second gear to match her stage partner—and found a way to give herself a network-television-friendly edit in real time—but her star power was beyond unmistakable. Next season, she’d be well suited to follow in Chance’s footsteps and try her hand as a host.\u003c/p>\n\u003cp>\u003cstrong>2. David Byrne, “Once in a Lifetime” and “Toe Jam”\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em> usually makes room for a rock or pop legend here and there, including Paul Simon last year and U2 the year before. This year, the chosen veteran was David Byrne, to coincide with the Broadway staging of his \u003cem>American Utopia\u003c/em> concerts. Crucially, he brought his robust, gray-suited cast to join him in filling the stage with movement, sound and all-around effervescence. Deploying between three and six percussionists at any given moment, these performances radiated good cheer and spiky humor, propelled by a Broadway production’s mandate to thrill.\u003c/p>\n\u003cp>And, really, “thrilling” just about sums it up. Most \u003cem>SNL\u003c/em> guests are promoting new material, so catalog hits aren’t the norm. Here, we got Talking Heads’ unimpeachable classic “Once in a Lifetime” and the terrific “Toe Jam,” which Byrne co-wrote for the U.K. electro-pop band The Brighton Port Authority back in 2008. Byrne happened to appear on perhaps the season’s most widely beloved \u003cem>SNL\u003c/em> episode—the one hosted by the marvelous John Mulaney—but you couldn’t have blamed the show had it just turned the whole thing over to Byrne & Co.\u003c/p>\n\u003cp>\u003cstrong>1. Lizzo, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jK7oze-nu38\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Truth Hurts\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Aj83ri3lSe0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Good As Hell\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Aj83ri3lSe0\u003c/p>\n\u003cp>It took Lizzo years of hustle and grind to rise all the way to pop superstardom, so there was no way she’d make her \u003cem>SNL\u003c/em> debut and not crush it. Marrying lavishly choreographed dance routines to undeniable musicianship and unfettered joy, she and her dancers twerked, spun and frolicked through Lizzo’s two greatest hits to date: “Truth Hurts” (backed by an airtight band, populated exclusively by black women) and “Good As Hell” (performed on a Christmas-themed set in which dancers twirled on poles striped like candy canes).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em>‘s Studio 8H stage can be sterile and unforgiving: It’s a nondescript space with an iffy sound mix, and the crowds are largely there to watch comedy. So it’s a special kind of joy to watch Lizzo douse that canvas with vibrancy, color, movement and good cheer—not to mention transcendent vocal talent—in a set perfectly tailored to elevate the space, the show and the season.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27SNL%27+Just+Wrapped+Its+45th+Season%3A+It%27s+Time+To+Cruelly+Rank+Its+Musical+Guests&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re roughly two months into a collective crisis that’s kept us sheltered in place, cut off from friends and fearful for the future of our health, our families and our economic well-being. Our emotions frequently form a thick slurry of anxiety, worry, boredom, rage and desperate desire for threads of normalcy; for moments of mundanity; for the calming comfort of the familiar.\u003c/p>\n\u003cp>Which is why, in the interest of national unity—of shared struggle, of resilience, of all-in-this-togetherness, of \u003cem>patriotism\u003c/em>—it is \u003cem>vital\u003c/em> that we reflect on the most recent season of \u003cem>Saturday Night Live\u003c/em> and mean-spiritedly rank the quality of its musical guests. We did this \u003ca href=\"https://www.npr.org/2019/05/20/724884348/snl-musical-guests-ranked-from-no-1-to-greta-van-fleet\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a> (with apologies to Greta Van Fleet) and \u003ca href=\"https://www.npr.org/sections/allsongs/2018/05/21/612911877/this-season-s-snl-musical-guests-cruelly-ranked\" target=\"_blank\" rel=\"noopener noreferrer\">the year before\u003c/a> (with apologies to James Bay, whose performance almost definitely happened, though we can’t be 100 percent certain). So now, friends, that tradition continues.\u003c/p>\n\u003cp>A few quick notes about \u003cem>SNL\u003c/em>‘s 45th season, which ended Saturday: Due to COVID-19, what was intended to be a 21-episode season was shortened to 18 shows, only 15 of which took place before a live audience. The last three, nicknamed \u003cem>Saturday Night Live at Home\u003c/em>, were cobbled together from performers’ residences—including those of the musical guests. \u003cem>SNL\u003c/em>‘s Studio 8H stage isn’t always kind to musicians, but it’s bound to present advantages over a setting that provides no audience feedback. We’ll attempt to take that into consideration.\u003c/p>\n\u003cp>Finally, maybe it was the smaller sample size, but no one in this year’s lineup toppled headlong into a grisly train wreck the way certain acts (\u003cem>cough\u003c/em> Kanye West \u003cem>cough\u003c/em> DJ Khaled \u003cem>cough\u003c/em> Greta Van Fleet) did last season. So last place in Season 45 should be read as more “meh” than… you know, traumatic.\u003c/p>\n\u003cp>All right, let’s do this! \u003cem>(Oh, and we’ve linked to every performance that’s still officially available on YouTube.)\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>18. The Weeknd, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=17GxpgE-Fwo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Blinding Lights\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=6Nm9RZqBaBM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Scared to Live\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6Nm9RZqBaBM'\n title='//www.youtube.com/embed/6Nm9RZqBaBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Okay, so let’s start with the weirdly busted-up face: As with The Weeknd’s other appearances in support of his new album \u003cem>After Hours\u003c/em>, the singer performed on \u003cem>SNL\u003c/em> wearing makeup designed to make it look as if he’d just broken his nose. (The album chronicles a rough night out on the town, after all.) So, you know: red suit jacket, nice shoes, blood streaming down his cheek.\u003c/p>\n\u003cp>To liven up the actual performances, it’s best to imagine a backstage scenario in which, say, Cecily Strong was like, “Hey, The Weeknd! Your 2016 song ‘I Feel It Coming (feat. Daft Punk),” while catchy, is nakedly derivative of Michael Jackson! [*bomp*]”\u003c/p>\n\u003cp>We certainly wouldn’t wish actual violence upon the singer, nor would anyone accuse Cecily Strong of such impudence. It’s just that a little bit of fiction livens up the fact that this performance of “Scared to Live” was \u003cem>so, so, so boring\u003c/em>. On the album, the song is a moody tone-setter; on the \u003cem>SNL\u003c/em> stage, it was a bathroom break in song form. With the singer standing gamely alongside bright panels of mirrors, “Blinding Lights” put a bit more pep in its step, but The Weeknd still seemed to have expended most of his energy and dynamism in the makeup chair.\u003c/p>\n\u003cp>\u003cstrong>17. Luke Combs, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=B38JvahZxlc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Lovin’ on You\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=7A_CIU4mU60\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Beer Never Broke My Heart\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/B38JvahZxlc'\n title='//www.youtube.com/embed/B38JvahZxlc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s unfair to Luke Combs to rank him on a scale that rewards onstage spectacle: The singer is one of the biggest stars in country music, at least in part \u003cem>because\u003c/em> his most muscular, rowdily beer-forward songs are so straight-ahead and lyrically unadorned. It’s not a putdown to say that Combs’ \u003cem>SNL\u003c/em> renditions of “Lovin’ on You” and “Beer Never Broke My Heart” are indistinguishable from performances he and his band would give in a bar. (Not that they’ve played bars in years; Combs was selling out arenas pre-COVID.)\u003c/p>\n\u003cp>The issue here is that the songs themselves just aren’t \u003cem>interesting\u003c/em>. “Lovin’ on You” is one of those here-is-a-list-of-things country songs that could have been written by an app, while “Beer Never Broke My Heart” sounds like… well, it could have been written by an app that makes beer commercials. With his bushy red beard and acrylic baseball cap, Combs is as approachable a superstar as you’ll find. But on \u003cem>SNL\u003c/em>, he stuck to his most boilerplate material, leaving softer stunners like “\u003ca href=\"https://www.youtube.com/watch?v=P7kqqmr2HWI\" target=\"_blank\" rel=\"noopener noreferrer\">Even Though I’m Leaving\u003c/a>” for another day.\u003c/p>\n\u003cp>\u003cstrong>16. Niall Horan, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=eRA-h44Nn98\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nice to Meet Ya\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=5iboimrLFE8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Put a Little Love on Me\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/5iboimrLFE8'\n title='//www.youtube.com/embed/5iboimrLFE8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a truncated \u003cem>SNL\u003c/em> season, fully one-ninth of the headlining musical guests were former members of One Direction: That’d be Harry Styles (see below) and Niall Horan, who put out a fine solo album back in March, just as the world was beginning to crumble around us. Horan previewed that record on \u003cem>SNL\u003c/em> by performing a pair of its singles: the chugging “Nice to Meet Ya” and the tender piano ballad “Put a Little Love on Me.”\u003c/p>\n\u003cp>Each song is sturdy enough—and catnip for Horan’s zillions of fans—but both felt a little drab on the \u003cem>SNL\u003c/em> stage. “Nice to Meet Ya” reverberated gamely with the reincarnated spirit of Rick Astley (who, it must be noted, is not dead), but little else about the performance would be remembered by morning. And while Horan gave “Put a Little Love on Me” his all vocally, the piano-bar arrangement generated scarcely enough energy to warm up a teacup full of skim milk.\u003c/p>\n\u003cp>Also, we got Harry Styles and Niall Horan, but no Zayn Malik? Bring us Zayn, you ghouls! #justiceforzayn #nozaynnopeace\u003c/p>\n\u003cp>\u003cstrong>15. Camila Cabello, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=yWLorxdRxRg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cry for Me\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Syzcvdm1hq4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Easy\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/Syzcvdm1hq4'\n title='//www.youtube.com/embed/Syzcvdm1hq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Camila Cabello has spent years on the pop-star treadmill—first in Fifth Harmony and then as the chart-topping singer of songs like “Havana” and “Señorita”—without establishing a terribly distinct public persona. The Cuban-American’s songs often evoke a sense of place to match their sultriness, but Cabello herself remains somewhat unknowable; no matter how thoughtfully \u003ca href=\"https://www.independent.co.uk/life-style/health-and-families/camila-cabello-anxiety-nervous-singing-public-shawn-mendes-senorita-a9015041.html\" target=\"_blank\" rel=\"noopener noreferrer\">she’s opened up to the public\u003c/a>, her candor rarely seems to seep into the songs she sings.\u003c/p>\n\u003cp>That didn’t change with the skillful-but-bloodless singles she performed in her \u003cem>SNL\u003c/em> debut, although “Cry for Me” at least got a grandly choreographed theatrical staging, complete with Marie Antoinette get-up and dancers twirling around in vintage attire. By comparison, “Easy” felt a bit stilted and pageant-y, as Cabello performed the song while standing in a white silk gown, her feet planted to the floor.\u003c/p>\n\u003cp>\u003cstrong>14. Boyz II Men with Babyface, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=pLLXlbaF9cE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>A Song for Mama\u003c/strong>\u003c/a>\u003cstrong>” (from \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live at Home\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\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/pLLXlbaF9cE'\n title='//www.youtube.com/embed/pLLXlbaF9cE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The final episode of \u003cem>Saturday Night Live at Home\u003c/em>—and of the show’s 45th season—happened to take place on the eve of Mother’s Day. So the show opted for a brief, good-natured, low-key tribute courtesy of Babyface and Boyz II Men, whose members performed their 1997 chart-topper “A Song for Mama” from the confines of their respective domiciles. (\u003cem>SNL’\u003c/em>s home editions have provided peeks into many performers’ home lives. In this case, we learned that Babyface and Boyz II Men live among many, many framed gold and platinum records.)\u003c/p>\n\u003cp>As for “A Song for Mama,” the moment was sweet—and rendered that much more sentimental via the screening of archival photos of \u003cem>SNL\u003c/em> cast members with their moms. But with each performer appearing remotely, the finished product felt a little… well, remote.\u003c/p>\n\u003cp>That said, now that Mother’s Day is over, may we recommend \u003ca href=\"https://www.youtube.com/watch?v=sasPmpBhR10\" target=\"_blank\" rel=\"noopener noreferrer\">a far livelier COVID performance\u003c/a> by Boyz II Men, in which the singing sensations appear from their homes along with New Kids on the Block, Naughty by Nature, Big Freedia (!!!), Jordin Sparks and an assortment of bonkers cameos? Because it is ridiculous, and it is fun, and it’s a reminder that staying home doesn’t mean you can \u003cem>only\u003c/em> listen to songs about what a low-key bummer it is to stay home.\u003c/p>\n\u003cp>\u003cstrong>13. Justin Bieber, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=b9DBJsXtays\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Yummy\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jiJmC_kqXJ8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Intentions\u003c/strong>\u003c/a>\u003cstrong> feat. Quavo”\u003c/strong>\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/b9DBJsXtays'\n title='//www.youtube.com/embed/b9DBJsXtays'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The good news: Justin Bieber tore through two new songs from \u003cem>Changes\u003c/em> with considerable energy, backed by starkly lit dancers, attention-grabbing sets and, late in “Intentions,” a welcome appearance by Migos rapper Quavo.\u003c/p>\n\u003cp>The less-good news: Bieber’s vocals were pretty wobbly and… yeah, “Yummy” is \u003cem>at least\u003c/em> as insipid as its title suggests.\u003c/p>\n\u003cp>All of which is to say: This was the latest mixed bag in a career that’s produced some A+ pop bangers, some forgettable trifles, a lavish assortment of embarrassing growing pains and one ugly-ass mustache.\u003c/p>\n\u003cp>\u003cstrong>12. Halsey, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jGYo1bmqn40\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>You Should Be Sad\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=RFcIBSgk9dQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Finally // Beautiful Stranger\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/jGYo1bmqn40'\n title='//www.youtube.com/embed/jGYo1bmqn40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Halsey grew up in New Jersey, which places her not terribly far from 30 Rockefeller Plaza. So, while we’re not suggesting that Halsey currently lives in a supply closet at 30 Rock so that she can be available to perform on \u003cem>SNL\u003c/em> at a moment’s notice, we’re also not \u003cem>not\u003c/em> suggesting that Halsey currently lives in a supply closet at 30 Rock so that she can be available to perform on \u003cem>SNL\u003c/em> at a moment’s notice. Halsey is on \u003cem>SNL\u003c/em> a \u003cem>lot\u003c/em>. From the beginning of 2018 through January of this year, the show featured women as headlining musical guests 16 out of a possible 44 times. Halsey has claimed \u003cem>three\u003c/em> of those spots, and that’s not even counting the time the singer popped up during Lil Wayne’s set.\u003c/p>\n\u003cp>The latest iteration of Halsey on \u003cem>SNL\u003c/em> felt oddly low-energy—which is kind of a feat when you consider that 1.) she performed the midtempo “You Should Be Sad” while glued into a Frederick’s of Hollywood castoff; and 2.) she opened her set astride a mechanical bull and later got hoisted aloft by scantily clad dancers. “Finally // Beautiful Stranger” was less eventful (by design) and slower still: a vocal showcase that demonstrated both Halsey’s range and her tendency to embellish her vocals with what can only be described as “simulated AutoTune.”\u003c/p>\n\u003cp>\u003cstrong>11. King Princess, “1950” and “Hit the Back”\u003c/strong>\u003c/p>\n\u003cp>King Princess (a.k.a. Mikaela Straus) has only released an album and an EP, but she’s already working from a toolkit that encompasses and transcends multiple blended genres. For her \u003cem>SNL\u003c/em> debut, the young shapeshifter showed off her affinity for two of them: the slick, wiry, slow-burning, guitar-wielding rock of “1950” and the coyly suggestive, alternately seething and propulsive dance-pop of “Hit the Back.”\u003c/p>\n\u003cp>Taken as a whole, the performance felt more like an introduction than a coronation: King Princess waited to really cut loose until late in “Hit the Back,” when a series of body-rolls gave way to full-blown thrashing. Norm-busting icons generally aren’t made overnight, but she’s well on her way; this relatively contained \u003cem>SNL\u003c/em> stop felt like Step 1 on a long journey.\u003c/p>\n\u003cp>\u003cstrong>10. Chris Martin, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=MdzFWMhNPc0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Shelter From The Storm\u003c/strong>\u003c/a>\u003cstrong>” (from \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live at Home\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\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/MdzFWMhNPc0'\n title='//www.youtube.com/embed/MdzFWMhNPc0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once COVID-19 made it impossible to put together a traditional episode of \u003cem>Saturday Night Live\u003c/em>—and forced the cancellation of a planned show with musical guest Dua Lipa—producers did what they could to assemble an episode cobbled together from material recorded at performers’ homes. Casualties of this arrangement included the live audience, the live laughter, the live applause, the 30 Rock soundstage, much of the interpersonal chemistry, the musical guest’s second song and an unwritten rule that prevents singers from headlining more than one episode in a single season.\u003c/p>\n\u003cp>Chris Martin’s band Coldplay was the musical guest back in November—see below—but he returned in April to perform a cover of Bob Dylan’s situationally appropriate 1975 classic “Shelter From the Storm.” Shot in dusky, grayish black-and-white (presumably to pay tribute to the film \u003ca href=\"https://www.imdb.com/title/tt0061589/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dont Look Back\u003c/em>\u003c/a>), the set-up felt bare-bones in a cable-access sort of way, as Martin wisely skipped embellishments that might have watered down the original. Hardly a Technicolor showstopper, but right for the moment at hand.\u003c/p>\n\u003cp>\u003cstrong>9. Harry Styles, “Lights Up” and “Watermelon Sugar”\u003c/strong>\u003c/p>\n\u003cp>It’s a wonder that Harry Styles found the time to put together grabby stage presentations of “Lights Up” and “Watermelon Sugar,” given his to-do list for the night: The former One Direction star (and current \u003ca href=\"https://www.npr.org/2020/03/13/814424330/2-green-bay-packers-fans-chat-behind-the-tiny-desk-and-one-of-them-is-harry-styl\" target=\"_blank\" rel=\"noopener noreferrer\">Green Bay Packers fan\u003c/a>) was also serving as \u003cem>SNL\u003c/em> \u003cem>host\u003c/em>, acting in a bunch of sketches and, at one point, appearing in a prerecorded video as the human embodiment of Aidy Bryant’s dog. The live songs, performed in the run-up to Styles’ recent album \u003cem>Fine Line\u003c/em>, could’ve easily registered as an afterthought, and they thankfully didn’t.\u003c/p>\n\u003cp>Opening with the more subdued “Lights Up,” Styles appeared with a stately band and a solemn choir. As such, the performance felt a little uneventful—though it should be noted that Styles brought his wardrobe A-game in a way other men seriously ought to emulate. (That sparkly jumpsuit is \u003cem>killer\u003c/em>.) “Watermelon Sugar” brings another great outfit and a nice jolt of fervent energy, as Styles danced and strutted about while surrounded by a crack band that included a four-piece horn section.\u003c/p>\n\u003cp>\u003cstrong>8. Taylor Swift, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=dmipFjOtMA8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Lover\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=kjD3LoXp-Pw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>False God\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/dmipFjOtMA8'\n title='//www.youtube.com/embed/dmipFjOtMA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This was hardly Taylor Swift’s first \u003cem>SNL\u003c/em> rodeo, given that she’s been a host, made a few cameos and served as a headlining musical guest more than once. And Swift has spent countless promotional cycles serving up lavish, uneven, often high-concept performances at awards shows and on late-night TV. So it was actually refreshing to see her so dialed-down and at-ease in these stripped-down performances of highlights from her latest album, \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>That record’s wedding-ready title track got an especially raw treatment on \u003cem>SNL\u003c/em>, as her solo-piano rendition highlighted the song’s conversational emotionalism and a hook so subtle, you hardly notice it burrowing into your brain for eternity. Less emotionally rich but more visually eventful was “False God,” in which Swift glided through the song amid soft, floating coils of light and the prominent saxophone solos of \u003cem>SNL\u003c/em> bandleader (and former Tower of Power player) Lenny Pickett.\u003c/p>\n\u003cp>\u003cstrong>7. Miley Cyrus, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zUYo8xQf4PY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Wish You Were Here\u003c/strong>\u003c/a>\u003cstrong>” (from \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live at Home\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\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/zUYo8xQf4PY'\n title='//www.youtube.com/embed/zUYo8xQf4PY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first week of \u003cem>Saturday Night Live at Home\u003c/em> made a valiant attempt to re-create an episode of the show while juggling technological limitations, a dark national mood and the fact that virtually no one could be in the same room together. The second week ran far more smoothly: Funnier and slicker, it also benefited from the fact that its musical guest, Miley Cyrus, didn’t look as if she was starring in a hostage video.\u003c/p>\n\u003cp>Bathed in red light while sitting aside a fire pit at night, Cyrus belted out Pink Floyd’s 1975 lighter-waver “Wish You Were Here” with the socially distanced accompaniment of guitarist Andrew Watt. (The choice of Watt—a bestselling pop producer, guitarist and songwriter who’s working with Cyrus on her next album—felt notable, in part because Watt \u003ca href=\"https://variety.com/2020/music/news/music-producer-andrew-watt-coronavirus-pneumonia-1203537066/\" target=\"_blank\" rel=\"noopener noreferrer\">has written publicly\u003c/a> about his recent battle with COVID-19.)\u003c/p>\n\u003cp>For a simple set-up recorded under difficult circumstances, Cyrus’ performance did a pretty ingenious job of turning back-porch busking into the stuff of late-night sound stages. It had visual drama: smoke, flames, distinct lighting, moody accompaniment, lavish fashion. But it also served up the umpteenth reminder that Miley Cyrus is a marvelous singer, with vocal—and emotional—range to spare.\u003c/p>\n\u003cp>\u003cstrong>6. Coldplay, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=EUxsb0Zpe8w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Orphans\u003c/strong>\u003c/a>\u003cstrong>” and “Everyday Life”\u003c/strong>\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/EUxsb0Zpe8w'\n title='//www.youtube.com/embed/EUxsb0Zpe8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bash Coldplay all you want, but this performance of “Orphans” showed exactly how to liven up a typical spot as a late-night musical guest: Chris Martin opened the song from a supply closet in the back of the room before making his way into the audience to perform with clusters of cast members, musicians and randos. He eventually ran to the stage, at which point he finished the song while backed by members of his band, a colorful animated video on a giant screen and an enormous throng of dancers. It was an immensely buoyant, memorable performance.\u003c/p>\n\u003cp>By comparison, “Everyday Life” couldn’t help but fizzle earnestly, though the song’s melancholy notes of tentatively uplifting empathy resonate more now than they did all the way back in November 2019. But let’s not neglect the \u003cem>real\u003c/em> takeaway here: Sure, Chris Martin’s distressed tee probably cost $1,400 or something, but he looked like he just got done insulating his attic. Could you imagine Halsey getting to perform in that grubby rag? We will never achieve gender equality until male performers dress better (see: Harry Styles) or female performers dress worse—preferably both.\u003c/p>\n\u003cp>\u003cstrong>5. DaBaby, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=YffEyeWn_fA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Bop\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=pbGLwe53-LI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Suge\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/YffEyeWn_fA'\n title='//www.youtube.com/embed/YffEyeWn_fA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>DaBaby understands that you can perform a couple of songs on TV, or you can put on a show of your own. Backed by a few musicians, a giant throng of dancers and a woman who periodically twerked from a full handstand, DaBaby served as both rapper and ringmaster. Unafraid to dive into the choreography, he felt fully integrated into the mayhem—which featured not only the hip-hop dance crew Jabbawockeez, but also a whole bunch of stage fighting. (Why stage fighting? Hey, why did the other 17 entries on this list \u003cem>not\u003c/em> include stage fighting? Lookin’ your way, Niall Horan.)\u003c/p>\n\u003cp>Of course, all that ludicrous theatrical chaos wouldn’t have mattered much without tight, hooky songs to back it up, and DaBaby came to work there, too. Performing with a showman’s charisma, the young star seemed to be having a blast. That can be more than half the battle, right there.\u003c/p>\n\u003cp>\u003cstrong>4. Billie Eilish, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Jn1Uwsg3eRQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>bad guy\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=m6AdQLB_19g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>I Love You\u003c/strong>\u003c/a>\u003cstrong> (feat. Finneas O’Connell)”\u003c/strong>\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/Jn1Uwsg3eRQ'\n title='//www.youtube.com/embed/Jn1Uwsg3eRQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Billie Eilish was basically bulletproof in 2019: Her debut album spawned a string of huge hits, and “bad guy” was the only juggernaut omnipresent enough to knock “Old Town Road” off its perch at the top of the pop charts. She kicked off 2020 by sweeping every major category at the Grammys—the youngest artist ever to do so. And, along the path to domination, she provided one of the biggest “wow” moments in recent \u003cem>SNL\u003c/em> history.\u003c/p>\n\u003cp>With a concept liberally borrowed from the 1951 film \u003cem>Royal Wedding\u003c/em>—the one in which Fred Astaire climbs the walls before dancing on the ceiling—Eilish’s pajama- and walking-boot-clad \u003cem>SNL\u003c/em> performance of “bad guy” duplicated the gravity-defying effect to perfection, thanks to a boxy miniaturized set (and a camera) that rotated like a hamster wheel. Before viewers could finish Googling “How did Billie Eilish do that \u003cem>SNL\u003c/em>,” the show panned out to reveal the trick, which somehow made the whole thing seem even more impressive.\u003c/p>\n\u003cp>After so much razzle-dazzle, Eilish hardly needed to return for a second song. But she took a decent-sized swing anyway, showcasing her balladeering softer side—still a new look for her back in September—in a whispery take on “I Love You.” Joined on guitar by her similarly Grammy-festooned brother Finneas O’Connell, Eilish more than held her own. But it was somewhat drowsy as a set-closer, especially after the sugar high she’d just pulled off.\u003c/p>\n\u003cp>\u003cstrong>3. Chance The Rapper, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=SnlUnGj54hM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Zanies and Fools\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=RwX2IpcmN_w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Handsome\u003c/strong>\u003c/a>\u003cstrong> (feat. Megan Thee Stallion)”\u003c/strong>\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/RwX2IpcmN_w'\n title='//www.youtube.com/embed/RwX2IpcmN_w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This was Chance the Rapper’s second stint as a musical guest, his second stint as an enormously funny and good-natured \u003cem>SNL\u003c/em> host, and his first time pulling double duty. Hell, he even introduced himself at the top of “Zanies and Fools,” letting a clip of his adorable daughter fill the time between his introduction (“Ladies and gentlemen, Chance the Rapper”) and the performance itself. The guy does it all, and does it extraordinarily well.\u003c/p>\n\u003cp>But Chance also knows how to share—and lavishly fill—a stage, and for “Zanies and Fools,” the rapper found himself surrounded by a swirl of dancers, not to mention a small army of percussionists and string players. The choreography unfurled around him without really involving him, but he compensated by unleashing a rapid-fire vocal that kept the viewer’s attention center stage.\u003c/p>\n\u003cp>In “Handsome,” Chance’s collaborators crowded into the background, which gave him the opportunity to move around a bit before ceding the spotlight to the most formidable presence imaginable: Megan Thee Stallion. Meg kept her intensity in second gear to match her stage partner—and found a way to give herself a network-television-friendly edit in real time—but her star power was beyond unmistakable. Next season, she’d be well suited to follow in Chance’s footsteps and try her hand as a host.\u003c/p>\n\u003cp>\u003cstrong>2. David Byrne, “Once in a Lifetime” and “Toe Jam”\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em> usually makes room for a rock or pop legend here and there, including Paul Simon last year and U2 the year before. This year, the chosen veteran was David Byrne, to coincide with the Broadway staging of his \u003cem>American Utopia\u003c/em> concerts. Crucially, he brought his robust, gray-suited cast to join him in filling the stage with movement, sound and all-around effervescence. Deploying between three and six percussionists at any given moment, these performances radiated good cheer and spiky humor, propelled by a Broadway production’s mandate to thrill.\u003c/p>\n\u003cp>And, really, “thrilling” just about sums it up. Most \u003cem>SNL\u003c/em> guests are promoting new material, so catalog hits aren’t the norm. Here, we got Talking Heads’ unimpeachable classic “Once in a Lifetime” and the terrific “Toe Jam,” which Byrne co-wrote for the U.K. electro-pop band The Brighton Port Authority back in 2008. Byrne happened to appear on perhaps the season’s most widely beloved \u003cem>SNL\u003c/em> episode—the one hosted by the marvelous John Mulaney—but you couldn’t have blamed the show had it just turned the whole thing over to Byrne & Co.\u003c/p>\n\u003cp>\u003cstrong>1. Lizzo, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jK7oze-nu38\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Truth Hurts\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Aj83ri3lSe0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Good As Hell\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/Aj83ri3lSe0'\n title='//www.youtube.com/embed/Aj83ri3lSe0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It took Lizzo years of hustle and grind to rise all the way to pop superstardom, so there was no way she’d make her \u003cem>SNL\u003c/em> debut and not crush it. Marrying lavishly choreographed dance routines to undeniable musicianship and unfettered joy, she and her dancers twerked, spun and frolicked through Lizzo’s two greatest hits to date: “Truth Hurts” (backed by an airtight band, populated exclusively by black women) and “Good As Hell” (performed on a Christmas-themed set in which dancers twirled on poles striped like candy canes).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em>‘s Studio 8H stage can be sterile and unforgiving: It’s a nondescript space with an iffy sound mix, and the crowds are largely there to watch comedy. So it’s a special kind of joy to watch Lizzo douse that canvas with vibrancy, color, movement and good cheer—not to mention transcendent vocal talent—in a set perfectly tailored to elevate the space, the show and the season.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27SNL%27+Just+Wrapped+Its+45th+Season%3A+It%27s+Time+To+Cruelly+Rank+Its+Musical+Guests&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jerry Stiller, Who Played Hot-Headed Dad On 'Seinfeld,' Dies At 92",
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"content": "\u003cp>When Jerry Stiller told his father he wanted to become an actor, his father offered an alternate plan. He said, “Why don’t you be a stagehand — that’s like being on the stage — at least you’ll be working every night,” Stiller told \u003cem>Fresh Air\u003c/em> in 1993.\u003c/p>\n\u003cp>Stiller did not heed his father’s advice and went on to have a long career in show business. He performed comedy on stage and screen, and, in later years, made a name for himself playing George Costanza’s hot-headed father on \u003cem>Seinfeld. \u003c/em>Stiller died of natural causes, his son Ben Stiller \u003ca href=\"https://twitter.com/RedHourBen/status/1259759084309446657?s=20\">tweeted\u003c/a> Monday.\u003c/p>\n\u003cp>Stiller was born in Brooklyn in 1927. After serving in World War II, he teamed up with his wife, Anne Meara, to form the Stiller and Meara comedy duo — a practical move motivated by love. “We wanted to keep the marriage together,” he joked — she was tall and Catholic, he was short and Jewish — and until they partnered up, “we never got jobs together,” Stiller told the Archive of American Television.\u003c/p>\n\u003cp>Stiller and Meara enjoyed success as a duo for many years but eventually decided to pursue careers on their own. Looking back in 1993, Stiller told \u003cem>Fresh Air\u003c/em> he and Meara were young parents juggling a show business schedule — and trying “to figure out a way to do everything.”\u003c/p>\n\u003cp>“Here were a husband and wife working together and suddenly you’re being asked to play Las Vegas,” he recalled. “What do you do, pick up the two children and the nanny and go to Vegas and get ready to do the nightclub act?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After stints on Broadway and on several TV shows in the 1970s, Stiller’s most notable role came in the early ’90s, when he joined the cast of \u003cem>Seinfeld.\u003c/em>\u003c/p>\n\u003cp>Stiller said producer Larry David was looking for an actor who would “play it down” — and he did at first — but felt the approach wasn’t working. So, in a final dress rehearsal in front of a live audience, Stiller played Costanza’s temperament up — way up.\u003c/p>\n\u003cp>In a now-famous episode, the frequently furious Costanza is encouraged to recite the mantra “serenity now” every time he gets riled up. Stiller went on to earn an Emmy nomination for his work on\u003cem> Seinfeld\u003c/em>. Years later, he played another angry dad on the show \u003cem>King of Queens.\u003c/em>\u003c/p>\n\u003cp>Stiller was also a father in real life, but not one fueled by anger. His son, actor Ben Stiller, told NPR that his dad was always supportive — and hilarious.\u003c/p>\n\u003cp>“He just can’t help but be funny because he’s so committed to being who he is,” Stiller said.\u003c/p>\n\u003cp>The father and son appeared together in Ben’s \u003cem>Zoolander \u003c/em>movies.\u003c/p>\n\u003cp>When Meara died in 2015, she and Stiller had been married for more than 60 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ben Stiller said his mother’s humor tended to be dark, but his father’s was always intended to bring joy, and perhaps a bit of “serenity now,” to others. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comedian+Jerry+Stiller%2C+Who+Played+Hot-Headed+Dad+On+%27Seinfeld%2C%27+Dies+At+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Onscreen, Stiller was George Costanza's father; in real life, he was dad to actor Ben Stiller.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Jerry Stiller told his father he wanted to become an actor, his father offered an alternate plan. He said, “Why don’t you be a stagehand — that’s like being on the stage — at least you’ll be working every night,” Stiller told \u003cem>Fresh Air\u003c/em> in 1993.\u003c/p>\n\u003cp>Stiller did not heed his father’s advice and went on to have a long career in show business. He performed comedy on stage and screen, and, in later years, made a name for himself playing George Costanza’s hot-headed father on \u003cem>Seinfeld. \u003c/em>Stiller died of natural causes, his son Ben Stiller \u003ca href=\"https://twitter.com/RedHourBen/status/1259759084309446657?s=20\">tweeted\u003c/a> Monday.\u003c/p>\n\u003cp>Stiller was born in Brooklyn in 1927. After serving in World War II, he teamed up with his wife, Anne Meara, to form the Stiller and Meara comedy duo — a practical move motivated by love. “We wanted to keep the marriage together,” he joked — she was tall and Catholic, he was short and Jewish — and until they partnered up, “we never got jobs together,” Stiller told the Archive of American Television.\u003c/p>\n\u003cp>Stiller and Meara enjoyed success as a duo for many years but eventually decided to pursue careers on their own. Looking back in 1993, Stiller told \u003cem>Fresh Air\u003c/em> he and Meara were young parents juggling a show business schedule — and trying “to figure out a way to do everything.”\u003c/p>\n\u003cp>“Here were a husband and wife working together and suddenly you’re being asked to play Las Vegas,” he recalled. “What do you do, pick up the two children and the nanny and go to Vegas and get ready to do the nightclub act?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After stints on Broadway and on several TV shows in the 1970s, Stiller’s most notable role came in the early ’90s, when he joined the cast of \u003cem>Seinfeld.\u003c/em>\u003c/p>\n\u003cp>Stiller said producer Larry David was looking for an actor who would “play it down” — and he did at first — but felt the approach wasn’t working. So, in a final dress rehearsal in front of a live audience, Stiller played Costanza’s temperament up — way up.\u003c/p>\n\u003cp>In a now-famous episode, the frequently furious Costanza is encouraged to recite the mantra “serenity now” every time he gets riled up. Stiller went on to earn an Emmy nomination for his work on\u003cem> Seinfeld\u003c/em>. Years later, he played another angry dad on the show \u003cem>King of Queens.\u003c/em>\u003c/p>\n\u003cp>Stiller was also a father in real life, but not one fueled by anger. His son, actor Ben Stiller, told NPR that his dad was always supportive — and hilarious.\u003c/p>\n\u003cp>“He just can’t help but be funny because he’s so committed to being who he is,” Stiller said.\u003c/p>\n\u003cp>The father and son appeared together in Ben’s \u003cem>Zoolander \u003c/em>movies.\u003c/p>\n\u003cp>When Meara died in 2015, she and Stiller had been married for more than 60 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ben Stiller said his mother’s humor tended to be dark, but his father’s was always intended to bring joy, and perhaps a bit of “serenity now,” to others. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comedian+Jerry+Stiller%2C+Who+Played+Hot-Headed+Dad+On+%27Seinfeld%2C%27+Dies+At+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Get Everything 'Under Control' With These 3 Quarantine Comfort Reads",
"headTitle": "Get Everything ‘Under Control’ With These 3 Quarantine Comfort Reads | KQED",
"content": "\u003cp>Reading may not be the opiate of the masses, but it sure is my anti-anxiety elixir of choice. Whether you’re quaking in fear of the dreaded coronavirus (as I was), relieved to be recovering from it (as I am), or worried about the world and feeling restlessly cooped up (as we all are), here are a trio of delightful new books that can transport you to a happier place for hours at a time.\u003c/p>\n\u003cfigure id=\"attachment_13879944\" class=\"wp-caption alignright\" style=\"max-width: 301px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879944\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.15.17-PM.png\" alt=\"‘All Adults Here,’ by Emma Straub.\" width=\"301\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.15.17-PM.png 301w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.15.17-PM-160x244.png 160w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003cfigcaption class=\"wp-caption-text\">‘All Adults Here,’ by Emma Straub.\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Straub’s warm-hearted fourth novel confirms her reign as a patron saint of delayed adolescence. In the somewhat ironically titled \u003cstrong>\u003cem>All Adults Here\u003c/em>\u003c/strong>\u003cem>, \u003c/em>aging without maturing is a common affliction, even among parents: Her amiably dysfunctional characters make it clear that it’s possible to grow old without growing \u003cem>up. \u003c/em>But fortunately, it’s also never too late to play catch-up.\u003c/p>\n\u003cp>This time around, the Brooklyn author and bookstore owner shifts the action to a fictional Hudson Valley town that’s so appealing you’ll want to move there. Straub’s focus is on 68-year-old Astrid Strick—a widow whose parenting style has prioritized pragmatism over warmth—and her three grown children and their offspring. After witnessing the sudden accidental death of a woman she’s disliked for decades, Astrid realizes that life can turn on a dime and she’d better get hers in order pronto. Top on her list is reconnecting with her family and making amends for the mistakes she made as a mother. Oh, and coming clean about the person who’s replaced their late father in her affections—a choice that’s bound to surprise them.\u003c/p>\n\u003cp>\u003cem>All Adults Here \u003c/em>is somewhat overstuffed with what at times feels like a checklist of hot topics—teens dealing with online pedophiles, shaming, queerness and transexuality; ticking time clocks and sperm bank babies; sex with exes; checked-out parenting—but you’ll enjoy the company of this sympathetic clan as Straub works her narrative to a well-earned cheery resolution.\u003c/p>\n\u003cfigure id=\"attachment_13879945\" class=\"wp-caption alignright\" style=\"max-width: 301px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879945\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.18.02-PM.png\" alt=\"‘Dirt: Adventures in Lyon as a Chef in Training, Father, and Sleuth Looking for the Origins of French Cooking,’ by Bill Buford\" width=\"301\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.18.02-PM.png 301w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.18.02-PM-160x239.png 160w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003cfigcaption class=\"wp-caption-text\">‘Dirt: Adventures in Lyon as a Chef in Training, Father, and Sleuth Looking for the Origins of French Cooking,’ by Bill Buford\u003c/figcaption>\u003c/figure>\n\u003cp>If restaurants and travel are high on the list of things you miss most during lockdown, I heartily recommend Bill Buford’s\u003cstrong> \u003cem>Dirt\u003c/em>\u003c/strong>\u003cem>. \u003c/em>This is a writer who gives new meaning to the expression “glutton for punishment.” Fourteen years after \u003cem>Heat,\u003c/em> which chronicled his immersion in Italian butchery and bitchery, Buford returns with his reportorial blades freshly sharpened in this blazingly entertaining and frequently scalding account of the five years he planted himself in several exacting kitchens in the “rough and entirely unwelcoming” gastronomic city of Lyon, France. His mission: To unearth the secrets of Gallic cuisine—and perhaps trace its roots to Renaissance Italian cooking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Buford again proves himself to be a relentless reporter and a self-deprecating guide. “My life had been a happy one, not quite knowing what a fricassee was,” he comments ruefully at the beginning of this quixotic odyssey, which also upends the lives of his wife, a wine educator, and their twin toddler sons. Obsessive and intrepid, Buford submits to a tradition of “education by humiliation” and punishing hands-on experience. A dreamer who runs chronically late, he’s indoctrinated into the importance of focus, speed, and punctuality, whether he’s peeling 40 kilos of PDT (\u003cem>pommes de terre—\u003c/em>potatoes) and mashing them with 20 kilos of butter for the staff lunch under the critical gaze of an unsmiling chef, or mastering the difference between Hollandaise and Béarnaise sauces. His observations about French elementary school education, which is scarcely more coddling than his culinary training, are as fascinating as his kitchen escapades. He’s particularly astonished by the elaborate multi-course lunches his sons are served daily.\u003c/p>\n\u003cp>\u003cem>Dirt \u003c/em>dishes the dirt on the testosterone-fueled crudeness of professional kitchens, where “unregulated bullying” and misogyny are as thick as crème fraiche—which isn’t exactly news at this point. But Buford, who knows it will make good copy, hangs in there, responding to hazings and humiliations with humble “Oui, chefs\u003cem>“\u003c/em> as he doggedly seeks the key to what separates grand from not-so-grand cuisine. Spoiler alert: As his title suggests, it’s not just the fanatical dedication and meticulously exacting prep. This deliciously salty chronicle, loamy with culinary history and profiles of the great chefs, is worth digging into.\u003c/p>\n\u003cfigure id=\"attachment_13879946\" class=\"wp-caption alignright\" style=\"max-width: 302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.21.37-PM.png\" alt=\"‘Everything Is Under Control: A Memoir With Recipes,’ by Phyllis Grant.\" width=\"302\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.21.37-PM.png 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.21.37-PM-160x240.png 160w\" sizes=\"(max-width: 302px) 100vw, 302px\">\u003cfigcaption class=\"wp-caption-text\">‘Everything Is Under Control: A Memoir With Recipes,’ by Phyllis Grant.\u003c/figcaption>\u003c/figure>\n\u003cp>Could Phyllis Grant have hit upon a more alluring title for these fraught times? \u003cem>\u003cstrong>Everything Is Under Control\u003c/strong>,\u003c/em> her memoir with recipes, chronicles her rocky passage from driven, not-quite-good-enough Juilliard ballet student to abused apprentice at several star-studded New York City restaurants, including Bouley and Nobu—a progression that’s akin to jumping out of the fire (or maybe that’s fire\u003cem>bird\u003c/em>) and into the frying pan.\u003c/p>\n\u003cp>In a series of short, spare, food-centric bulletins written in the present tense, Grant captures the passions of her life, from the rigorous intensity of her early ambitions to her more manageable present, in which we meet her baking tarte tatin with her kids, Dash and Bella. Cooking, a throughline in her life, is in her DNA, beginning with the beloved maternal grandmother for whom she’s named, who mastered a repertory of inexpensive comfort foods at age ten, when her impoverished, widowed mother took on two jobs to make ends meet.\u003c/p>\n\u003cp>Grant’s first bout of anorexia hit at 11 and lasted a year. In ballet school, after being body-shamed, she learns the tricks of the trade. “Bulimia is much harder to cover up. It’s loud and messy. But you get to eat more. Anorexia is clean and requires control,” she writes, and then adds, “I choose anorexia.” It doesn’t improve her prospects. After a disappointing audition in which she fails to get cast even as an understudy, she’s told she hasn’t lived up to her early potential.\u003c/p>\n\u003cp>She realizes, “I want my hair to smell like chocolate and garlic and fish … I want a purpose.” But Plan B is no cakewalk either. “Six months in and I have experienced the obscenely long hours and witnessed the fire hazards, rampant drug use, and misogynistic everything,” she writes of her culinary on-the-job training, but adds, “I still want this more than ever.” Her new bosses call her Felicia. Like Buford, she responds with dutiful submission to the hellish pace and constant criticism:”Oui, Chef.”\u003c/p>\n\u003cp>\u003cem>Everything is Under Control\u003c/em> is a lesson in remaining light on your feet because just the opposite is so often the case: Career plans don’t pan out. The 9/11 terrorist attacks strike too close for comfort and send her and her husband fleeing to the other side of the country. It takes multiple miscarriages before sticking the landing on a second child and months of misery before post-partum depression blossoms into real love.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Grant nimbly pirouettes, pivots, leaps. She becomes a cookbook editor, a yoga instructor, a certified doula, a smitten mom who blogs about cooking with and for her kids, a bold, talented memoirist. Such flexibility is not a bad lesson for right now. Plus there’s the bonus of 17 tempting, homey recipes, including Cottage Cheese Pancakes, an adaptation of her grandmother’s Fudgy Icebox Brownies, Lamb Popsicles (rib chops eaten like treats on a stick), and a Caramelized Onion Tart, one of several ways to use up some of those anchovies you’ve stockpiled for the duration.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Get+Everything+%27Under+Control%27+With+These+3+Quarantine+Comfort+Reads&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reading may not be the opiate of the masses, but it sure is my anti-anxiety elixir of choice. Whether you’re quaking in fear of the dreaded coronavirus (as I was), relieved to be recovering from it (as I am), or worried about the world and feeling restlessly cooped up (as we all are), here are a trio of delightful new books that can transport you to a happier place for hours at a time.\u003c/p>\n\u003cfigure id=\"attachment_13879944\" class=\"wp-caption alignright\" style=\"max-width: 301px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879944\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.15.17-PM.png\" alt=\"‘All Adults Here,’ by Emma Straub.\" width=\"301\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.15.17-PM.png 301w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.15.17-PM-160x244.png 160w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003cfigcaption class=\"wp-caption-text\">‘All Adults Here,’ by Emma Straub.\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Straub’s warm-hearted fourth novel confirms her reign as a patron saint of delayed adolescence. In the somewhat ironically titled \u003cstrong>\u003cem>All Adults Here\u003c/em>\u003c/strong>\u003cem>, \u003c/em>aging without maturing is a common affliction, even among parents: Her amiably dysfunctional characters make it clear that it’s possible to grow old without growing \u003cem>up. \u003c/em>But fortunately, it’s also never too late to play catch-up.\u003c/p>\n\u003cp>This time around, the Brooklyn author and bookstore owner shifts the action to a fictional Hudson Valley town that’s so appealing you’ll want to move there. Straub’s focus is on 68-year-old Astrid Strick—a widow whose parenting style has prioritized pragmatism over warmth—and her three grown children and their offspring. After witnessing the sudden accidental death of a woman she’s disliked for decades, Astrid realizes that life can turn on a dime and she’d better get hers in order pronto. Top on her list is reconnecting with her family and making amends for the mistakes she made as a mother. Oh, and coming clean about the person who’s replaced their late father in her affections—a choice that’s bound to surprise them.\u003c/p>\n\u003cp>\u003cem>All Adults Here \u003c/em>is somewhat overstuffed with what at times feels like a checklist of hot topics—teens dealing with online pedophiles, shaming, queerness and transexuality; ticking time clocks and sperm bank babies; sex with exes; checked-out parenting—but you’ll enjoy the company of this sympathetic clan as Straub works her narrative to a well-earned cheery resolution.\u003c/p>\n\u003cfigure id=\"attachment_13879945\" class=\"wp-caption alignright\" style=\"max-width: 301px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879945\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.18.02-PM.png\" alt=\"‘Dirt: Adventures in Lyon as a Chef in Training, Father, and Sleuth Looking for the Origins of French Cooking,’ by Bill Buford\" width=\"301\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.18.02-PM.png 301w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.18.02-PM-160x239.png 160w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003cfigcaption class=\"wp-caption-text\">‘Dirt: Adventures in Lyon as a Chef in Training, Father, and Sleuth Looking for the Origins of French Cooking,’ by Bill Buford\u003c/figcaption>\u003c/figure>\n\u003cp>If restaurants and travel are high on the list of things you miss most during lockdown, I heartily recommend Bill Buford’s\u003cstrong> \u003cem>Dirt\u003c/em>\u003c/strong>\u003cem>. \u003c/em>This is a writer who gives new meaning to the expression “glutton for punishment.” Fourteen years after \u003cem>Heat,\u003c/em> which chronicled his immersion in Italian butchery and bitchery, Buford returns with his reportorial blades freshly sharpened in this blazingly entertaining and frequently scalding account of the five years he planted himself in several exacting kitchens in the “rough and entirely unwelcoming” gastronomic city of Lyon, France. His mission: To unearth the secrets of Gallic cuisine—and perhaps trace its roots to Renaissance Italian cooking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Buford again proves himself to be a relentless reporter and a self-deprecating guide. “My life had been a happy one, not quite knowing what a fricassee was,” he comments ruefully at the beginning of this quixotic odyssey, which also upends the lives of his wife, a wine educator, and their twin toddler sons. Obsessive and intrepid, Buford submits to a tradition of “education by humiliation” and punishing hands-on experience. A dreamer who runs chronically late, he’s indoctrinated into the importance of focus, speed, and punctuality, whether he’s peeling 40 kilos of PDT (\u003cem>pommes de terre—\u003c/em>potatoes) and mashing them with 20 kilos of butter for the staff lunch under the critical gaze of an unsmiling chef, or mastering the difference between Hollandaise and Béarnaise sauces. His observations about French elementary school education, which is scarcely more coddling than his culinary training, are as fascinating as his kitchen escapades. He’s particularly astonished by the elaborate multi-course lunches his sons are served daily.\u003c/p>\n\u003cp>\u003cem>Dirt \u003c/em>dishes the dirt on the testosterone-fueled crudeness of professional kitchens, where “unregulated bullying” and misogyny are as thick as crème fraiche—which isn’t exactly news at this point. But Buford, who knows it will make good copy, hangs in there, responding to hazings and humiliations with humble “Oui, chefs\u003cem>“\u003c/em> as he doggedly seeks the key to what separates grand from not-so-grand cuisine. Spoiler alert: As his title suggests, it’s not just the fanatical dedication and meticulously exacting prep. This deliciously salty chronicle, loamy with culinary history and profiles of the great chefs, is worth digging into.\u003c/p>\n\u003cfigure id=\"attachment_13879946\" class=\"wp-caption alignright\" style=\"max-width: 302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.21.37-PM.png\" alt=\"‘Everything Is Under Control: A Memoir With Recipes,’ by Phyllis Grant.\" width=\"302\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.21.37-PM.png 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-07-at-1.21.37-PM-160x240.png 160w\" sizes=\"(max-width: 302px) 100vw, 302px\">\u003cfigcaption class=\"wp-caption-text\">‘Everything Is Under Control: A Memoir With Recipes,’ by Phyllis Grant.\u003c/figcaption>\u003c/figure>\n\u003cp>Could Phyllis Grant have hit upon a more alluring title for these fraught times? \u003cem>\u003cstrong>Everything Is Under Control\u003c/strong>,\u003c/em> her memoir with recipes, chronicles her rocky passage from driven, not-quite-good-enough Juilliard ballet student to abused apprentice at several star-studded New York City restaurants, including Bouley and Nobu—a progression that’s akin to jumping out of the fire (or maybe that’s fire\u003cem>bird\u003c/em>) and into the frying pan.\u003c/p>\n\u003cp>In a series of short, spare, food-centric bulletins written in the present tense, Grant captures the passions of her life, from the rigorous intensity of her early ambitions to her more manageable present, in which we meet her baking tarte tatin with her kids, Dash and Bella. Cooking, a throughline in her life, is in her DNA, beginning with the beloved maternal grandmother for whom she’s named, who mastered a repertory of inexpensive comfort foods at age ten, when her impoverished, widowed mother took on two jobs to make ends meet.\u003c/p>\n\u003cp>Grant’s first bout of anorexia hit at 11 and lasted a year. In ballet school, after being body-shamed, she learns the tricks of the trade. “Bulimia is much harder to cover up. It’s loud and messy. But you get to eat more. Anorexia is clean and requires control,” she writes, and then adds, “I choose anorexia.” It doesn’t improve her prospects. After a disappointing audition in which she fails to get cast even as an understudy, she’s told she hasn’t lived up to her early potential.\u003c/p>\n\u003cp>She realizes, “I want my hair to smell like chocolate and garlic and fish … I want a purpose.” But Plan B is no cakewalk either. “Six months in and I have experienced the obscenely long hours and witnessed the fire hazards, rampant drug use, and misogynistic everything,” she writes of her culinary on-the-job training, but adds, “I still want this more than ever.” Her new bosses call her Felicia. Like Buford, she responds with dutiful submission to the hellish pace and constant criticism:”Oui, Chef.”\u003c/p>\n\u003cp>\u003cem>Everything is Under Control\u003c/em> is a lesson in remaining light on your feet because just the opposite is so often the case: Career plans don’t pan out. The 9/11 terrorist attacks strike too close for comfort and send her and her husband fleeing to the other side of the country. It takes multiple miscarriages before sticking the landing on a second child and months of misery before post-partum depression blossoms into real love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Grant nimbly pirouettes, pivots, leaps. She becomes a cookbook editor, a yoga instructor, a certified doula, a smitten mom who blogs about cooking with and for her kids, a bold, talented memoirist. Such flexibility is not a bad lesson for right now. Plus there’s the bonus of 17 tempting, homey recipes, including Cottage Cheese Pancakes, an adaptation of her grandmother’s Fudgy Icebox Brownies, Lamb Popsicles (rib chops eaten like treats on a stick), and a Caramelized Onion Tart, one of several ways to use up some of those anchovies you’ve stockpiled for the duration.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Get+Everything+%27Under+Control%27+With+These+3+Quarantine+Comfort+Reads&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s telling that the most barbed political criticism Michelle Obama drops in her new Netflix documentary \u003cem>Becoming\u003c/em> isn’t about Donald Trump’s birtherism or the commentators who tried to dismiss her as an angry black woman.\u003c/p>\n\u003cp>Instead, she criticizes fickle Democratic supporters while talking about Trump’s 2017 inauguration in a roundtable discussion.\u003c/p>\n\u003cp>“The day I left the White House, I write about how painful it was to sit on that stage—a lot of our folks didn’t vote,” she says in the film, which debuts Wednesday. “So it was almost like, a slap in the face.”\u003c/p>\n\u003cp>Moments later, she expands on that idea, “I understand the people who voted for Trump, [but] the people who didn’t vote at all—the young people, the women—that’s when you think, man, people think this is a game.”\u003c/p>\n\u003cp>The backbone of the documentary comes from footage filmed behind-the-scenes and onstage during the 34-stop tour to promote \u003ca href=\"https://www.npr.org/books/titles/663568665/becoming\" target=\"_blank\" rel=\"noopener noreferrer\">her best-selling memoir,\u003c/a> also called \u003cem>Becoming\u003c/em>. The tour featured celebrity hosts like Oprah Winfrey interviewing the former First Lady in arenas packed with fans; she spoke on everything from visiting a marriage counselor with her husband to raising young black children in a mansion like the White House.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her concern: during a visit with Laura Bush, she noticed the White House butlers were African American and Latino men decked out in tuxedoes.\u003c/p>\n\u003cp>“I didn’t want them growing up thinking grown African American men served them in tuxedoes,” she says. “The truth was that some of those men were (like) my uncles—they were the Pullman porters and other folks—I didn’t want my girls to grow up with that image.”\u003c/p>\n\u003cp>Race is, of course, a huge subject in the film, as Michelle Obama details feeling immense pressure to be perfect as wife to the first black president. For fans who admire the family and their message of inclusion, \u003cem>Becoming\u003c/em> will be a bittersweet reminder of how differently the White House’s current occupants conduct themselves.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wePNJGL7nDU\u003c/p>\n\u003cp>Still, when young people ask Michelle Obama how to face the often-intangible forces of systemic prejudice and tribalism, Michelle Obama has a consistent answer: Stay focused. Work hard. Never accept a limiting label.\u003c/p>\n\u003cp>“I never felt invisible,” she says, praising her parents for teaching her confidence. “We can’t afford to wait for the world to be equal to start feeling seen.”\u003c/p>\n\u003cp>When a Native American student tells her he felt uneasy in classes with students wearing Trump hats, she responds: “So you’re in school. Be in school. Get your frickin’ education. Barack and I, all through this presidency, through the lies and the stuff they said about us, all we could do was wake up every day and do our jobs. Let our jobs and our lives speak for itself.”\u003c/p>\n\u003cp>That sounds an awful lot like putting the burden on oppressed people to transcend their own oppression. The Obamas have faced criticism in the past for such “respectability politics”—which also imply that if a person of color doesn’t succeed, perhaps it’s because they didn’t try hard enough. (Remember those Democratic voters who stayed home?)\u003c/p>\n\u003cp>It would have been compelling to see Michelle Obama face some tough questions from someone who legitimately challenges her ideas. But \u003cem>Becoming\u003c/em> is produced by the Obamas’ Higher Ground Productions, following in the footsteps of other recent documentaries—like ESPN’s \u003ca href=\"https://www.espn.com/nba/story/_/id/29127505/espn-michael-jordan-documentary-big-takeaways-episodes-5-6-last-dance\">\u003cem>The Last Dance\u003c/em> \u003c/a>or Hulu’s \u003ca href=\"https://www.hulu.com/series/hillary-793891ec-5bb7-4200-ba93-e3629532d670?&cmp=12386&utm_source=google&utm_medium=SEM&utm_campaign=CM_SEM_Hillary%20Documentary&utm_term=+hulu%20+hillary&ds_rl=1251123&gclid=CjwKCAjwwMn1BRAUEiwAZ_jnEvFpq7FeplEMMgox0Gvbd1vT4aUX-dPNDqKNC6yNqYOWhJOdI8cDxhoCnhkQAvD_BwE&gclsrc=aw.ds\">\u003cem>Hillary\u003c/em>\u003c/a>—which counted on significant participation and support from key subjects to succeed.\u003c/p>\n\u003cp>As good as all of these efforts are, there is also a sense that they can only go so far in challenging their superstar subjects. In \u003cem>Becoming\u003c/em>‘s case, that means a distinct lack of critics shown onscreen and moments that feel too much like an ad for the boss.\u003c/p>\n\u003cp>Despite Michelle Obama’s candor, \u003cem>Becoming \u003c/em>offers a selective view. Barack Obama doesn’t sit for an exclusive interview; daughters Sasha and Malia speak in just a few places. And the former First Lady avoids any direct criticism of political rivals, continuing to go high when others might consider going low.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even with its flaws, \u003cem>Becoming\u003c/em> is a compelling documentary, offering a carefully revealing look at a whip smart, ferociously practical woman trying to understand how her historic time in the White House changed herself, her family and the nation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Becoming%27+Offers+A+Revealing+But+Selective+View+Of+Michelle+Obama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s telling that the most barbed political criticism Michelle Obama drops in her new Netflix documentary \u003cem>Becoming\u003c/em> isn’t about Donald Trump’s birtherism or the commentators who tried to dismiss her as an angry black woman.\u003c/p>\n\u003cp>Instead, she criticizes fickle Democratic supporters while talking about Trump’s 2017 inauguration in a roundtable discussion.\u003c/p>\n\u003cp>“The day I left the White House, I write about how painful it was to sit on that stage—a lot of our folks didn’t vote,” she says in the film, which debuts Wednesday. “So it was almost like, a slap in the face.”\u003c/p>\n\u003cp>Moments later, she expands on that idea, “I understand the people who voted for Trump, [but] the people who didn’t vote at all—the young people, the women—that’s when you think, man, people think this is a game.”\u003c/p>\n\u003cp>The backbone of the documentary comes from footage filmed behind-the-scenes and onstage during the 34-stop tour to promote \u003ca href=\"https://www.npr.org/books/titles/663568665/becoming\" target=\"_blank\" rel=\"noopener noreferrer\">her best-selling memoir,\u003c/a> also called \u003cem>Becoming\u003c/em>. The tour featured celebrity hosts like Oprah Winfrey interviewing the former First Lady in arenas packed with fans; she spoke on everything from visiting a marriage counselor with her husband to raising young black children in a mansion like the White House.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her concern: during a visit with Laura Bush, she noticed the White House butlers were African American and Latino men decked out in tuxedoes.\u003c/p>\n\u003cp>“I didn’t want them growing up thinking grown African American men served them in tuxedoes,” she says. “The truth was that some of those men were (like) my uncles—they were the Pullman porters and other folks—I didn’t want my girls to grow up with that image.”\u003c/p>\n\u003cp>Race is, of course, a huge subject in the film, as Michelle Obama details feeling immense pressure to be perfect as wife to the first black president. For fans who admire the family and their message of inclusion, \u003cem>Becoming\u003c/em> will be a bittersweet reminder of how differently the White House’s current occupants conduct themselves.\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/wePNJGL7nDU'\n title='//www.youtube.com/embed/wePNJGL7nDU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, when young people ask Michelle Obama how to face the often-intangible forces of systemic prejudice and tribalism, Michelle Obama has a consistent answer: Stay focused. Work hard. Never accept a limiting label.\u003c/p>\n\u003cp>“I never felt invisible,” she says, praising her parents for teaching her confidence. “We can’t afford to wait for the world to be equal to start feeling seen.”\u003c/p>\n\u003cp>When a Native American student tells her he felt uneasy in classes with students wearing Trump hats, she responds: “So you’re in school. Be in school. Get your frickin’ education. Barack and I, all through this presidency, through the lies and the stuff they said about us, all we could do was wake up every day and do our jobs. Let our jobs and our lives speak for itself.”\u003c/p>\n\u003cp>That sounds an awful lot like putting the burden on oppressed people to transcend their own oppression. The Obamas have faced criticism in the past for such “respectability politics”—which also imply that if a person of color doesn’t succeed, perhaps it’s because they didn’t try hard enough. (Remember those Democratic voters who stayed home?)\u003c/p>\n\u003cp>It would have been compelling to see Michelle Obama face some tough questions from someone who legitimately challenges her ideas. But \u003cem>Becoming\u003c/em> is produced by the Obamas’ Higher Ground Productions, following in the footsteps of other recent documentaries—like ESPN’s \u003ca href=\"https://www.espn.com/nba/story/_/id/29127505/espn-michael-jordan-documentary-big-takeaways-episodes-5-6-last-dance\">\u003cem>The Last Dance\u003c/em> \u003c/a>or Hulu’s \u003ca href=\"https://www.hulu.com/series/hillary-793891ec-5bb7-4200-ba93-e3629532d670?&cmp=12386&utm_source=google&utm_medium=SEM&utm_campaign=CM_SEM_Hillary%20Documentary&utm_term=+hulu%20+hillary&ds_rl=1251123&gclid=CjwKCAjwwMn1BRAUEiwAZ_jnEvFpq7FeplEMMgox0Gvbd1vT4aUX-dPNDqKNC6yNqYOWhJOdI8cDxhoCnhkQAvD_BwE&gclsrc=aw.ds\">\u003cem>Hillary\u003c/em>\u003c/a>—which counted on significant participation and support from key subjects to succeed.\u003c/p>\n\u003cp>As good as all of these efforts are, there is also a sense that they can only go so far in challenging their superstar subjects. In \u003cem>Becoming\u003c/em>‘s case, that means a distinct lack of critics shown onscreen and moments that feel too much like an ad for the boss.\u003c/p>\n\u003cp>Despite Michelle Obama’s candor, \u003cem>Becoming \u003c/em>offers a selective view. Barack Obama doesn’t sit for an exclusive interview; daughters Sasha and Malia speak in just a few places. And the former First Lady avoids any direct criticism of political rivals, continuing to go high when others might consider going low.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even with its flaws, \u003cem>Becoming\u003c/em> is a compelling documentary, offering a carefully revealing look at a whip smart, ferociously practical woman trying to understand how her historic time in the White House changed herself, her family and the nation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Becoming%27+Offers+A+Revealing+But+Selective+View+Of+Michelle+Obama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Florian Schneider, one of the founders of the pioneering and highly influential German electronic music group Kraftwerk, has died. He was 73 years old.\u003c/p>\n\u003cp>His death was confirmed by his former bandmate, Ralf Hütter, in a statement issued Wednesday. Hütter said that Schneider died “from a short cancer disease just a few days after his seventy-third birthday.” No other details were provided.\u003c/p>\n\u003cp>Schneider was the son of the well-known German modernist architect \u003ca href=\"https://www.deutsche-biographie.de/sfz114511.html\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schneider-Esleben\u003c/a>. He began playing with Hütter, Kraftwerk’s other founder, in 1968 when both were students at the Robert Schumann Conservatory. Originally, they teamed up as the group Organisation; under that name, they released an album, \u003ca href=\"https://www.youtube.com/watch?v=s-wNx-6mMkU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tone Float\u003c/em>\u003c/a>, in 1969.\u003c/p>\n\u003cp>The following year, they reshaped their musical vision into Kraftwerk (“power station” in German), and opened a studio, Kling Klang, in their home city of Dusseldorf. That was also when the band released its first, eponymously titled album.\u003c/p>\n\u003cp>Schneider sang and played a variety of instruments, including synthesizer, electric flute, electric guitar and violin. Hütter sang and played keyboards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kraftwerk—which Hütter described in Wednesday’s statement as a “multi-media project” rather than a band—offered a new, industrialized, robotic sound. In an \u003ca href=\"https://daily.redbullmusicacademy.com/2012/08/kraftwerk-interview\" target=\"_blank\" rel=\"noopener noreferrer\">2010 interview\u003c/a> with Red Bull Music Academy, Hütter said Kraftwerk was very much linked to the political and artistic atmosphere not just of post-war Germany, but also specifically the upheavals of \u003ca href=\"https://www.npr.org/series/576782307/1968-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">1968\u003c/a>.\u003c/p>\n\u003cp>“We had no father figures, no continuous tradition of entertainment,” Hütter said. “Through the 50s and 60s everything was Americanized, directed towards consumer behavior. So, we were part of this ’68 movement, where suddenly there were possibilities, and we performed at happenings and art situations.”\u003c/p>\n\u003cp>Of their recordings, only one album, 1974’s \u003cem>Autobahn\u003c/em>, became a certified hit in the U.S.; its title tune cracked the Top 40. But through their performances and ten studio albums, the band influenced a dizzying array—and generations—of musicians who followed. Kraftwerk’s music had a significant impact on new wave, rock, pop, industrial, hip-hop, and of course electronic dance music.\u003c/p>\n\u003cp>On his \u003cem>Heroes\u003c/em> album, David Bowie paid homage to Kraftwerk’s co-founder on his song “V-2 Schneider,” and Kraftwerk has been sampled in hundreds of other artists’ songs, including music by Afrika Bambaataa, New Order, Madonna, Jay-Z and Coldplay.\u003c/p>\n\u003cp>Schneider left the group at the end of 2008. In 2014, he, along with the band’s other members, were given a Grammy \u003ca href=\"https://www.grammy.com/grammys/news/lifetime-achievement-award-kraftwerk\" target=\"_blank\" rel=\"noopener noreferrer\">Lifetime Achievement\u003c/a> Award. In its citation, the Recording Academy said: “Along came this music that sounded as mechanized as a Ford assembly plant … and music would never be the same.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OQIYEPe6DWY\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Co-Founder+of+Kraftwerk%2C+Florian+Schneider%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Florian Schneider, one of the founders of the pioneering and highly influential German electronic music group Kraftwerk, has died. He was 73 years old.\u003c/p>\n\u003cp>His death was confirmed by his former bandmate, Ralf Hütter, in a statement issued Wednesday. Hütter said that Schneider died “from a short cancer disease just a few days after his seventy-third birthday.” No other details were provided.\u003c/p>\n\u003cp>Schneider was the son of the well-known German modernist architect \u003ca href=\"https://www.deutsche-biographie.de/sfz114511.html\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schneider-Esleben\u003c/a>. He began playing with Hütter, Kraftwerk’s other founder, in 1968 when both were students at the Robert Schumann Conservatory. Originally, they teamed up as the group Organisation; under that name, they released an album, \u003ca href=\"https://www.youtube.com/watch?v=s-wNx-6mMkU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tone Float\u003c/em>\u003c/a>, in 1969.\u003c/p>\n\u003cp>The following year, they reshaped their musical vision into Kraftwerk (“power station” in German), and opened a studio, Kling Klang, in their home city of Dusseldorf. That was also when the band released its first, eponymously titled album.\u003c/p>\n\u003cp>Schneider sang and played a variety of instruments, including synthesizer, electric flute, electric guitar and violin. Hütter sang and played keyboards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kraftwerk—which Hütter described in Wednesday’s statement as a “multi-media project” rather than a band—offered a new, industrialized, robotic sound. In an \u003ca href=\"https://daily.redbullmusicacademy.com/2012/08/kraftwerk-interview\" target=\"_blank\" rel=\"noopener noreferrer\">2010 interview\u003c/a> with Red Bull Music Academy, Hütter said Kraftwerk was very much linked to the political and artistic atmosphere not just of post-war Germany, but also specifically the upheavals of \u003ca href=\"https://www.npr.org/series/576782307/1968-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">1968\u003c/a>.\u003c/p>\n\u003cp>“We had no father figures, no continuous tradition of entertainment,” Hütter said. “Through the 50s and 60s everything was Americanized, directed towards consumer behavior. So, we were part of this ’68 movement, where suddenly there were possibilities, and we performed at happenings and art situations.”\u003c/p>\n\u003cp>Of their recordings, only one album, 1974’s \u003cem>Autobahn\u003c/em>, became a certified hit in the U.S.; its title tune cracked the Top 40. But through their performances and ten studio albums, the band influenced a dizzying array—and generations—of musicians who followed. Kraftwerk’s music had a significant impact on new wave, rock, pop, industrial, hip-hop, and of course electronic dance music.\u003c/p>\n\u003cp>On his \u003cem>Heroes\u003c/em> album, David Bowie paid homage to Kraftwerk’s co-founder on his song “V-2 Schneider,” and Kraftwerk has been sampled in hundreds of other artists’ songs, including music by Afrika Bambaataa, New Order, Madonna, Jay-Z and Coldplay.\u003c/p>\n\u003cp>Schneider left the group at the end of 2008. In 2014, he, along with the band’s other members, were given a Grammy \u003ca href=\"https://www.grammy.com/grammys/news/lifetime-achievement-award-kraftwerk\" target=\"_blank\" rel=\"noopener noreferrer\">Lifetime Achievement\u003c/a> Award. In its citation, the Recording Academy said: “Along came this music that sounded as mechanized as a Ford assembly plant … and music would never be the same.”\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OQIYEPe6DWY'\n title='//www.youtube.com/embed/OQIYEPe6DWY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Co-Founder+of+Kraftwerk%2C+Florian+Schneider%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Like many kids in the 1980s, I grew up learning how to accept whom I was by watching \u003cem>Mister Rogers’ Neighborhood\u003c/em>.\u003c/p>\n\u003cp>I remember it all: the trolley, the fish tank, the cardigans, the ritual changing of the shoes. Then there were the people who made the show so memorable: Mister Rogers, Lady Aberlin, Mr. McFeely and, of course, Officer Clemmons.\u003c/p>\n\u003cfigure id=\"attachment_13879709\" class=\"wp-caption alignright\" style=\"max-width: 296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png\" alt=\"‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\" width=\"296\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png 296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM-160x243.png 160w\" sizes=\"auto, (max-width: 296px) 100vw, 296px\">\u003cfigcaption class=\"wp-caption-text\">‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\u003c/figcaption>\u003c/figure>\n\u003cp>Now we have an occasion to talk about the man behind Officer Clemmons—Dr. François S. Clemmons—whose ambition, artistry, pain and struggle informed the character. I admit I was a little wary of reviewing \u003cem>Officer Clemmons: A Memoir\u003c/em> at first—because if I didn’t like it, I would be professionally obligated to say so. Then I would have to pan a book by a man who played an important role in a children’s program central to my childhood—and, well, I didn’t want to be that guy.\u003c/p>\n\u003cp>The good news is that it’s quite a good book, full of resonant moments and artistic insights, with only a few overly explanatory passages. Clemmons’ memoir is often disarming in its intimacy and honesty. He vividly recalls his struggle with his homosexuality and his surviving of frequent racism—in some of the book’s most affecting and powerful moments—as well as his noteworthy career ascent in musical performance.\u003c/p>\n\u003cp>He also lays out why and how he set out to write his memoir in the first place. Of all the writing on Fred Rogers, he notes, none of it was written by a “black, gay, ordained person of the theater” who had spent decades working with arguably the most famous and highly regarded person in children’s programming. “Our relationship,” Clemmons writes, “was sustained, intense, and elbow-to-elbow. For me, you [Rogers] fulfilled the role of mentor, fan, and surrogate father.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clemmons was born in the rural South and, as a boy, moved with his family to Youngstown, Ohio. From childhood to adolescence, pain, racism, and homophobia were regular obstacles in Clemmons’ life. Yet the imagination and dedication to art he cultivated early in his life set him on a path forward. He steadily made progress toward his musical goals by leaving, for him, the stifling grimness of Youngstown and opening a new chapter of his life at the highly regarded conservatory at Oberlin College.\u003c/p>\n\u003cp>Then he met Fred Rogers, while pursuing graduate studies in music at Carnegie Mellon and singing at Third Presbyterian Church in Pittsburgh. He writes:\u003c/p>\n\u003cblockquote>\u003cp>“My clearest memory of that occasion was of Fred Rogers’s sincerity and the deep look, bordering on passion, in his gentle blue eyes. He nailed me when he took my hand, turned his head slightly, and paused, as though he was waiting for me to say something. I waited too, because it was he who had come over to talk to me. He took his time and spoke of my lovely voice, my compelling interpretations, and the genuine effect the songs had had on him during the service. I smiled and returned his warmth and sincerity. It was easy to accept his praise. There was something serious yet comforting and disarming about him. His eyes hugged me without touching me.”\u003c/p>\u003c/blockquote>\n\u003cp>Even though Rogers had an undeniably unique way of distilling complex emotions into humanistic balm, his relationship with Clemmons couldn’t help but be a little complicated. Clemmons, for instance, expressed reservations about performing in the role of a police officer, given the levels of historical distrust African Americans have rightly felt for many in law enforcement. Clemmons also recounts a time Rogers, out of concern for the public viability of his show and Clemmons’ career during a time prior to broader LGTBQ acceptance, encouraged Clemmons to consider staying in the closet and maybe even marrying a woman. He writes that Rogers told him:\u003c/p>\n\u003cblockquote>\u003cp>“I want you to know Franç, that if you’re gay, it doesn’t matter to me at all. Whatever you say and do is fine with me, but if you’re going to be on the show as an important member of \u003cem>The Neighborhood\u003c/em>, you can’t be out as gay…I wish it were different, but you can’t have it both ways. Not now anyway. Talent can give you so much in this life, but that sexuality thing can take it all away.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s a complicated situation, but it’s even more distressing and tragic to consider it from Clemmons’ perspective.\u003c/p>\n\u003cp>But even after he moved to New York City in pursuit of opera, Clemmons still flew back to Pittsburgh to film episodes of the show, owing to a feeling of dedication to Fred Rogers and his mission. He shared Rogers’ seriousness of purpose, his commitment to producing something meaningful for the personal and spiritual enrichment of others. And his trust in Rogers’ mentorship grew slowly over time. “I found it hard to believe,” he writes, “that a white man would make that kind of deep commitment to a black man like myself. It was like a lifetime commitment to me… Mentorship was for life in my humble opinion, and that was Fred.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bWUCowuKS40\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To so many, Dr. François S. Clemmons was Officer Clemmons from \u003cem>Mister Rogers’ Neighborhood\u003c/em>—a place where make-believe was about building self-knowledge through love, patience, and the embrace of every person’s uniquely vulnerable humanity. But the show wasn’t Clemmons’ story—this memoir is. In the book, he doesn’t ask you to be his neighbor, but rather just to hear his story: One of a man of profound strength and talent who stood up, sang out, and, after great struggle, was heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Officer+Clemmons%2C+Mister+Rogers%27+Neighborhood+Policeman+Pal%2C+Tells+His+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many kids in the 1980s, I grew up learning how to accept whom I was by watching \u003cem>Mister Rogers’ Neighborhood\u003c/em>.\u003c/p>\n\u003cp>I remember it all: the trolley, the fish tank, the cardigans, the ritual changing of the shoes. Then there were the people who made the show so memorable: Mister Rogers, Lady Aberlin, Mr. McFeely and, of course, Officer Clemmons.\u003c/p>\n\u003cfigure id=\"attachment_13879709\" class=\"wp-caption alignright\" style=\"max-width: 296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png\" alt=\"‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\" width=\"296\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png 296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM-160x243.png 160w\" sizes=\"auto, (max-width: 296px) 100vw, 296px\">\u003cfigcaption class=\"wp-caption-text\">‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\u003c/figcaption>\u003c/figure>\n\u003cp>Now we have an occasion to talk about the man behind Officer Clemmons—Dr. François S. Clemmons—whose ambition, artistry, pain and struggle informed the character. I admit I was a little wary of reviewing \u003cem>Officer Clemmons: A Memoir\u003c/em> at first—because if I didn’t like it, I would be professionally obligated to say so. Then I would have to pan a book by a man who played an important role in a children’s program central to my childhood—and, well, I didn’t want to be that guy.\u003c/p>\n\u003cp>The good news is that it’s quite a good book, full of resonant moments and artistic insights, with only a few overly explanatory passages. Clemmons’ memoir is often disarming in its intimacy and honesty. He vividly recalls his struggle with his homosexuality and his surviving of frequent racism—in some of the book’s most affecting and powerful moments—as well as his noteworthy career ascent in musical performance.\u003c/p>\n\u003cp>He also lays out why and how he set out to write his memoir in the first place. Of all the writing on Fred Rogers, he notes, none of it was written by a “black, gay, ordained person of the theater” who had spent decades working with arguably the most famous and highly regarded person in children’s programming. “Our relationship,” Clemmons writes, “was sustained, intense, and elbow-to-elbow. For me, you [Rogers] fulfilled the role of mentor, fan, and surrogate father.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clemmons was born in the rural South and, as a boy, moved with his family to Youngstown, Ohio. From childhood to adolescence, pain, racism, and homophobia were regular obstacles in Clemmons’ life. Yet the imagination and dedication to art he cultivated early in his life set him on a path forward. He steadily made progress toward his musical goals by leaving, for him, the stifling grimness of Youngstown and opening a new chapter of his life at the highly regarded conservatory at Oberlin College.\u003c/p>\n\u003cp>Then he met Fred Rogers, while pursuing graduate studies in music at Carnegie Mellon and singing at Third Presbyterian Church in Pittsburgh. He writes:\u003c/p>\n\u003cblockquote>\u003cp>“My clearest memory of that occasion was of Fred Rogers’s sincerity and the deep look, bordering on passion, in his gentle blue eyes. He nailed me when he took my hand, turned his head slightly, and paused, as though he was waiting for me to say something. I waited too, because it was he who had come over to talk to me. He took his time and spoke of my lovely voice, my compelling interpretations, and the genuine effect the songs had had on him during the service. I smiled and returned his warmth and sincerity. It was easy to accept his praise. There was something serious yet comforting and disarming about him. His eyes hugged me without touching me.”\u003c/p>\u003c/blockquote>\n\u003cp>Even though Rogers had an undeniably unique way of distilling complex emotions into humanistic balm, his relationship with Clemmons couldn’t help but be a little complicated. Clemmons, for instance, expressed reservations about performing in the role of a police officer, given the levels of historical distrust African Americans have rightly felt for many in law enforcement. Clemmons also recounts a time Rogers, out of concern for the public viability of his show and Clemmons’ career during a time prior to broader LGTBQ acceptance, encouraged Clemmons to consider staying in the closet and maybe even marrying a woman. He writes that Rogers told him:\u003c/p>\n\u003cblockquote>\u003cp>“I want you to know Franç, that if you’re gay, it doesn’t matter to me at all. Whatever you say and do is fine with me, but if you’re going to be on the show as an important member of \u003cem>The Neighborhood\u003c/em>, you can’t be out as gay…I wish it were different, but you can’t have it both ways. Not now anyway. Talent can give you so much in this life, but that sexuality thing can take it all away.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s a complicated situation, but it’s even more distressing and tragic to consider it from Clemmons’ perspective.\u003c/p>\n\u003cp>But even after he moved to New York City in pursuit of opera, Clemmons still flew back to Pittsburgh to film episodes of the show, owing to a feeling of dedication to Fred Rogers and his mission. He shared Rogers’ seriousness of purpose, his commitment to producing something meaningful for the personal and spiritual enrichment of others. And his trust in Rogers’ mentorship grew slowly over time. “I found it hard to believe,” he writes, “that a white man would make that kind of deep commitment to a black man like myself. It was like a lifetime commitment to me… Mentorship was for life in my humble opinion, and that was Fred.”\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/bWUCowuKS40'\n title='//www.youtube.com/embed/bWUCowuKS40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>To so many, Dr. François S. Clemmons was Officer Clemmons from \u003cem>Mister Rogers’ Neighborhood\u003c/em>—a place where make-believe was about building self-knowledge through love, patience, and the embrace of every person’s uniquely vulnerable humanity. But the show wasn’t Clemmons’ story—this memoir is. In the book, he doesn’t ask you to be his neighbor, but rather just to hear his story: One of a man of profound strength and talent who stood up, sang out, and, after great struggle, was heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Officer+Clemmons%2C+Mister+Rogers%27+Neighborhood+Policeman+Pal%2C+Tells+His+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If the pandemic shuts-down TV production for many months, can the industry still crank out new seasons of series television that viewers will watch?\u003c/p>\n\u003cp>Tonight, CBS’ legal drama \u003cem>All Rise\u003c/em> hints at an answer with an episode crafted after actors and production staffers began isolating in their homes. It’s the first network TV drama to film a new virtual episode about the coronavirus pandemic and it unfolds so seamlessly you’d never otherwise know it was developed during a global crisis.\u003c/p>\n\u003cp>The story centers on an ambitious idea by the show’s lead character, Simone Missick’s Judge Lola Carmichael, to conduct a trial over video chat—with attorneys, court staff and even the judge herself appearing from their homes in a proceeding livestreamed publicly (in the show’s fictional world).\u003c/p>\n\u003cp>The trial is a metaphor for what the show itself is trying to pull off. Producers said during a press conference last week—held via video chat, of course—that they didn’t want to end the show’s season on the episode they filmed just before the lockdown.\u003c/p>\n\u003cp>So they asked actors to become one-person production crews: cobbling together technology, turning rooms in their homes into sets and handling makeup or costuming with whatever they had on hand, coached by the show’s remote production staffers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>All Rise\u003c/em> airs on CBS, a network known for its formulaic cops and crime dramas, so there are times when characters are a little too obvious in arguing over the legal and health issues—like watching the dialogue leading up to a Schoolhouse Rock song.\u003c/p>\n\u003cp>Like NBC’s \u003cem>Parks and Recreation\u003c/em> reunion last week, CBS’ \u003cem>All Rise\u003c/em> episode really centers on how friends and family—both biological and work-related—need to connect at a time of disconnection. It’s an obvious note, but it’s difficult to muster a profound, overarching insight on a global pandemic when you’re in the middle of it.\u003c/p>\n\u003cp>Producers of scripted TV face tough choices planning for the future: Do you make the pandemic a part of your show’s ongoing story line, or ignore it the way \u003cem>Friends\u003c/em> sidestepped 9/11? Can a scripted series feature multiple episodes filmed in lockdown before viewer fatigue sets in?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Projects like CBS’ \u003cem>All Rise\u003c/em> season finale, along with the \u003cem>Parks and Recreation\u003c/em> reunion, still feel more like ambitious experiments than a way forward for scripted TV—a creative nod to the challenges we all face, crafted to tide us over until a new normal emerges.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=CBS%27+Legal+Drama+%27All+Rise%27+Tackles+Coronavirus+As+A+Story+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>While the world has gone relatively quiet amid the coronavirus pandemic, International Jazz Day plans on bringing some joyful sounds from across the globe together in celebration of the music. Jazz Day, which falls on April 30 of each year, was initially established in 2011 by musician and UNESCO Goodwill Ambassador \u003ca href=\"https://www.npr.org/artists/15294441/herbie-hancock\" target=\"_blank\" rel=\"noopener noreferrer\">Herbie Hancock\u003c/a> to bring together communities worldwide to celebrate the humanity of the universal art form through workshops, discussions and an all-star \u003ca href=\"https://jazzday.com/2020/04/virtual-ijd-announce/\" target=\"_blank\" rel=\"noopener noreferrer\">global concert\u003c/a>.\u003c/p>\n\u003cp>Cape Town, South Africa, was supposed to host this year’s celebrations, but the events were canceled in late March due to the pandemic. Instead, the day’s activities will remain truly international by taking place online and hosted by Hancock.\u003c/p>\n\u003ch3>Featured Events:\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>International Jazz Day Panel with Nate Chinen\u003c/strong>\u003cbr>\nTime: 1:30 p.m. ET\u003c/li>\n\u003cli>\u003cstrong>International Jazz Day Global Concert \u003c/strong>\u003cbr>\nTime: 3 p.m. ET\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=C54ape_UfwY\u003c/p>\n\u003cp>The marquee Global Concert, which begins at 12:00 p.m. PT on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\u003c/a>, will feature streamed performances from bassist \u003ca href=\"https://www.npr.org/artists/15439719/marcus-miller\" target=\"_blank\" rel=\"noopener noreferrer\">Marcus Miller\u003c/a> (U.S.), pianist \u003ca href=\"https://www.npr.org/artists/17022256/lang-lang\" target=\"_blank\" rel=\"noopener noreferrer\">Lang Lang\u003c/a> (China), saxophonist Igor Butman (Russia), vocalist Youn Sun Nah (South Korea), and bassist Alune Wade (Senegal), among other worldwide leaders in the genre.\u003c/p>\n\u003cp>In the spirit of Jazz Day’s mission of inclusion, a free series of educational master classes and children’s activities in six languages conducted by renowned musicians will be streamed in the hours leading up to the concert. The pre-concert program will also include a panel discussion on the importance of art and the international community during the public health crisis, hosted by NPR Music and WBGO’s Nate Chinen and featuring performer Marcus Miller and South African vocalist Sibongile Khumalo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the need to celebrate Jazz Day in isolation this year, Herbie Hancock remains optimistic in the message and impact of the festivities.\u003c/p>\n\u003cp>“Now more than ever before,” he says, “let’s band together and spread the ethics of Jazz Day’s global movement around the planet and use this as a golden opportunity for humankind to reconnect.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information can be found on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Stream+These+Virtual+Events+To+Celebrate+International+Jazz+Day+On+April+30&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the need to celebrate Jazz Day in isolation this year, Herbie Hancock remains optimistic in the message and impact of the festivities.\u003c/p>\n\u003cp>“Now more than ever before,” he says, “let’s band together and spread the ethics of Jazz Day’s global movement around the planet and use this as a golden opportunity for humankind to reconnect.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information can be found on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Stream+These+Virtual+Events+To+Celebrate+International+Jazz+Day+On+April+30&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Food Shortages? Nope, Too Much Food In The Wrong Places",
"headTitle": "Food Shortages? Nope, Too Much Food In The Wrong Places | KQED",
"content": "\u003cp>\u003cstrong>Updated at 8:30 a.m. ET on April 10\u003c/strong>\u003c/p>\n\u003cp>In recent days, top U.S. government officials have moved to assure Americans that they won’t lack for food, despite the coronavirus. \u003c/p>\n\u003cp>As he toured a Walmart distribution center, Vice President Pence announced that “America’s food supply is strong.” The Food and Drug Administration’s deputy commissioner for food, Frank Yiannas (a former Walmart executive) told reporters during a teleconference that “there are no widespread or nationwide shortages of food, despite local reports of outages.”\u003c/p>\n\u003cp>“There is no need to hoard,” Yiannas said.\u003c/p>\n\u003cp>In fact, the pandemic has caused entirely different problems: a spike in the number of people who can’t afford groceries and a glut of food where it’s not needed. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dairy farmers in Wisconsin, Minnesota and Georgia have been forced to \u003ca href=\"https://www.midwestfarmreport.com/2020/04/01/why-is-this-happening-milk-dumping-explanation-for-non-farm-consumers/\">dump\u003c/a> thousands of gallons of milk that no one will buy. In Florida, vegetable growers are \u003ca href=\"https://www.miamiherald.com/news/coronavirus/article241627101.html\">abandoning\u003c/a> harvest-ready fields of tomatoes, yellow squash and cucumbers for the same reason. \u003c/p>\n\u003cp>“We cannot pick the produce if we cannot sell it, because we cannot afford the payroll every week,” says Kim Jamerson, a vegetable grower near Fort Myers. Those crops will be plowed back into the ground. “We’ll have to tear ’em up,” Jamerson says. “Just tear up beautiful vegetables that really could go elsewhere, to food banks, and hospitals, and rest homes.”\u003c/p>\n\u003cp>The country’s food distribution system, in normal times, is a marvel, efficiently delivering huge amounts of food to consumers. But it relies on predictability, like a rail system that directs a stream of trains, on set schedules, toward their destinations. Now, some of the biggest destinations — chain restaurants, schools and workplace cafeterias — have disappeared, and supply chains are struggling to adapt.\u003c/p>\n\u003cp>Jay Johnson, with \u003ca href=\"https://local.freshpoint.com/store_page/jgl-produce/\">JGL Produce\u003c/a>, a vegetable broker in Immokalee, Fla., is the kind of person who makes this system work — matching buyers with sellers. “You’re getting phone calls, text messages, emails, all day and all night,” he says. ” ‘What’s your price on this? What grade? Can you do a better deal?’ You’re doing all these micronegotiations throughout the day.”\u003c/p>\n\u003cp>On Tuesday, March 24, he says, that all changed. “Everything got quiet. Wednesday, the 25th, superquiet. Thursday, now we’re getting nervous.”\u003c/p>\n\u003cp>Normally, chain restaurants buy a steady supply of produce, week after week. But most have shut down — and did so just as Florida’s vegetable harvest shifted into high gear. “Now you’re sitting there with all this production, perfect weather, and everybody’s like, ‘Oh no,’ ” Johnson says.\u003c/p>\n\u003cp>He told vegetable grower Mike Jamerson, Kim’s husband, that “we’re in trouble here. And it’s to the point where I’m going to fill my warehouse up and I’m going to have to tell you to stop picking.” That’s when workers stopped picking yellow squash on Kim Jamerson’s farm. \u003c/p>\n\u003cp>A week after Jamerson told NPR that they’d have to “tear up” their crops, the situation had improved a bit. Workers have resumed picking, but it’s now a “salvage operation,” Jamerson says. Workers are discarding vegetables that weren’t picked in time. The vegetables that they salvage will be sold at cut-rate prices, with some going to food banks.\u003c/p>\n\u003cp>Something similar has happened to dairy farmers. Milk sales in supermarkets have increased, but not enough to make up for the drop in sales of milk to schools and cheese to Pizza Hut. Factories that make milk powder can’t take any more milk. So some milk cooperatives have told their farmers to dump the milk that their cows are producing. \u003c/p>\n\u003cp>The situation is especially dire for Florida’s tomato growers, who sell 80% of their production to restaurants and other food service companies, rather than to supermarkets. “Think about all the sandwiches that people eat at lunch when they go out. Burgers, or salads at restaurants,” says Michael Schadler, from the Florida Tomato Exchange, which represents some of the state’s largest growers. “Many of those food service items have tomatoes.” \u003c/p>\n\u003cp>Schadler says growers already are “walking away from big portions of their crop,” writing off huge investments. \u003c/p>\n\u003cp>Meanwhile, food banks and pantries are having trouble supplying enough food to people who need it, including millions of children who no longer are getting free meals at school and people who’ve lost jobs in recent weeks.\u003c/p>\n\u003cp>\u003ca href=\"https://www.feedingamerica.org/about-us/leadership/claire-babineaux-fontenot\">Claire Babineaux-Fontenot\u003c/a>, CEO of Feeding America, a network of food banks and charitable meals programs, says that these programs normally receive large donations of unsold food from retail stores. In recent weeks, though, as retailers struggled to keep their shelves stocked, “we’re seeing as much as a 35% reduction in that donation stream from retail,” Babineaux-Fontenot says.\u003c/p>\n\u003cp>Food banks are trying to claim more of the food that is stranded in the food service supply chain, either through donations or by buying it. \u003c/p>\n\u003cp>“We are capturing some of that. I know we’re not capturing all of it, but we have a whole team of professionals whose job is to try to make sure that we capture as much of it as we possibly can,” Babineaux-Fontenot says. “So we’re having conversations with major restaurants. We’re having conversations with major producers, with trade associations, the whole gamut.”\u003c/p>\n\u003cp>Kim Jamerson thinks “it’s just a shame” to have enough food, but not be able to get it to the people in need. “A woman who’s got two kids how can she live on unemployment, go into a grocery store and pay 90 cents for a cucumber? She just can’t do that.”\u003c/p>\n\u003cp>Part of the problem is that it takes labor to move produce from one place to another, and people are still figuring out who will pay for that. Jamerson says she can’t afford to pay workers to pick a crop that will be donated. She wants the government to step in, provide workers or the money to pay them, and make sure food gets to where it’s needed. “The government could send the food to the hospitals, the rest homes, to the food banks, to the churches,” she says.\u003c/p>\n\u003cp>Jay Johnson, the produce broker, says there are signs of hope. The food banks in Florida, he says, are starting to buy some of his vegetables and figuring out new ways to distribute them. \u003c/p>\n\u003cp>They asked Johnson to pack some vegetables in smaller packs, so food banks don’t need so many volunteers to repack them. “They’re understaffed, and don’t have warehouse space, and they’re having to think creatively,” he says. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I see a little bit of light at the end of the tunnel here,” he says, adding that he won’t make money on those sales to food banks. Farmers won’t either, but at least they’ll be able to keep their workforce employed until, hopefully, better times arrive. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org/sections/thesalt/2020/04/03/826006362/food-shortages-nope-too-much-food-in-the-wrong-places\" rel=\"noopener noreferrer\" target=\"_blank\">NPR.org\u003c/a>. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Food+Shortages%3F+Nope%2C+Too+Much+Food+In+The+Wrong+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:30 a.m. ET on April 10\u003c/strong>\u003c/p>\n\u003cp>In recent days, top U.S. government officials have moved to assure Americans that they won’t lack for food, despite the coronavirus. \u003c/p>\n\u003cp>As he toured a Walmart distribution center, Vice President Pence announced that “America’s food supply is strong.” The Food and Drug Administration’s deputy commissioner for food, Frank Yiannas (a former Walmart executive) told reporters during a teleconference that “there are no widespread or nationwide shortages of food, despite local reports of outages.”\u003c/p>\n\u003cp>“There is no need to hoard,” Yiannas said.\u003c/p>\n\u003cp>In fact, the pandemic has caused entirely different problems: a spike in the number of people who can’t afford groceries and a glut of food where it’s not needed. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dairy farmers in Wisconsin, Minnesota and Georgia have been forced to \u003ca href=\"https://www.midwestfarmreport.com/2020/04/01/why-is-this-happening-milk-dumping-explanation-for-non-farm-consumers/\">dump\u003c/a> thousands of gallons of milk that no one will buy. In Florida, vegetable growers are \u003ca href=\"https://www.miamiherald.com/news/coronavirus/article241627101.html\">abandoning\u003c/a> harvest-ready fields of tomatoes, yellow squash and cucumbers for the same reason. \u003c/p>\n\u003cp>“We cannot pick the produce if we cannot sell it, because we cannot afford the payroll every week,” says Kim Jamerson, a vegetable grower near Fort Myers. Those crops will be plowed back into the ground. “We’ll have to tear ’em up,” Jamerson says. “Just tear up beautiful vegetables that really could go elsewhere, to food banks, and hospitals, and rest homes.”\u003c/p>\n\u003cp>The country’s food distribution system, in normal times, is a marvel, efficiently delivering huge amounts of food to consumers. But it relies on predictability, like a rail system that directs a stream of trains, on set schedules, toward their destinations. Now, some of the biggest destinations — chain restaurants, schools and workplace cafeterias — have disappeared, and supply chains are struggling to adapt.\u003c/p>\n\u003cp>Jay Johnson, with \u003ca href=\"https://local.freshpoint.com/store_page/jgl-produce/\">JGL Produce\u003c/a>, a vegetable broker in Immokalee, Fla., is the kind of person who makes this system work — matching buyers with sellers. “You’re getting phone calls, text messages, emails, all day and all night,” he says. ” ‘What’s your price on this? What grade? Can you do a better deal?’ You’re doing all these micronegotiations throughout the day.”\u003c/p>\n\u003cp>On Tuesday, March 24, he says, that all changed. “Everything got quiet. Wednesday, the 25th, superquiet. Thursday, now we’re getting nervous.”\u003c/p>\n\u003cp>Normally, chain restaurants buy a steady supply of produce, week after week. But most have shut down — and did so just as Florida’s vegetable harvest shifted into high gear. “Now you’re sitting there with all this production, perfect weather, and everybody’s like, ‘Oh no,’ ” Johnson says.\u003c/p>\n\u003cp>He told vegetable grower Mike Jamerson, Kim’s husband, that “we’re in trouble here. And it’s to the point where I’m going to fill my warehouse up and I’m going to have to tell you to stop picking.” That’s when workers stopped picking yellow squash on Kim Jamerson’s farm. \u003c/p>\n\u003cp>A week after Jamerson told NPR that they’d have to “tear up” their crops, the situation had improved a bit. Workers have resumed picking, but it’s now a “salvage operation,” Jamerson says. Workers are discarding vegetables that weren’t picked in time. The vegetables that they salvage will be sold at cut-rate prices, with some going to food banks.\u003c/p>\n\u003cp>Something similar has happened to dairy farmers. Milk sales in supermarkets have increased, but not enough to make up for the drop in sales of milk to schools and cheese to Pizza Hut. Factories that make milk powder can’t take any more milk. So some milk cooperatives have told their farmers to dump the milk that their cows are producing. \u003c/p>\n\u003cp>The situation is especially dire for Florida’s tomato growers, who sell 80% of their production to restaurants and other food service companies, rather than to supermarkets. “Think about all the sandwiches that people eat at lunch when they go out. Burgers, or salads at restaurants,” says Michael Schadler, from the Florida Tomato Exchange, which represents some of the state’s largest growers. “Many of those food service items have tomatoes.” \u003c/p>\n\u003cp>Schadler says growers already are “walking away from big portions of their crop,” writing off huge investments. \u003c/p>\n\u003cp>Meanwhile, food banks and pantries are having trouble supplying enough food to people who need it, including millions of children who no longer are getting free meals at school and people who’ve lost jobs in recent weeks.\u003c/p>\n\u003cp>\u003ca href=\"https://www.feedingamerica.org/about-us/leadership/claire-babineaux-fontenot\">Claire Babineaux-Fontenot\u003c/a>, CEO of Feeding America, a network of food banks and charitable meals programs, says that these programs normally receive large donations of unsold food from retail stores. In recent weeks, though, as retailers struggled to keep their shelves stocked, “we’re seeing as much as a 35% reduction in that donation stream from retail,” Babineaux-Fontenot says.\u003c/p>\n\u003cp>Food banks are trying to claim more of the food that is stranded in the food service supply chain, either through donations or by buying it. \u003c/p>\n\u003cp>“We are capturing some of that. I know we’re not capturing all of it, but we have a whole team of professionals whose job is to try to make sure that we capture as much of it as we possibly can,” Babineaux-Fontenot says. “So we’re having conversations with major restaurants. We’re having conversations with major producers, with trade associations, the whole gamut.”\u003c/p>\n\u003cp>Kim Jamerson thinks “it’s just a shame” to have enough food, but not be able to get it to the people in need. “A woman who’s got two kids how can she live on unemployment, go into a grocery store and pay 90 cents for a cucumber? She just can’t do that.”\u003c/p>\n\u003cp>Part of the problem is that it takes labor to move produce from one place to another, and people are still figuring out who will pay for that. Jamerson says she can’t afford to pay workers to pick a crop that will be donated. She wants the government to step in, provide workers or the money to pay them, and make sure food gets to where it’s needed. “The government could send the food to the hospitals, the rest homes, to the food banks, to the churches,” she says.\u003c/p>\n\u003cp>Jay Johnson, the produce broker, says there are signs of hope. The food banks in Florida, he says, are starting to buy some of his vegetables and figuring out new ways to distribute them. \u003c/p>\n\u003cp>They asked Johnson to pack some vegetables in smaller packs, so food banks don’t need so many volunteers to repack them. “They’re understaffed, and don’t have warehouse space, and they’re having to think creatively,” he says. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I see a little bit of light at the end of the tunnel here,” he says, adding that he won’t make money on those sales to food banks. Farmers won’t either, but at least they’ll be able to keep their workforce employed until, hopefully, better times arrive. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org/sections/thesalt/2020/04/03/826006362/food-shortages-nope-too-much-food-in-the-wrong-places\" rel=\"noopener noreferrer\" target=\"_blank\">NPR.org\u003c/a>. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Food+Shortages%3F+Nope%2C+Too+Much+Food+In+The+Wrong+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "This is 'Creepy': Lawrence Wright Wishes His Pandemic Novel Had Gotten it Wrong",
"headTitle": "This is ‘Creepy’: Lawrence Wright Wishes His Pandemic Novel Had Gotten it Wrong | KQED",
"content": "\u003cp>Lawrence Wright is not interested in saying “I told you so.”\u003c/p>\n\u003cp>At the beginning of his new novel, he writes: “Dear Reader, The events depicted in \u003cem>The End of October \u003c/em>were meant to serve as a cautionary tale. But real life doesn’t always wait for warnings.”\u003c/p>\n\u003cp>Wright’s fictional tale is about a mysterious virus that starts in Asia, sweeps across continents, cripples the health care system, wrecks the economy, and kills people worldwide.\u003c/p>\n\u003cp>“I knew from talking to all these medical experts that something like this was going to happen,” Wright says. “They all knew it. They just didn’t know when.”\u003c/p>\n\u003cp>Wright began writing the novel in 2017 and turned in his final draft in the summer of 2019. He says the timing of publication—in the midst of the coronavirus pandemic—is a coincidence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“But the parallels with what’s actually happening in real life, that’s not coincidental,” he says. “I researched it very carefully and I talked to people who \u003cem>knew\u003c/em> what was going to happen. They laid it out for me. … So the fact that it’s unfolding as they suggested it would and as I reflected in the novel is no surprise at all.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On seeing aspects of his fiction become fact\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879419\" class=\"wp-caption alignright\" style=\"max-width: 287px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM.png\" alt=\"‘The End of October,’ by Lawrence Wright.\" width=\"287\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM.png 287w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM-160x249.png 160w\" sizes=\"(max-width: 287px) 100vw, 287px\">\u003cfigcaption class=\"wp-caption-text\">‘The End of October,’ by Lawrence Wright.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s creepy. It’s weird. In some ways I’m keeping score for myself: You know, what did I get right and what did I get wrong? On the other hand, I’m pretty sick of the coincidences and I hope it doesn’t turn out as badly as I forecast. But, you know, this was meant to be a kind of warning cry. …\u003c/p>\n\u003cp>I made use of some of our nation’s best minds, most of them work for the government in one way or another. … The only difference between me and people in the administration is that I listened to these experts and, you know, the novel reflects the anxiety that they expressed to me.\u003c/p>\n\u003cp>\u003cstrong>On how he came to write a story about a killer virus\u003c/strong>\u003c/p>\n\u003cp>This actually started a decade ago when Ridley Scott had asked me to write a screenplay. He had read the Cormac McCarthy novel \u003ca href=\"https://www.npr.org/books/titles/137975933/the-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Road\u003c/em>\u003c/a>—this post-apocalyptic [story of a] father and son wandering through the ruins of civilization. But there’s no explanation about what happened. And that was what his question to me was: What happened? What force or event would have been so powerful they would bring down civilization?\u003c/p>\n\u003cp>\u003cstrong>On the research he did for the book\u003c/strong>\u003c/p>\n\u003cp>I was always interested in medicine. When I was a young reporter I lived in Atlanta and I did some articles out of the Centers for Disease Control and Prevention. So I was enchanted by epidemiology and the people that worked in that field. …\u003c/p>\n\u003cp>I decided I had to go all the way—just as I would on a nonfiction book or \u003cem>a New Yorker \u003c/em>story. So I started traveling. … I traveled to [the] Washington, D.C., area talking to government experts and people in public health. Also, I went to Bethesda, where the National Institutes of Health are, and to Fort Detrick, which used to be our bio weapons laboratory, but now specializes in preventing novel diseases. … For me at least, working from reality is a lot more interesting than just trying to conjure up what it would be like.\u003c/p>\n\u003cp>\u003cstrong>On what he didn’t predict in his book\u003c/strong>\u003c/p>\n\u003cp>The thing that I underestimated was the solidarity of ordinary people to isolate themselves—sometimes against their own government’s recommendations and at great personal cost. …\u003c/p>\n\u003cp>And that has … succeeded in many respects in keeping the death toll down, I think. And I didn’t really take that into account in the novel. On the other hand, the government is responding pretty much as I expected—or worse.\u003c/p>\n\u003cp>\u003cstrong>On whether readers won’t want to read about a deadly virus during a pandemic\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13879420\" class=\"wp-caption alignright\" style=\"max-width: 282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879420\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM.png\" alt=\"Lawrence Wright won the Pulitzer Prize in 2007 for his book 'The Looming Tower: Al-Qaeda and the Road to 9/11.' He is a writer for 'The New Yorker.'\" width=\"282\" height=\"231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM.png 282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM-160x131.png 160w\" sizes=\"(max-width: 282px) 100vw, 282px\">\u003cfigcaption class=\"wp-caption-text\">Lawrence Wright won the Pulitzer Prize in 2007 for his book ‘The Looming Tower: Al-Qaeda and the Road to 9/11.’ He is a writer for ‘The New Yorker.’ \u003ccite>(Kenny Braun/Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I worry about people being frightened by what happens in the novel and worrying that that’ll come true in real life. On the other hand, some of my early readers say that they were consoled by it because they understand, you know, the actions of a virus and what it takes to fight it. And also, I think and hope that my admiration for the kind of people that are involved in this field of public health comes through. And, you know, people appreciate the sacrifice, but also the ingenuity of people in that field.\u003c/p>\n\u003cp>\u003cstrong>On what he’ll write his next novel about\u003c/strong>\u003c/p>\n\u003cp>I’ve been getting many suggestions. You know, why don’t you write about the end of climate change or a woman president or something? People believe that I have these powers to put things into play in the real world. All I’m doing is examining the world that we live in and extrapolating where it might go. And so the kind of geopolitical clashes that are depicted in the novel are just taking events and rivalries that we’re experiencing right now and imagining under stress, the stress of a pandemic. … As I said, I hope these things don’t come to pass.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Becky Sullivan and Jolie Myers produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+Is+%27Creepy%27%3A+Lawrence+Wright+Wishes+His+Pandemic+Novel+Had+Gotten+It+Wrong&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lawrence Wright is not interested in saying “I told you so.”\u003c/p>\n\u003cp>At the beginning of his new novel, he writes: “Dear Reader, The events depicted in \u003cem>The End of October \u003c/em>were meant to serve as a cautionary tale. But real life doesn’t always wait for warnings.”\u003c/p>\n\u003cp>Wright’s fictional tale is about a mysterious virus that starts in Asia, sweeps across continents, cripples the health care system, wrecks the economy, and kills people worldwide.\u003c/p>\n\u003cp>“I knew from talking to all these medical experts that something like this was going to happen,” Wright says. “They all knew it. They just didn’t know when.”\u003c/p>\n\u003cp>Wright began writing the novel in 2017 and turned in his final draft in the summer of 2019. He says the timing of publication—in the midst of the coronavirus pandemic—is a coincidence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But the parallels with what’s actually happening in real life, that’s not coincidental,” he says. “I researched it very carefully and I talked to people who \u003cem>knew\u003c/em> what was going to happen. They laid it out for me. … So the fact that it’s unfolding as they suggested it would and as I reflected in the novel is no surprise at all.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On seeing aspects of his fiction become fact\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13879419\" class=\"wp-caption alignright\" style=\"max-width: 287px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM.png\" alt=\"‘The End of October,’ by Lawrence Wright.\" width=\"287\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM.png 287w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.29.04-PM-160x249.png 160w\" sizes=\"(max-width: 287px) 100vw, 287px\">\u003cfigcaption class=\"wp-caption-text\">‘The End of October,’ by Lawrence Wright.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s creepy. It’s weird. In some ways I’m keeping score for myself: You know, what did I get right and what did I get wrong? On the other hand, I’m pretty sick of the coincidences and I hope it doesn’t turn out as badly as I forecast. But, you know, this was meant to be a kind of warning cry. …\u003c/p>\n\u003cp>I made use of some of our nation’s best minds, most of them work for the government in one way or another. … The only difference between me and people in the administration is that I listened to these experts and, you know, the novel reflects the anxiety that they expressed to me.\u003c/p>\n\u003cp>\u003cstrong>On how he came to write a story about a killer virus\u003c/strong>\u003c/p>\n\u003cp>This actually started a decade ago when Ridley Scott had asked me to write a screenplay. He had read the Cormac McCarthy novel \u003ca href=\"https://www.npr.org/books/titles/137975933/the-road\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Road\u003c/em>\u003c/a>—this post-apocalyptic [story of a] father and son wandering through the ruins of civilization. But there’s no explanation about what happened. And that was what his question to me was: What happened? What force or event would have been so powerful they would bring down civilization?\u003c/p>\n\u003cp>\u003cstrong>On the research he did for the book\u003c/strong>\u003c/p>\n\u003cp>I was always interested in medicine. When I was a young reporter I lived in Atlanta and I did some articles out of the Centers for Disease Control and Prevention. So I was enchanted by epidemiology and the people that worked in that field. …\u003c/p>\n\u003cp>I decided I had to go all the way—just as I would on a nonfiction book or \u003cem>a New Yorker \u003c/em>story. So I started traveling. … I traveled to [the] Washington, D.C., area talking to government experts and people in public health. Also, I went to Bethesda, where the National Institutes of Health are, and to Fort Detrick, which used to be our bio weapons laboratory, but now specializes in preventing novel diseases. … For me at least, working from reality is a lot more interesting than just trying to conjure up what it would be like.\u003c/p>\n\u003cp>\u003cstrong>On what he didn’t predict in his book\u003c/strong>\u003c/p>\n\u003cp>The thing that I underestimated was the solidarity of ordinary people to isolate themselves—sometimes against their own government’s recommendations and at great personal cost. …\u003c/p>\n\u003cp>And that has … succeeded in many respects in keeping the death toll down, I think. And I didn’t really take that into account in the novel. On the other hand, the government is responding pretty much as I expected—or worse.\u003c/p>\n\u003cp>\u003cstrong>On whether readers won’t want to read about a deadly virus during a pandemic\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13879420\" class=\"wp-caption alignright\" style=\"max-width: 282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879420\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM.png\" alt=\"Lawrence Wright won the Pulitzer Prize in 2007 for his book 'The Looming Tower: Al-Qaeda and the Road to 9/11.' He is a writer for 'The New Yorker.'\" width=\"282\" height=\"231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM.png 282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Screen-Shot-2020-04-28-at-3.36.20-PM-160x131.png 160w\" sizes=\"(max-width: 282px) 100vw, 282px\">\u003cfigcaption class=\"wp-caption-text\">Lawrence Wright won the Pulitzer Prize in 2007 for his book ‘The Looming Tower: Al-Qaeda and the Road to 9/11.’ He is a writer for ‘The New Yorker.’ \u003ccite>(Kenny Braun/Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I worry about people being frightened by what happens in the novel and worrying that that’ll come true in real life. On the other hand, some of my early readers say that they were consoled by it because they understand, you know, the actions of a virus and what it takes to fight it. And also, I think and hope that my admiration for the kind of people that are involved in this field of public health comes through. And, you know, people appreciate the sacrifice, but also the ingenuity of people in that field.\u003c/p>\n\u003cp>\u003cstrong>On what he’ll write his next novel about\u003c/strong>\u003c/p>\n\u003cp>I’ve been getting many suggestions. You know, why don’t you write about the end of climate change or a woman president or something? People believe that I have these powers to put things into play in the real world. All I’m doing is examining the world that we live in and extrapolating where it might go. And so the kind of geopolitical clashes that are depicted in the novel are just taking events and rivalries that we’re experiencing right now and imagining under stress, the stress of a pandemic. … As I said, I hope these things don’t come to pass.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Becky Sullivan and Jolie Myers produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+Is+%27Creepy%27%3A+Lawrence+Wright+Wishes+His+Pandemic+Novel+Had+Gotten+It+Wrong&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"rss": "https://feeds.megaphone.fm/KQINC6993880386",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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