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"title": "The Past Year in Music Listening: Video Rules, The Boy's Club Remains",
"headTitle": "The Past Year in Music Listening: Video Rules, The Boy’s Club Remains | KQED",
"content": "\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\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=The+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\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=The+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tomorrow, the Rock and Roll Hall of Fame will announce its 2020 inductees. And while this year’s nominees include three woman-driven acts, critics have long chided the Rock Hall for the low percentage of women in its pantheon of performers.\u003c/p>\n\u003cp>For instance, after warmly accepting her induction into the Rock Hall last spring, \u003ca href=\"https://www.npr.org/artists/15817903/janet-jackson\">Janet Jackson\u003c/a> threw down the gauntlet.\u003c/p>\n\u003cp>“Rock and Roll Hall of Fame, please: 2020, induct more women,” she demanded. The crowd cheered.\u003c/p>\n\u003cp>Her co-inductee, \u003ca href=\"https://www.npr.org/artists/173427475/stevie-nicks\">Stevie Nicks\u003c/a>, also criticized the Rock Hall that night for its low number of women in its ranks. Rock Hall Foundation CEO Joel Peresman says he’s heard that complaint before.\u003c/p>\n\u003cp>“We’re trying to make this as gender-neutral as possible and just look at as: the criteria of being inducted is quality of work,” Peresman says. “And if it’s male or female … that’s the criteria.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Former Rock Hall board chair Jann Wenner echoed that sentiment in a \u003ca href=\"https://www.billboard.com/articles/business/8543752/rock-hall-fame-leadership-board-john-sykes-diversity\">Billboard interview\u003c/a> this past fall, adding “racially-neutral” to the judging criteria, but “that’s a very easy thing for a white man to say,” argues Evelyn McDonnell.\u003c/p>\n\u003cp>McDonnell writes about music and teaches journalism at Loyola Marymount University in Los Angeles. Last year, she did an analysis of gender representation in the hall of fame and found a problem. For every female bandleader inducted, her male band mates also go into the hall of fame. McDonnell discovered that, over the course of 34 years, that process has yielded 69 women out of 888 inductees — or less than 8%.\u003c/p>\n\u003cp>“Since the dawn of the recording industry, there have been prominent women, sometimes women who were dominant,” McDonnell says. “\u003ca href=\"https://www.npr.org/2000/01/10/1068986/hound-dog-dont-be-cruel\">Big Mama Thornton\u003c/a> sang the original — and to me, still the best — version of ‘Hound Dog,’ and she’s never been inducted.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"(1965) Blues by Big Mama Thornton - Hound Dog and Down Home Shakedown\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/wxoGvBQtjpM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The Rock Hall’s Joel Peresman acknowledges that a glut of all-male bands has skewed the induction numbers.\u003c/p>\n\u003cp>“It’s not an empirical process,” he says. “If an act is \u003ca href=\"https://www.npr.org/artists/15397717/joan-jett\">Joan Jett \u003c/a>and the Black Hearts [and] the committee looks at the people that were involved with her from the beginning — and that made a significant contribution to the creative process — how do you not induct them?”\u003c/p>\n\u003cp>A nominating committee of about 30 artists, scholars and record industry insiders draws up the ballot each year. Craig Werner was on that committee for 18 years. An Emeritus professor of Afro-American Studies at the University of Wisconsin, Werner is also a music writer and he has no problem with the nomination process.\u003c/p>\n\u003cp>“The issues are much more what happens to that ballot once it goes to the larger electorate,” Werner says. Then he sighs. “Well, I’m just going to say it: I think that the electorate makes dumb decisions on a regular basis.”\u003c/p>\n\u003cp>There are about 1000 people who get to vote on the ballot, although there’s no accounting of exactly who they are. Joel Peresman says they include record company people, writers and artists. But, the voting public also includes every person who’s ever been inducted, which is largely a population of (white) men.\u003c/p>\n\u003cp>“The nominating committee, I think reflects a good sense — a contentious sense, sometimes — of what rock and roll history is. The electorate, I think, does not,” Werner says. “I think that it adheres to a very white-boys-with-guitars and hip-hop that fits into that mythology. It marginalizes women. It marginalizes artists whose core audience is in the African-American community. And it almost entirely ignores Latin.”\u003c/p>\n\u003cp>Yale scholar Daphne Brooks has written extensively on race and gender in relation to popular music and, while critical of the Rock Hall’s past induction practices, she’s encouraged by some recent changes.\u003c/p>\n\u003cp>“So for instance, a couple of years ago now, we have the induction, posthumously, of \u003ca href=\"https://www.npr.org/artists/15396720/nina-simone\">Nina Simone\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a>,” Brooks says. “That’s a kind of work that should continue, I think, to be done.”\u003c/p>\n\u003cp>Tharpe finally got her spot in the hall of fame 32 years after it started inducting performers, even though one of the first inductees, \u003ca href=\"https://www.npr.org/artists/15131582/chuck-berry\">Chuck Berry\u003c/a>, always cited Tharpe as a major influence. Daphne Brooks sees the Rock Hall as a piece of the country’s historic and cultural memory and says it needs to do better.\u003c/p>\n\u003cp>“And if we can start from that point,” she says, “then I think we can understand why the Hall is important and also why we have to fight for it to be a place where we can all hear and see ourselves and see America in its bold heterogeneous self.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/MnAQATKRBN0\">https://youtu.be/MnAQATKRBN0\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tomorrow, the Rock and Roll Hall of Fame will announce its 2020 inductees. And while this year’s nominees include three woman-driven acts, critics have long chided the Rock Hall for the low percentage of women in its pantheon of performers.\u003c/p>\n\u003cp>For instance, after warmly accepting her induction into the Rock Hall last spring, \u003ca href=\"https://www.npr.org/artists/15817903/janet-jackson\">Janet Jackson\u003c/a> threw down the gauntlet.\u003c/p>\n\u003cp>“Rock and Roll Hall of Fame, please: 2020, induct more women,” she demanded. The crowd cheered.\u003c/p>\n\u003cp>Her co-inductee, \u003ca href=\"https://www.npr.org/artists/173427475/stevie-nicks\">Stevie Nicks\u003c/a>, also criticized the Rock Hall that night for its low number of women in its ranks. Rock Hall Foundation CEO Joel Peresman says he’s heard that complaint before.\u003c/p>\n\u003cp>“We’re trying to make this as gender-neutral as possible and just look at as: the criteria of being inducted is quality of work,” Peresman says. “And if it’s male or female … that’s the criteria.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Former Rock Hall board chair Jann Wenner echoed that sentiment in a \u003ca href=\"https://www.billboard.com/articles/business/8543752/rock-hall-fame-leadership-board-john-sykes-diversity\">Billboard interview\u003c/a> this past fall, adding “racially-neutral” to the judging criteria, but “that’s a very easy thing for a white man to say,” argues Evelyn McDonnell.\u003c/p>\n\u003cp>McDonnell writes about music and teaches journalism at Loyola Marymount University in Los Angeles. Last year, she did an analysis of gender representation in the hall of fame and found a problem. For every female bandleader inducted, her male band mates also go into the hall of fame. McDonnell discovered that, over the course of 34 years, that process has yielded 69 women out of 888 inductees — or less than 8%.\u003c/p>\n\u003cp>“Since the dawn of the recording industry, there have been prominent women, sometimes women who were dominant,” McDonnell says. “\u003ca href=\"https://www.npr.org/2000/01/10/1068986/hound-dog-dont-be-cruel\">Big Mama Thornton\u003c/a> sang the original — and to me, still the best — version of ‘Hound Dog,’ and she’s never been inducted.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"(1965) Blues by Big Mama Thornton - Hound Dog and Down Home Shakedown\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/wxoGvBQtjpM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The Rock Hall’s Joel Peresman acknowledges that a glut of all-male bands has skewed the induction numbers.\u003c/p>\n\u003cp>“It’s not an empirical process,” he says. “If an act is \u003ca href=\"https://www.npr.org/artists/15397717/joan-jett\">Joan Jett \u003c/a>and the Black Hearts [and] the committee looks at the people that were involved with her from the beginning — and that made a significant contribution to the creative process — how do you not induct them?”\u003c/p>\n\u003cp>A nominating committee of about 30 artists, scholars and record industry insiders draws up the ballot each year. Craig Werner was on that committee for 18 years. An Emeritus professor of Afro-American Studies at the University of Wisconsin, Werner is also a music writer and he has no problem with the nomination process.\u003c/p>\n\u003cp>“The issues are much more what happens to that ballot once it goes to the larger electorate,” Werner says. Then he sighs. “Well, I’m just going to say it: I think that the electorate makes dumb decisions on a regular basis.”\u003c/p>\n\u003cp>There are about 1000 people who get to vote on the ballot, although there’s no accounting of exactly who they are. Joel Peresman says they include record company people, writers and artists. But, the voting public also includes every person who’s ever been inducted, which is largely a population of (white) men.\u003c/p>\n\u003cp>“The nominating committee, I think reflects a good sense — a contentious sense, sometimes — of what rock and roll history is. The electorate, I think, does not,” Werner says. “I think that it adheres to a very white-boys-with-guitars and hip-hop that fits into that mythology. It marginalizes women. It marginalizes artists whose core audience is in the African-American community. And it almost entirely ignores Latin.”\u003c/p>\n\u003cp>Yale scholar Daphne Brooks has written extensively on race and gender in relation to popular music and, while critical of the Rock Hall’s past induction practices, she’s encouraged by some recent changes.\u003c/p>\n\u003cp>“So for instance, a couple of years ago now, we have the induction, posthumously, of \u003ca href=\"https://www.npr.org/artists/15396720/nina-simone\">Nina Simone\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a>,” Brooks says. “That’s a kind of work that should continue, I think, to be done.”\u003c/p>\n\u003cp>Tharpe finally got her spot in the hall of fame 32 years after it started inducting performers, even though one of the first inductees, \u003ca href=\"https://www.npr.org/artists/15131582/chuck-berry\">Chuck Berry\u003c/a>, always cited Tharpe as a major influence. Daphne Brooks sees the Rock Hall as a piece of the country’s historic and cultural memory and says it needs to do better.\u003c/p>\n\u003cp>“And if we can start from that point,” she says, “then I think we can understand why the Hall is important and also why we have to fight for it to be a place where we can all hear and see ourselves and see America in its bold heterogeneous self.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/MnAQATKRBN0\">https://youtu.be/MnAQATKRBN0\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The New York Public Library's Most Checked-Out Books of All Time",
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"content": "\u003cp>The New York Public Library has been loaning books for a long time—the institution turns 125 this year.\u003c/p>\n\u003cp>To celebrate, the library dug into its records and calculated a list of the 10 books that have been checked out the most in its history.\u003c/p>\n\u003cp>The most-wanted book? \u003cem>The Snowy Day\u003c/em> by Ezra Jack Keats.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FmZCQfeWjeQ\u003c/p>\n\u003cp>The Caldecott Medal-winning tale of a young boy’s encounter with snow has been checked out 485,583 times from the NYPL since it was published in 1962.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It shares qualities with many of the other most-borrowed titles: The beautifully illustrated book has been around a long time, it’s well-known and well-loved, and it’s available in numerous languages.\u003c/p>\n\u003cp>“It is such a relatable story, and pure magic for kids and adults alike,” Andrew Medlar, director of the library’s BookOps selection team, said \u003ca href=\"https://www.nypl.org/press/press-release/january-13-2020/classic-childrens-story-snowy-day-tops-new-york-public-librarys\">in a statement\u003c/a>. “It’s on people’s radar screens, they remember when they first heard it, and they want to share that experience with their kids. And the artwork is just gorgeous.”\u003c/p>\n\u003cp>Children’s books make up a large part of the list. That’s not too surprising—short books can be read faster and are returned more quickly. Even the more adult books on the list, such \u003cem>1984\u003c/em> and \u003cem>To Kill A Mockingbird\u003c/em>, are rather slim.\u003c/p>\n\u003cp>Only one nonfiction book appears on the list: \u003cem>How To Win Friends and Influence People\u003c/em> by Dale Carnegie. The self-help juggernaut was published in 1936.\u003c/p>\n\u003cp>The library also awarded an “honorable mention” to \u003cem>Goodnight Moon\u003c/em> by Margaret Wise Brown. That book might have been a contender for the all-time top spot, but NYPL children’s librarian Anne Carroll Moore so disliked the 1947 book that the library didn’t carry it until 1972. That late entry kept the book off the top 10 list—for now.\u003c/p>\n\u003cp>Here are the top 10:\u003c/p>\n\u003col>\n\u003cli>\u003cem>The Snowy Day\u003c/em> by Ezra Jack Keats: 485,583 checkouts\u003c/li>\n\u003cli>\u003cem>The Cat in the Hat\u003c/em> by Dr. Seuss: 469,650 checkouts\u003c/li>\n\u003cli>\u003cem>1984\u003c/em> by George Orwell: 441,770 checkouts\u003c/li>\n\u003cli>\u003cem>Where the Wild Things Are\u003c/em> by Maurice Sendak: 436,016 checkouts\u003c/li>\n\u003cli>\u003cem>To Kill a Mockingbird\u003c/em> by Harper Lee: 422,912 checkouts\u003c/li>\n\u003cli>\u003cem>Charlotte’s Web\u003c/em> by E.B. White: 337,948 checkouts\u003c/li>\n\u003cli>\u003cem>Fahrenheit 451\u003c/em> by Ray Bradbury: 316,404 checkouts\u003c/li>\n\u003cli>\u003cem>How to Win Friends and Influence People\u003c/em> by Dale Carnegie: 284,524 checkouts\u003c/li>\n\u003cli>\u003cem>Harry Potter and the Sorcerer’s Stone\u003c/em> by J.K. Rowling: 231,022 checkouts\u003c/li>\n\u003cli>\u003cem>The Very Hungry Caterpillar\u003c/em> by Eric Carle: 189,550 checkouts\u003c/li>\n\u003c/ol>\n\u003cfigure id=\"attachment_13873156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13873156 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-800x600.jpg\" alt=\"Children line up at the Chatham Square Library on Manhattan's Lower East Side in 1911.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Children line up at the Chatham Square Library on Manhattan’s Lower East Side in 1911. \u003ccite>(The New York Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only one book on the list is at all recent: the first Harry Potter novel, which was published in the U.S. in 1998. The library says the \u003cem>Sorcerer’s Stone \u003c/em>and Rowling’s subsequent tales of wizarding are always popular but that they experience regular spikes in circulation when new editions or movies come out.\u003c/p>\n\u003cp>From year to year, books on current events prove popular. The library’s \u003ca href=\"https://www.nypl.org/press/press-release/december-18-2019/new-york-public-library-shares-top-checkouts-2019-becoming\">top checkout of 2019\u003c/a> was \u003cem>Becoming\u003c/em>, Michelle Obama’s autobiography.\u003c/p>\n\u003cp>The all-time list includes many titles that people read, treasure and want to share with their children.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The books on this list have transcended generations and, much like the Library itself, are as relevant today as they were when they first arrived,” said NYPL President Anthony W. Marx. “This list tells us something about New Yorkers over the last 125 years—what moves them, what excites them, what stands the test of time.”\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=The+New+York+Public+Library+Has+Calculated+Its+Most+Checked-Out+Books+Of+All+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The New York Public Library has been loaning books for a long time—the institution turns 125 this year.\u003c/p>\n\u003cp>To celebrate, the library dug into its records and calculated a list of the 10 books that have been checked out the most in its history.\u003c/p>\n\u003cp>The most-wanted book? \u003cem>The Snowy Day\u003c/em> by Ezra Jack Keats.\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/FmZCQfeWjeQ'\n title='//www.youtube.com/embed/FmZCQfeWjeQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Caldecott Medal-winning tale of a young boy’s encounter with snow has been checked out 485,583 times from the NYPL since it was published in 1962.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It shares qualities with many of the other most-borrowed titles: The beautifully illustrated book has been around a long time, it’s well-known and well-loved, and it’s available in numerous languages.\u003c/p>\n\u003cp>“It is such a relatable story, and pure magic for kids and adults alike,” Andrew Medlar, director of the library’s BookOps selection team, said \u003ca href=\"https://www.nypl.org/press/press-release/january-13-2020/classic-childrens-story-snowy-day-tops-new-york-public-librarys\">in a statement\u003c/a>. “It’s on people’s radar screens, they remember when they first heard it, and they want to share that experience with their kids. And the artwork is just gorgeous.”\u003c/p>\n\u003cp>Children’s books make up a large part of the list. That’s not too surprising—short books can be read faster and are returned more quickly. Even the more adult books on the list, such \u003cem>1984\u003c/em> and \u003cem>To Kill A Mockingbird\u003c/em>, are rather slim.\u003c/p>\n\u003cp>Only one nonfiction book appears on the list: \u003cem>How To Win Friends and Influence People\u003c/em> by Dale Carnegie. The self-help juggernaut was published in 1936.\u003c/p>\n\u003cp>The library also awarded an “honorable mention” to \u003cem>Goodnight Moon\u003c/em> by Margaret Wise Brown. That book might have been a contender for the all-time top spot, but NYPL children’s librarian Anne Carroll Moore so disliked the 1947 book that the library didn’t carry it until 1972. That late entry kept the book off the top 10 list—for now.\u003c/p>\n\u003cp>Here are the top 10:\u003c/p>\n\u003col>\n\u003cli>\u003cem>The Snowy Day\u003c/em> by Ezra Jack Keats: 485,583 checkouts\u003c/li>\n\u003cli>\u003cem>The Cat in the Hat\u003c/em> by Dr. Seuss: 469,650 checkouts\u003c/li>\n\u003cli>\u003cem>1984\u003c/em> by George Orwell: 441,770 checkouts\u003c/li>\n\u003cli>\u003cem>Where the Wild Things Are\u003c/em> by Maurice Sendak: 436,016 checkouts\u003c/li>\n\u003cli>\u003cem>To Kill a Mockingbird\u003c/em> by Harper Lee: 422,912 checkouts\u003c/li>\n\u003cli>\u003cem>Charlotte’s Web\u003c/em> by E.B. White: 337,948 checkouts\u003c/li>\n\u003cli>\u003cem>Fahrenheit 451\u003c/em> by Ray Bradbury: 316,404 checkouts\u003c/li>\n\u003cli>\u003cem>How to Win Friends and Influence People\u003c/em> by Dale Carnegie: 284,524 checkouts\u003c/li>\n\u003cli>\u003cem>Harry Potter and the Sorcerer’s Stone\u003c/em> by J.K. Rowling: 231,022 checkouts\u003c/li>\n\u003cli>\u003cem>The Very Hungry Caterpillar\u003c/em> by Eric Carle: 189,550 checkouts\u003c/li>\n\u003c/ol>\n\u003cfigure id=\"attachment_13873156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13873156 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-800x600.jpg\" alt=\"Children line up at the Chatham Square Library on Manhattan's Lower East Side in 1911.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1145742u-a29a6b477be13cb8884d94851d7e0c96ecc40d90.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Children line up at the Chatham Square Library on Manhattan’s Lower East Side in 1911. \u003ccite>(The New York Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Only one book on the list is at all recent: the first Harry Potter novel, which was published in the U.S. in 1998. The library says the \u003cem>Sorcerer’s Stone \u003c/em>and Rowling’s subsequent tales of wizarding are always popular but that they experience regular spikes in circulation when new editions or movies come out.\u003c/p>\n\u003cp>From year to year, books on current events prove popular. The library’s \u003ca href=\"https://www.nypl.org/press/press-release/december-18-2019/new-york-public-library-shares-top-checkouts-2019-becoming\">top checkout of 2019\u003c/a> was \u003cem>Becoming\u003c/em>, Michelle Obama’s autobiography.\u003c/p>\n\u003cp>The all-time list includes many titles that people read, treasure and want to share with their children.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The books on this list have transcended generations and, much like the Library itself, are as relevant today as they were when they first arrived,” said NYPL President Anthony W. Marx. “This list tells us something about New Yorkers over the last 125 years—what moves them, what excites them, what stands the test of time.”\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=The+New+York+Public+Library+Has+Calculated+Its+Most+Checked-Out+Books+Of+All+Time&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This interview contains a homophobic slur.\u003c/em>\u003c/p>\n\u003cp>Author Peggy Orenstein knows that talking to your son about sex isn’t easy: “I know for a lot of parents, you would rather poke yourself in the eye with a fork than speak directly to your son about sex—and probably he would rather poke himself in the eye with a fork as well,” she says.\u003c/p>\n\u003cp>But we don’t have “the luxury” to continue avoiding this conversation, she says. “If we don’t talk to our kids, the media is going to educate them for us, and we are not going to love the result.”\u003c/p>\n\u003cp>Orenstein spent 25 years chronicling the lives of adolescent and teen girls and never really expected to focus on boys. But then came the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo \u003c/a>movement, and Orenstein, whose previous books include \u003ca href=\"https://www.npr.org/books/titles/472213851/girls-sex-navigating-the-complicated-new-landscape\" target=\"_blank\" rel=\"noopener noreferrer\">Girls & Sex\u003c/a> and \u003ca href=\"https://www.npr.org/books/titles/137916708/cinderella-ate-my-daughter-dispatches-from-the-front-lines-of-the-new-girlie-gir\" target=\"_blank\" rel=\"noopener noreferrer\">Cinderella Ate My Daughter\u003c/a>, decided it was time to engage young men in conversations about gender and intimacy.\u003c/p>\n\u003cp>Her new book, \u003cem>Boys & Sex,\u003c/em> is based on extensive interviews with more than 100 college and college-bound boys and young men of diverse backgrounds between the ages of 16 and 22.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I was doing the girl book, the kind of core issue with girls was that they were being cut off from their bodies and not understanding their bodies’ response and their needs and their limits and their desires,” she says. “With boys, it felt like they were being cut off from their hearts.”\u003c/p>\n\u003cfigure id=\"attachment_13872604\" class=\"wp-caption alignright\" style=\"max-width: 289px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872604\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Screen-Shot-2020-01-07-at-3.47.08-PM.png\" alt=\"'Young Men on Hookups, Love, Porn, Consent, and Navigating the New Masculinity,' by Peggy Orenstein\" width=\"289\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-07-at-3.47.08-PM.png 289w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-07-at-3.47.08-PM-160x244.png 160w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003cfigcaption class=\"wp-caption-text\">‘Young Men on Hookups, Love, Porn, Consent, and Navigating the New Masculinity,’ by Peggy Orenstein\u003c/figcaption>\u003c/figure>\n\u003cp>Orenstein notes that society doesn’t often give boys “permission or space” to discuss their interior lives. Maybe that’s why the young men she spoke to were so eager to open up: “When they had the chance [to talk], when somebody really gave it to them and wasn’t going to be judgmental about what they had to say, they went for it.”\u003c/p>\n\u003cp>Orenstein says the boys she spoke with felt constrained by traditional notions of masculinity. One interviewee confided that he preferred to partner with girls for school projects because, “It was OK to say you didn’t know what you were doing with a girl, and you couldn’t do that with a guy.”\u003c/p>\n\u003cp>“That idea of emotional vulnerability was so profound for boys,” Orenstein says. “Vulnerability is basically essential to human relationships, so when you cut boys off from the ability to be vulnerable, you’re doing them a huge disservice.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On how boys described an “ideal” man to her \u003c/strong>\u003c/p>\n\u003cp>They saw girls as equals and deserving of their place on the playing field and in class and in leadership, and they had female friends. So that had really changed. But I would ask them all the time to just give me a kind of lightning round of the ideal guy. And when we would do that, it was like they were channeling 1955. It was still all about stoicism, sexual conquest, dominance, aggression—or this weird combination of being both aggressive and chill—athleticism, wealth. It was really narrow. And they would talk a lot, particularly about … suppressing feelings. And a lot of guys would say to me that they had figured out … how to build a wall inside to block off any feelings except, maybe, happiness and anger. They would talk about training themselves not to feel or training themselves not to cry.\u003c/p>\n\u003cp>\u003cstrong>On boys’ use of homophobic epithets, such as f**\u003c/strong>\u003c/p>\n\u003cp>Boys used that word, that epithet for a gay person, a lot with each other. But what they would say to me—this is straight boys talking—is that they would never say that to a gay person. That they had gay friends, that they weren’t homophobic, but they use that word all the time. And it had become basically a slur on masculinity, not so much a statement of sexual orientation. But I think that word—that slur for gay—is what kind of draws the lines of the “man” box for boys.\u003c/p>\n\u003cp>And it is basically the fear of being called [that] that shuts down any objection to stepping up and standing out. So it polices boys, basically. And I also was really interested in “#nohomo.” \u003ca href=\"https://sociology.uoregon.edu/profile/cpascoe/\" target=\"_blank\" rel=\"noopener noreferrer\">C.J. Pascoe\u003c/a>, who is a sociologist in Oregon, had done a survey of the way boys use that hashtag on Twitter. And it wasn’t just a homophobic slur. It was also a protective shield that allowed them to express just really basic human ideas about affection and joy. So they would say, like, “I miss you, man. #nohomo,” or even something as innocuous as, “I like chocolate ice cream. #nohomo.” It was just a way that allowed them to be fully human.\u003c/p>\n\u003cp>\u003cstrong>On how internet porn has affected boys \u003c/strong>\u003c/p>\n\u003cp>What they’re getting in porn is a really distorted vision of what human sexuality is. They see image after image of sex as something men do to women, of female pleasure as a performance for male satisfaction, of distorted bodies—of a whole lot of things that frankly wouldn’t feel very good to most people. And without discussion with parents and without discussion by schools, that’s becoming the de facto sex educator for a lot of kids. …\u003c/p>\n\u003cp>One thing that research shows is that [porn] actually reduces their satisfaction in their partnered relationships. So they feel less satisfied with their partners’ bodies, with their own bodies, with their own performance. So right there, something to talk to boys about is, “It’s not going to be doing any favors once you get into the actual bedroom.” But it affects their ideas about what women should look like. It affects their ideas about how women should behave. It affects their ideas of what acts should be performed and the way that those acts should be performed. One of the boys [told] me that his girlfriend was a curvy African American girl, and he said that having spent hours and hours and hours looking at and reacting to what he called “all those skinny white women,” that he had a hard time being aroused by her body. And that was really disturbing him.\u003c/p>\n\u003cp>\u003cstrong>On the ambiguity of the term “hookup” \u003c/strong>\u003c/p>\n\u003cp>“Hookup” is an intentionally ambiguous term. It can mean anything. It might mean kissing. It might mean oral sex. It might mean intercourse. And, in truth, when you look into the research, about a third of college hookups fall into each of those categories. But that ambiguity allows young people to vastly overestimate what their peers are doing. And then \u003cem>that\u003c/em> can actually trigger a kind of anxiety and fear of missing out, or expectation of what you are supposed to be doing, that can make you engage in sex that maybe you don’t want to have, or push harder than you might otherwise push.\u003c/p>\n\u003cp>\u003cstrong>On learning that gay boys are better at communicating consent than straight boys \u003c/strong>\u003c/p>\n\u003cp>That was something that was a big surprise and a big takeaway for me—that gay boys were so much more willing and able and capable [of negotiating] the terms of their sexual experiences with their partners. And that’s partly because they sort of have to, because what’s going to happen is not necessarily obvious. But they were always so befuddled by the resistance among straight guys to doing that—if we’re talking about it, it means we’re going to have sex. And that’s great. Why would you think that was a bad thing? …\u003c/p>\n\u003cp>What Dan Savage, who is a columnist who writes about sex talk, says is, there are four magic words that gay guys use in a sexual encounter: “What are you into?” And the beauty of that phrase is that it’s a truly open-ended question. It’s not a yes or a no to a set of possibilities that is predetermined or decided by the other person, but it’s a conversation. And that’s ultimately what one is aiming for in this whole discussion of consent—to make sex a conversation that people can have not just for the legality of it, but so that it will be a more mutually gratifying experience for everybody involved.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Deborah Franklin adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Boys+%26+Sex%27+Reveals+That+Young+Men+Feel+%27Cut+Off+From+Their+Hearts%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This interview contains a homophobic slur.\u003c/em>\u003c/p>\n\u003cp>Author Peggy Orenstein knows that talking to your son about sex isn’t easy: “I know for a lot of parents, you would rather poke yourself in the eye with a fork than speak directly to your son about sex—and probably he would rather poke himself in the eye with a fork as well,” she says.\u003c/p>\n\u003cp>But we don’t have “the luxury” to continue avoiding this conversation, she says. “If we don’t talk to our kids, the media is going to educate them for us, and we are not going to love the result.”\u003c/p>\n\u003cp>Orenstein spent 25 years chronicling the lives of adolescent and teen girls and never really expected to focus on boys. But then came the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo \u003c/a>movement, and Orenstein, whose previous books include \u003ca href=\"https://www.npr.org/books/titles/472213851/girls-sex-navigating-the-complicated-new-landscape\" target=\"_blank\" rel=\"noopener noreferrer\">Girls & Sex\u003c/a> and \u003ca href=\"https://www.npr.org/books/titles/137916708/cinderella-ate-my-daughter-dispatches-from-the-front-lines-of-the-new-girlie-gir\" target=\"_blank\" rel=\"noopener noreferrer\">Cinderella Ate My Daughter\u003c/a>, decided it was time to engage young men in conversations about gender and intimacy.\u003c/p>\n\u003cp>Her new book, \u003cem>Boys & Sex,\u003c/em> is based on extensive interviews with more than 100 college and college-bound boys and young men of diverse backgrounds between the ages of 16 and 22.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I was doing the girl book, the kind of core issue with girls was that they were being cut off from their bodies and not understanding their bodies’ response and their needs and their limits and their desires,” she says. “With boys, it felt like they were being cut off from their hearts.”\u003c/p>\n\u003cfigure id=\"attachment_13872604\" class=\"wp-caption alignright\" style=\"max-width: 289px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872604\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Screen-Shot-2020-01-07-at-3.47.08-PM.png\" alt=\"'Young Men on Hookups, Love, Porn, Consent, and Navigating the New Masculinity,' by Peggy Orenstein\" width=\"289\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-07-at-3.47.08-PM.png 289w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-07-at-3.47.08-PM-160x244.png 160w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003cfigcaption class=\"wp-caption-text\">‘Young Men on Hookups, Love, Porn, Consent, and Navigating the New Masculinity,’ by Peggy Orenstein\u003c/figcaption>\u003c/figure>\n\u003cp>Orenstein notes that society doesn’t often give boys “permission or space” to discuss their interior lives. Maybe that’s why the young men she spoke to were so eager to open up: “When they had the chance [to talk], when somebody really gave it to them and wasn’t going to be judgmental about what they had to say, they went for it.”\u003c/p>\n\u003cp>Orenstein says the boys she spoke with felt constrained by traditional notions of masculinity. One interviewee confided that he preferred to partner with girls for school projects because, “It was OK to say you didn’t know what you were doing with a girl, and you couldn’t do that with a guy.”\u003c/p>\n\u003cp>“That idea of emotional vulnerability was so profound for boys,” Orenstein says. “Vulnerability is basically essential to human relationships, so when you cut boys off from the ability to be vulnerable, you’re doing them a huge disservice.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On how boys described an “ideal” man to her \u003c/strong>\u003c/p>\n\u003cp>They saw girls as equals and deserving of their place on the playing field and in class and in leadership, and they had female friends. So that had really changed. But I would ask them all the time to just give me a kind of lightning round of the ideal guy. And when we would do that, it was like they were channeling 1955. It was still all about stoicism, sexual conquest, dominance, aggression—or this weird combination of being both aggressive and chill—athleticism, wealth. It was really narrow. And they would talk a lot, particularly about … suppressing feelings. And a lot of guys would say to me that they had figured out … how to build a wall inside to block off any feelings except, maybe, happiness and anger. They would talk about training themselves not to feel or training themselves not to cry.\u003c/p>\n\u003cp>\u003cstrong>On boys’ use of homophobic epithets, such as f**\u003c/strong>\u003c/p>\n\u003cp>Boys used that word, that epithet for a gay person, a lot with each other. But what they would say to me—this is straight boys talking—is that they would never say that to a gay person. That they had gay friends, that they weren’t homophobic, but they use that word all the time. And it had become basically a slur on masculinity, not so much a statement of sexual orientation. But I think that word—that slur for gay—is what kind of draws the lines of the “man” box for boys.\u003c/p>\n\u003cp>And it is basically the fear of being called [that] that shuts down any objection to stepping up and standing out. So it polices boys, basically. And I also was really interested in “#nohomo.” \u003ca href=\"https://sociology.uoregon.edu/profile/cpascoe/\" target=\"_blank\" rel=\"noopener noreferrer\">C.J. Pascoe\u003c/a>, who is a sociologist in Oregon, had done a survey of the way boys use that hashtag on Twitter. And it wasn’t just a homophobic slur. It was also a protective shield that allowed them to express just really basic human ideas about affection and joy. So they would say, like, “I miss you, man. #nohomo,” or even something as innocuous as, “I like chocolate ice cream. #nohomo.” It was just a way that allowed them to be fully human.\u003c/p>\n\u003cp>\u003cstrong>On how internet porn has affected boys \u003c/strong>\u003c/p>\n\u003cp>What they’re getting in porn is a really distorted vision of what human sexuality is. They see image after image of sex as something men do to women, of female pleasure as a performance for male satisfaction, of distorted bodies—of a whole lot of things that frankly wouldn’t feel very good to most people. And without discussion with parents and without discussion by schools, that’s becoming the de facto sex educator for a lot of kids. …\u003c/p>\n\u003cp>One thing that research shows is that [porn] actually reduces their satisfaction in their partnered relationships. So they feel less satisfied with their partners’ bodies, with their own bodies, with their own performance. So right there, something to talk to boys about is, “It’s not going to be doing any favors once you get into the actual bedroom.” But it affects their ideas about what women should look like. It affects their ideas about how women should behave. It affects their ideas of what acts should be performed and the way that those acts should be performed. One of the boys [told] me that his girlfriend was a curvy African American girl, and he said that having spent hours and hours and hours looking at and reacting to what he called “all those skinny white women,” that he had a hard time being aroused by her body. And that was really disturbing him.\u003c/p>\n\u003cp>\u003cstrong>On the ambiguity of the term “hookup” \u003c/strong>\u003c/p>\n\u003cp>“Hookup” is an intentionally ambiguous term. It can mean anything. It might mean kissing. It might mean oral sex. It might mean intercourse. And, in truth, when you look into the research, about a third of college hookups fall into each of those categories. But that ambiguity allows young people to vastly overestimate what their peers are doing. And then \u003cem>that\u003c/em> can actually trigger a kind of anxiety and fear of missing out, or expectation of what you are supposed to be doing, that can make you engage in sex that maybe you don’t want to have, or push harder than you might otherwise push.\u003c/p>\n\u003cp>\u003cstrong>On learning that gay boys are better at communicating consent than straight boys \u003c/strong>\u003c/p>\n\u003cp>That was something that was a big surprise and a big takeaway for me—that gay boys were so much more willing and able and capable [of negotiating] the terms of their sexual experiences with their partners. And that’s partly because they sort of have to, because what’s going to happen is not necessarily obvious. But they were always so befuddled by the resistance among straight guys to doing that—if we’re talking about it, it means we’re going to have sex. And that’s great. Why would you think that was a bad thing? …\u003c/p>\n\u003cp>What Dan Savage, who is a columnist who writes about sex talk, says is, there are four magic words that gay guys use in a sexual encounter: “What are you into?” And the beauty of that phrase is that it’s a truly open-ended question. It’s not a yes or a no to a set of possibilities that is predetermined or decided by the other person, but it’s a conversation. And that’s ultimately what one is aiming for in this whole discussion of consent—to make sex a conversation that people can have not just for the legality of it, but so that it will be a more mutually gratifying experience for everybody involved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Elizabeth Wurtzel, Controversial Author of 'Prozac Nation,' Dies at 52",
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"content": "\u003cp>\u003cstrong>Updated at 2:15 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Elizabeth Wurtzel, whose 1994 memoir \u003cem>Prozac Nation\u003c/em> became a mainstay on bestseller lists and inspired a national conversation about clinical depression, has died at the age of 52. David Lipsky, a friend of Wurtzel, confirmed to NPR that the writer died Tuesday of an aggressive case of breast cancer at a hospital in Manhattan.\u003c/p>\n\u003cp>The news comes as a blow to Wurtzel’s many readers, who were introduced to her brash, unapologetic style with \u003cem>Prozac Nation\u003c/em>, published while she was still in her mid-20s. The memoir traced her struggles with depression, growing up in a fractured family and spending a rocky tenure studying at Harvard—and in the process, it earned Wurtzel a raft of fans and critics, almost in equal measure.\u003c/p>\n\u003cp>But as the unapologetic writer would be the first to tell you, she embraced the book’s complicated reception, which can be neatly encapsulated by a \u003cem>New York Times\u003c/em> review \u003ca href=\"https://www.nytimes.com/1994/09/20/books/the-examined-life-is-not-worth-living-either.html\">at the time\u003c/a> that described it as “wrenching and comical,” “self-indulgent and self-aware”—redolent of Bob Dylan and Joan Didion while still in need of “some strict editing.”\u003c/p>\n\u003cp>That didn’t particularly faze Wurtzel, who acknowledged in a 2018 piece announcing her breast cancer diagnosis that “I was early for history.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was on Prozac when it was still called fluoxetine. I wrote a \u003ca href=\"https://www.kirkusreviews.com/book-reviews/elizabeth-wurtzel/prozac-nation/\">twentynothing memoir\u003c/a> when there was no such thing. I got addicted to snorting Ritalin before there was Adderall,” she wrote in \u003ca href=\"https://www.theguardian.com/commentisfree/2018/jan/20/cancer-elizabeth-wurtzel\">The Guardian\u003c/a>. “I was a riot girl, I was a do-me feminist, and I posed topless giving the world the finger on the cover of my second book.”\u003c/p>\n\u003cp>And she’s not wrong about that timing. The widespread success in sales of Wurtzel’s memoir helped inspire a publishing trend that has seen a spate of popular memoirs from other young writers continuing through the present day.\u003c/p>\n\u003cp>Wurtzel followed up \u003cem>Prozac Nation\u003c/em> with an essay collection in the late 1990s titled \u003cem>Bitch: In Praise of Difficult Women\u003c/em>—whose cover did indeed feature her topless, flipping off the reader. Then came another memoir, \u003cem>More, Now, Again\u003c/em>, this time focusing on her plunge into drug addiction.\u003c/p>\n\u003cp>She also wrote numerous articles for \u003cem>The Wall Street Journal\u003c/em>, \u003cem>Elle\u003c/em>, \u003cem>New York\u003c/em> magazine and other publications.\u003c/p>\n\u003cp>“For a certain kind of young writer—particularly young, female writer in the 1990s—Elizabeth Wurtzel was exactly who you wanted to be and exactly who you were afraid to be,” Meghan Daum, a prolific author and essayist in her own right, tells NPR.\u003c/p>\n\u003cp>“She was writing about herself. She was doing so in a way that was really interesting and compelling, but it also got her labeled ‘confessional.’ And I think for a lot of us, that was something that we wanted to avoid even as we were writing about ourselves,” Daum adds. “So she was both a role model and a cautionary tale.”\u003c/p>\n\u003cp>For Wurtzel, at least, that liminal space between exhilarating and alarming was comfortable. So, when it came time to publicly speak about her breast cancer in 2018, her broader point in that piece was a familiar one: You’d better save your sorries—whether you’re discussing her books or her medical condition.\u003c/p>\n\u003cp>“Sorry for what? I’m not sorry about anything. I was never sorry when I said I was. Apologies are a courtesy,” she wrote. “I love to argue. I am in it for the headache. I don’t need you to be on my side—I’m on my side.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Rose Friedman contributed to this report\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elizabeth+Wurtzel%2C+Who+Stirred+Conversation+With+%27Prozac+Nation%2C%27+Dies+At+52&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The 1994 memoir opened a national dialogue about clinical depression and introduced readers to Wurtzel's brash, unapologetic voice. Wurtzel died of breast cancer at a Manhattan hospital Tuesday.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 2:15 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Elizabeth Wurtzel, whose 1994 memoir \u003cem>Prozac Nation\u003c/em> became a mainstay on bestseller lists and inspired a national conversation about clinical depression, has died at the age of 52. David Lipsky, a friend of Wurtzel, confirmed to NPR that the writer died Tuesday of an aggressive case of breast cancer at a hospital in Manhattan.\u003c/p>\n\u003cp>The news comes as a blow to Wurtzel’s many readers, who were introduced to her brash, unapologetic style with \u003cem>Prozac Nation\u003c/em>, published while she was still in her mid-20s. The memoir traced her struggles with depression, growing up in a fractured family and spending a rocky tenure studying at Harvard—and in the process, it earned Wurtzel a raft of fans and critics, almost in equal measure.\u003c/p>\n\u003cp>But as the unapologetic writer would be the first to tell you, she embraced the book’s complicated reception, which can be neatly encapsulated by a \u003cem>New York Times\u003c/em> review \u003ca href=\"https://www.nytimes.com/1994/09/20/books/the-examined-life-is-not-worth-living-either.html\">at the time\u003c/a> that described it as “wrenching and comical,” “self-indulgent and self-aware”—redolent of Bob Dylan and Joan Didion while still in need of “some strict editing.”\u003c/p>\n\u003cp>That didn’t particularly faze Wurtzel, who acknowledged in a 2018 piece announcing her breast cancer diagnosis that “I was early for history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was on Prozac when it was still called fluoxetine. I wrote a \u003ca href=\"https://www.kirkusreviews.com/book-reviews/elizabeth-wurtzel/prozac-nation/\">twentynothing memoir\u003c/a> when there was no such thing. I got addicted to snorting Ritalin before there was Adderall,” she wrote in \u003ca href=\"https://www.theguardian.com/commentisfree/2018/jan/20/cancer-elizabeth-wurtzel\">The Guardian\u003c/a>. “I was a riot girl, I was a do-me feminist, and I posed topless giving the world the finger on the cover of my second book.”\u003c/p>\n\u003cp>And she’s not wrong about that timing. The widespread success in sales of Wurtzel’s memoir helped inspire a publishing trend that has seen a spate of popular memoirs from other young writers continuing through the present day.\u003c/p>\n\u003cp>Wurtzel followed up \u003cem>Prozac Nation\u003c/em> with an essay collection in the late 1990s titled \u003cem>Bitch: In Praise of Difficult Women\u003c/em>—whose cover did indeed feature her topless, flipping off the reader. Then came another memoir, \u003cem>More, Now, Again\u003c/em>, this time focusing on her plunge into drug addiction.\u003c/p>\n\u003cp>She also wrote numerous articles for \u003cem>The Wall Street Journal\u003c/em>, \u003cem>Elle\u003c/em>, \u003cem>New York\u003c/em> magazine and other publications.\u003c/p>\n\u003cp>“For a certain kind of young writer—particularly young, female writer in the 1990s—Elizabeth Wurtzel was exactly who you wanted to be and exactly who you were afraid to be,” Meghan Daum, a prolific author and essayist in her own right, tells NPR.\u003c/p>\n\u003cp>“She was writing about herself. She was doing so in a way that was really interesting and compelling, but it also got her labeled ‘confessional.’ And I think for a lot of us, that was something that we wanted to avoid even as we were writing about ourselves,” Daum adds. “So she was both a role model and a cautionary tale.”\u003c/p>\n\u003cp>For Wurtzel, at least, that liminal space between exhilarating and alarming was comfortable. So, when it came time to publicly speak about her breast cancer in 2018, her broader point in that piece was a familiar one: You’d better save your sorries—whether you’re discussing her books or her medical condition.\u003c/p>\n\u003cp>“Sorry for what? I’m not sorry about anything. I was never sorry when I said I was. Apologies are a courtesy,” she wrote. “I love to argue. I am in it for the headache. I don’t need you to be on my side—I’m on my side.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Rose Friedman contributed to this report\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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elizabeth+Wurtzel%2C+Who+Stirred+Conversation+With+%27Prozac+Nation%2C%27+Dies+At+52&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Endless Potential Of The Pedal Steel Guitar",
"headTitle": "The Endless Potential Of The Pedal Steel Guitar | KQED",
"content": "\u003cp>An anchor of the classic mid-century Nashville sound, the pedal steel guitar has been a trusted part of the broader pop palette at least since Jerry Garcia added affable, if primitive, pedal steel to Crosby, Stills, Nash & Young’s “Teach Your Children” in 1969 and B.J. Cole provided atmosphere on Elton John’s “Tiny Dancer” in 1971. But over the past decade and change, a vibrant new generation of players have taken up the unusual instrument, directing its microtonal bends and aching cries towards more modern expressions.\u003c/p>\n\u003cp>“I think it’s an instrument that begs to be used texturally, and outside the way it was originally designed to be used,” says the California-based Chuck Johnson, whose 2017 album \u003ca href=\"https://chuckjohnson.bandcamp.com/album/balsams\">\u003cem>Balsams\u003c/em>\u003c/a>\u003cem> \u003c/em>and subsequent \u003ca href=\"https://chuckjohnson.bandcamp.com/album/ayami-2\">live releases\u003c/a> have used pedal steel as a tool to generate glowing, complex ambient music. “You can pluck a chord and use the pedals and levers to move some of those voices in different directions, which is something no other instrument can do,” he says of its ability to limitlessly bend notes. “Without even moving the bar, you can do really interesting counterpoint. Add to that all the microtonal possibilities. Whether you’re moving the bar or using the [knee] levers, it’s always a glide to wherever you end up.”\u003c/p>\n\u003cp>https://youtu.be/GQj9NSOUVAA\u003c/p>\n\u003cp>An often misunderstood mechanical artifact from another time, the pedal steel remains odd in nearly every way. Its high lonesome moan can float over, or inside, pretty much anything; it can bend notes and blend chords in ways no other analog instrument can; and it sounds like nothing else — even the pedal-less steel guitar, for which it’s frequently confused. But for much of its life, it’s been synonymous with the wailing cries of country music, to the point of being virtually trapped by the genre.\u003c/p>\n\u003cp>“When somebody takes the stage [at a pedal steel convention] and plays something other than country, people get up and walk out,” says Tom Bradshaw, perhaps the world’s leading authority on the instrument. The founder of the now-defunct \u003cem>Steel Guitarist \u003c/em>magazine, he has played and repaired pedal steels for nearly a half-century, selling parts through his Bay Area-based \u003ca href=\"http://www.songwriter.com/bradshaw/\">Pedal Steel Guitar Products\u003c/a>. But Bradshaw worries about the instrument’s future. “It’s so often that kids are the ones who cause things to really get started and go, but the cost of the instrument is so much that it’s prohibitive for kids to get into it,” he says. Indeed — outside of classical, and despite its roots in working-class pop music, it is one of the most expensive instruments around, with the cheapest used models going for around $1,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also, it is one of the most difficult-to-learn instruments in the world. Just setting up the pedals and levers requires an intense amount of foreknowledge. There are multiple standard tunings. Its strings usually run in a non-intuitive order. Playing it requires both hands, both feet and, occasionally, both knees. Sometimes there is one guitar neck full of strings, sometimes there are a few — each in its own tuning. Its mechanics have very little to do with guitar as most recognize the instrument, or even the open-tuned Hawaiian lap steel, from which the pedal steel evolved. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/3HSfyLD2ZDtcvVE12OkmX8\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>Almost exactly in the middle of the 20th century, the lap steel first \u003ca href=\"http://www.gibson-prewar.com/s/cc_images/cache_937748247.jpg?t=1400227662\">sprouted pedals\u003c/a> with Gibson’s Electraharp, and over the next two decades continued to mutate as different players experimented with tuning and pedal combinations in Nashville garages and recording studios. In 1952, Zane Beck added knee levers to bend notes downwards. The year after, on Webb Pierce’s “\u003ca href=\"https://www.youtube.com/watch?v=3B6FjkaY-O8\">Slowly\u003c/a>,” Bud Isaacs added a pedal to bend two notes at once. Session musician \u003ca href=\"http://www.buddyemmons.com/recordings2.htm\">Buddy Emmons\u003c/a>, who died in 2015 and would become the instrument’s foremost player, built on Isaac’s innovation, introducing a split pedal arrangement that allowed for players to introduce suspended chords and other distinctly “un-Hawaiian” tone bends. Honky-tonk troubadour Ernest Tubb became the beneficiary of the hot new tech breakthrough, with Emmons first employing it on Tubb’s 1957 hit “\u003ca href=\"https://www.youtube.com/watch?v=b6g4k4X0vsw\">Half A Mind (To Leave You)\u003c/a>,” also featuring George Jones. Taken together, these technological evolutions transformed the fairly simple lap steel into a metaphor of modernity: a complex machine requiring highly skilled operators, used almost exclusively in country music, a genre in which life’s simplicity — whether real or imagined — is very often centered.\u003c/p>\n\u003cfigure id=\"attachment_13872507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-800x450.jpg\" alt=\"The ensemble Icebreaker, performing Brian Eno's album Apollo: Atmospheres & Soundtracks alongside pedal steel pioneer B.J. Cole on Sep. 15, 2010 in London.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble Icebreaker, performing Brian Eno’s album ‘Apollo: Atmospheres & Soundtracks’ alongside pedal steel pioneer B.J. Cole on Sep. 15, 2010 in London. \u003ccite>(Brian Rasic/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it was released in 1983, the luminous \u003cem>Apollo: Atmospheres & Soundtracks\u003c/em>, was one small step for Brian Eno but one giant leap towards expanding the pedal steel’s vocabulary. For the landmark album, an ambient score to the documentary \u003cem>For All Mankind\u003c/em>, Eno deployed Daniel Lanois’s pedal steel guitar \u003ca href=\"https://www.newscientist.com/article/dn17429-apollo-special-brian-enos-moon-music/#ixzz68Tv2xdck\">as a reference\u003c/a> to the country tapes brought into space by the astronauts, and clearly demonstrated the instrument’s future as a leading voice of its own. What Eno called “zero-gravity country music” became a transition point for the instrument, though the revolution has been a slow one \u003c/p>\n\u003cp>In 2006, Susan Alcorn would title a piece of music, “And I Await the Resurrection of the Pedal Steel Guitar.” The sublime tribute to French composer Oliver Messiaen (and subsequent album of the same name) is perhaps near the center of the instrument’s expanding territory in the new century, and something of a self-fulfilling prophecy.\u003c/p>\n\u003cp>The future is now. In the Bandcamp/SoundCloud/”genre-fluid” reaches, the world of outsider pedal steel now constitutes a destination of its own. Heather Leigh has been improvising with pedal steel and voice since the early 2000s, but beginning with 2015’s \u003ca href=\"https://ideologicorgan.bandcamp.com/album/i-abused-animal\">\u003cem>I Abused Animal\u003c/em>\u003c/a>, she has used it as a counterpoint within some startling experimental songwriting. Chuck Johnson has expanded the instrument’s ambient palette into vivid and extended star-fields, most recently with the gorgeous art-pop duo \u003ca href=\"https://saariselka.bandcamp.com/album/the-ground-our-sky\">Saariselka\u003c/a>. Norwegian jazz player \u003ca href=\"https://sundstoel.bandcamp.com/album/br-dl-s\">Geir Sundstøl\u003c/a> fits it into brooding, proggy soundscapes, the cinematic New York-based \u003ca href=\"https://suss.bandcamp.com/album/high-line\">SUSS\u003c/a> go full noir, and \u003ca href=\"https://muteduoadr.bandcamp.com/album/lapse-in-passage\">Mute Duo\u003c/a> dive into atmospheric improvisation. Daniel Lanois has stayed in the game, too, most lately with 2017’s \u003ca href=\"https://daniellanois.bandcamp.com/album/goodbye-to-language\">\u003cem>Goodbye to Language\u003c/em>\u003c/a>\u003cem> \u003c/em>and \u003ca href=\"https://venetiansnares.bandcamp.com/album/venetian-snares-x-daniel-lanois\">\u003cem>Venetian Squares x Daniel Lanois\u003c/em>\u003c/a>, a glitchy 2018 collaboration with Venetian Snares.\u003c/p>\n\u003cp>Says Chuck Johnson, “I don’t think you can overstate the importance of the fact that, when you ask who’s pushing the instrument forward, the answer is there are these two women — Susan Alcorn and Heather Leigh. More than any other instrument I know, the culture around [pedal steel] is so male dominated.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BgpWs0Vg8PU/\u003c/p>\n\u003cp>Alcorn began playing pedal steel with Houston country bands in the early ’70s, and recalls the musical insularity of the pedal steel conventions she attended. “People would have albums, mostly of country tunes, and maybe a jazz tune like \u003ca href=\"https://www.youtube.com/watch?v=5GzaQN-PPhk\">‘Cherokee’\u003c/a> or something like that,” she recalls. “Kind of straight-ahead, and maybe 20 years behind the rest of the jazz world. Maybe 30 or 40 years behind.”\u003c/p>\n\u003cp>By the ’80s Alcorn had begun to experiment, though it was a lonely calling in Texas. She routed her instrument through a synthesizer for a while, making it sound like other instruments. She arranged John Coltrane’s “Naima.” She laughs, “I was doing country gigs and listening to Albert Ayler and people at the gigs would tell me I sounded different for some reason. When I got into Ornette Coleman, most of the musicians I knew in Houston didn’t want to play with me anymore because it was like I was out-of-tune or something.” \u003c/p>\n\u003cp>But in 1990, Alcorn met accordionist and pioneering electronic composer Pauline Oliveros. “I went to her first ‘Deep Listening’ retreat,” Alcorn says. “Pauline is from Houston, where I was living, and we became friends … And so that widened my ideas of what you would call music, and certainly what you would call improvisation. That had a profound effect on how I played, and still does.”\u003c/p>\n\u003cp>Lately, Alcorn has been the instrument’s on-call emissary in certain, somewhat outré, music circles, playing in the \u003ca href=\"https://maryhalvorson.bandcamp.com/album/away-with-you\">Mary Halvorson Octet\u003c/a> as well as Nate Wooley’s ecstatic music ensemble, Seven Storey Mountain. (And on last year’s \u003ca href=\"https://natewooley.bandcamp.com/album/columbia-icefield\">\u003cem>Columbia Icefield\u003c/em>\u003c/a>). If she’s setting an example for the wide new ways the pedal steel might work, the musicians who have followed are keen on discovering their own paths.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6JzwFJ5UKJnsftMJfaRPqV\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>(One can trace a scattered lineage of unconnected experimentalists outside Alcorn and Lanois. In the ’80s, Nigerian juju pioneer King Sunny Adé’s highlife orchestra featured pedal steelist Demola Adepoju, whose 1985 solo album \u003cem>Olufe-Mi \u003c/em>is due for its own resurrection. “Tiny Dancer” steelist B.J. Cole’s 1972 album, \u003ca href=\"https://www.youtube.com/watch?v=Vbp6ZlmP4n4\">\u003cem>The New Hovering Dog\u003c/em>\u003c/a>, provides an early outlying beacon of outré pedal-steel pop, and he’s played with a wide-range of big-eared artists from R.E.M. to Luke Vibert.) \u003c/p>\n\u003cp>For prolific veteran Jim O’Rourke, who used pedal steel to color the meticulous arrangements of his 1997’s album \u003ca href=\"https://jimorourke.bandcamp.com/album/bad-timing\">\u003cem>Bad Timing\u003c/em>\u003c/a>, it took Chas Smith’s 1987 LP \u003ca href=\"https://www.youtube.com/watch?v=dwbj684Ez74&list=OLAK5uy_m9Zrc_uj7tKz8m3F12KBaBgJc_OyzqJd8\">\u003cem>Nakadai\u003c/em>\u003c/a>\u003cem> \u003c/em>to really connect with the instrument. “That was where the nexus happened,” O’Rourke writes in an email, “where those worlds met for me, which only reinforced my love. It might be that the pedal steel is somehow one of the few instruments that is somewhere between an acoustic instrument, in a loose meaning of the term, and the synth/tape music that was and is my main interest.” He finally learned to play one for 2015’s \u003ca href=\"https://jimorourke.bandcamp.com/album/simple-songs\">\u003cem>Simple Songs\u003c/em>\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13872508\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275.jpg\" alt=\"Daniel Lanois, playing pedal steel guitar during a concert at the BAM Howard Gilman Opera House in Brooklyn on April 12, 2014.\" width=\"200\" height=\"199\" class=\"size-full wp-image-13872508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275-160x159.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Lanois, playing pedal steel guitar during a concert at the BAM Howard Gilman Opera House in Brooklyn on April 12, 2014. \u003ccite>(Jack Vartoogian/Getty Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after shedding a lifetime of accumulated instruments and studio gear upon moving to Japan, O’Rourke still keeps a pedal steel around. “I am still an absolute amateur, but it’s one instrument that still poses a challenge with an actual, foreseeable gain,” he notes. “It does your back in if you don’t watch it, though.”\u003c/p>\n\u003cp>Pedal steel can be heard these days on album centerpiece tracks by Vampire Weekend (where veteran session player Greg Leisz brings “Hold You Now” back to earth) and the Mountain Goats (where Dan Dugmore glows on the title track of \u003cem>In League With Dragons\u003c/em>). It’s there (somewhere) in the wall-of-sound saturation of Lana Del Ray’s \u003cem>Ultraviolence\u003c/em>, and as a signifying point of analog humanity in Phosphorescent’s auto-tuned post-apocalyptic “\u003ca href=\"https://phosphorescent.bandcamp.com/track/christmas-down-under\">Christmas Down Under.\u003c/a>” \u003c/p>\n\u003cp>But the pedal steel will likely remain a semi-secret language. Even in the Steel Guitar Forum, the instrument’s main online community, non-country players can feel like members of a permanent musical diaspora. “Fortunately, there are younger people on there and Susan Alcorn posts there all the time,” says Johnson, “and posts a lot of things on Facebook that are challenging for that community politically and socially and otherwise.”\u003c/p>\n\u003cp>Tom Bradshaw estimates a global population of somewhere between 40,000 to 50,000 pedal steel guitar players. And though he frets about players aging out, he also acknowledges a large, often invisible, community of what he calls “bedroom players,”hobbyists with no ambitions to set foot on stage. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If nothing else, the age of Bandcamp labels, SoundCloud rap, YouTube covers and viral videos of all stripes is made precisely for those bedroom players, as well as lone steel-slingers out in the wilderness, like the exotica-loving \u003ca href=\"https://soundcloud.com/ztom-motoyama\">Ztom Motoyama\u003c/a> in Japan, or Will Van Horn, who \u003ca href=\"https://www.youtube.com/watch?v=HjuSa3_CerU\">recently covered\u003c/a> Aphex Twin’s haunted “Avril 14th” on pedal steel. It also sounds fantastic in various modern remix modes, like the \u003ca href=\"https://www.youtube.com/watch?v=1Q_WbJTXcao\">chopped-and-screwed Alan Jackson\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=wgBxA2NtDoU\">vaporwave Mike Nesmith\u003c/a>. Just as the instrument cuts through large ensembles, it can also cut through the cultural noise, a versatile and seemingly ancient craft that continues to open a portal to a strange, glowing place. \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=The+Endless+Potential+Of+The+Pedal+Steel+Guitar%2C+An+Odd+Duck+By+Any+Measure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An anchor of the classic mid-century Nashville sound, the pedal steel guitar has been a trusted part of the broader pop palette at least since Jerry Garcia added affable, if primitive, pedal steel to Crosby, Stills, Nash & Young’s “Teach Your Children” in 1969 and B.J. Cole provided atmosphere on Elton John’s “Tiny Dancer” in 1971. But over the past decade and change, a vibrant new generation of players have taken up the unusual instrument, directing its microtonal bends and aching cries towards more modern expressions.\u003c/p>\n\u003cp>“I think it’s an instrument that begs to be used texturally, and outside the way it was originally designed to be used,” says the California-based Chuck Johnson, whose 2017 album \u003ca href=\"https://chuckjohnson.bandcamp.com/album/balsams\">\u003cem>Balsams\u003c/em>\u003c/a>\u003cem> \u003c/em>and subsequent \u003ca href=\"https://chuckjohnson.bandcamp.com/album/ayami-2\">live releases\u003c/a> have used pedal steel as a tool to generate glowing, complex ambient music. “You can pluck a chord and use the pedals and levers to move some of those voices in different directions, which is something no other instrument can do,” he says of its ability to limitlessly bend notes. “Without even moving the bar, you can do really interesting counterpoint. Add to that all the microtonal possibilities. Whether you’re moving the bar or using the [knee] levers, it’s always a glide to wherever you end up.”\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/GQj9NSOUVAA'\n title='//www.youtube.com/embed/GQj9NSOUVAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An often misunderstood mechanical artifact from another time, the pedal steel remains odd in nearly every way. Its high lonesome moan can float over, or inside, pretty much anything; it can bend notes and blend chords in ways no other analog instrument can; and it sounds like nothing else — even the pedal-less steel guitar, for which it’s frequently confused. But for much of its life, it’s been synonymous with the wailing cries of country music, to the point of being virtually trapped by the genre.\u003c/p>\n\u003cp>“When somebody takes the stage [at a pedal steel convention] and plays something other than country, people get up and walk out,” says Tom Bradshaw, perhaps the world’s leading authority on the instrument. The founder of the now-defunct \u003cem>Steel Guitarist \u003c/em>magazine, he has played and repaired pedal steels for nearly a half-century, selling parts through his Bay Area-based \u003ca href=\"http://www.songwriter.com/bradshaw/\">Pedal Steel Guitar Products\u003c/a>. But Bradshaw worries about the instrument’s future. “It’s so often that kids are the ones who cause things to really get started and go, but the cost of the instrument is so much that it’s prohibitive for kids to get into it,” he says. Indeed — outside of classical, and despite its roots in working-class pop music, it is one of the most expensive instruments around, with the cheapest used models going for around $1,000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also, it is one of the most difficult-to-learn instruments in the world. Just setting up the pedals and levers requires an intense amount of foreknowledge. There are multiple standard tunings. Its strings usually run in a non-intuitive order. Playing it requires both hands, both feet and, occasionally, both knees. Sometimes there is one guitar neck full of strings, sometimes there are a few — each in its own tuning. Its mechanics have very little to do with guitar as most recognize the instrument, or even the open-tuned Hawaiian lap steel, from which the pedal steel evolved. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/3HSfyLD2ZDtcvVE12OkmX8\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>Almost exactly in the middle of the 20th century, the lap steel first \u003ca href=\"http://www.gibson-prewar.com/s/cc_images/cache_937748247.jpg?t=1400227662\">sprouted pedals\u003c/a> with Gibson’s Electraharp, and over the next two decades continued to mutate as different players experimented with tuning and pedal combinations in Nashville garages and recording studios. In 1952, Zane Beck added knee levers to bend notes downwards. The year after, on Webb Pierce’s “\u003ca href=\"https://www.youtube.com/watch?v=3B6FjkaY-O8\">Slowly\u003c/a>,” Bud Isaacs added a pedal to bend two notes at once. Session musician \u003ca href=\"http://www.buddyemmons.com/recordings2.htm\">Buddy Emmons\u003c/a>, who died in 2015 and would become the instrument’s foremost player, built on Isaac’s innovation, introducing a split pedal arrangement that allowed for players to introduce suspended chords and other distinctly “un-Hawaiian” tone bends. Honky-tonk troubadour Ernest Tubb became the beneficiary of the hot new tech breakthrough, with Emmons first employing it on Tubb’s 1957 hit “\u003ca href=\"https://www.youtube.com/watch?v=b6g4k4X0vsw\">Half A Mind (To Leave You)\u003c/a>,” also featuring George Jones. Taken together, these technological evolutions transformed the fairly simple lap steel into a metaphor of modernity: a complex machine requiring highly skilled operators, used almost exclusively in country music, a genre in which life’s simplicity — whether real or imagined — is very often centered.\u003c/p>\n\u003cfigure id=\"attachment_13872507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-800x450.jpg\" alt=\"The ensemble Icebreaker, performing Brian Eno's album Apollo: Atmospheres & Soundtracks alongside pedal steel pioneer B.J. Cole on Sep. 15, 2010 in London.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble Icebreaker, performing Brian Eno’s album ‘Apollo: Atmospheres & Soundtracks’ alongside pedal steel pioneer B.J. Cole on Sep. 15, 2010 in London. \u003ccite>(Brian Rasic/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it was released in 1983, the luminous \u003cem>Apollo: Atmospheres & Soundtracks\u003c/em>, was one small step for Brian Eno but one giant leap towards expanding the pedal steel’s vocabulary. For the landmark album, an ambient score to the documentary \u003cem>For All Mankind\u003c/em>, Eno deployed Daniel Lanois’s pedal steel guitar \u003ca href=\"https://www.newscientist.com/article/dn17429-apollo-special-brian-enos-moon-music/#ixzz68Tv2xdck\">as a reference\u003c/a> to the country tapes brought into space by the astronauts, and clearly demonstrated the instrument’s future as a leading voice of its own. What Eno called “zero-gravity country music” became a transition point for the instrument, though the revolution has been a slow one \u003c/p>\n\u003cp>In 2006, Susan Alcorn would title a piece of music, “And I Await the Resurrection of the Pedal Steel Guitar.” The sublime tribute to French composer Oliver Messiaen (and subsequent album of the same name) is perhaps near the center of the instrument’s expanding territory in the new century, and something of a self-fulfilling prophecy.\u003c/p>\n\u003cp>The future is now. In the Bandcamp/SoundCloud/”genre-fluid” reaches, the world of outsider pedal steel now constitutes a destination of its own. Heather Leigh has been improvising with pedal steel and voice since the early 2000s, but beginning with 2015’s \u003ca href=\"https://ideologicorgan.bandcamp.com/album/i-abused-animal\">\u003cem>I Abused Animal\u003c/em>\u003c/a>, she has used it as a counterpoint within some startling experimental songwriting. Chuck Johnson has expanded the instrument’s ambient palette into vivid and extended star-fields, most recently with the gorgeous art-pop duo \u003ca href=\"https://saariselka.bandcamp.com/album/the-ground-our-sky\">Saariselka\u003c/a>. Norwegian jazz player \u003ca href=\"https://sundstoel.bandcamp.com/album/br-dl-s\">Geir Sundstøl\u003c/a> fits it into brooding, proggy soundscapes, the cinematic New York-based \u003ca href=\"https://suss.bandcamp.com/album/high-line\">SUSS\u003c/a> go full noir, and \u003ca href=\"https://muteduoadr.bandcamp.com/album/lapse-in-passage\">Mute Duo\u003c/a> dive into atmospheric improvisation. Daniel Lanois has stayed in the game, too, most lately with 2017’s \u003ca href=\"https://daniellanois.bandcamp.com/album/goodbye-to-language\">\u003cem>Goodbye to Language\u003c/em>\u003c/a>\u003cem> \u003c/em>and \u003ca href=\"https://venetiansnares.bandcamp.com/album/venetian-snares-x-daniel-lanois\">\u003cem>Venetian Squares x Daniel Lanois\u003c/em>\u003c/a>, a glitchy 2018 collaboration with Venetian Snares.\u003c/p>\n\u003cp>Says Chuck Johnson, “I don’t think you can overstate the importance of the fact that, when you ask who’s pushing the instrument forward, the answer is there are these two women — Susan Alcorn and Heather Leigh. More than any other instrument I know, the culture around [pedal steel] is so male dominated.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alcorn began playing pedal steel with Houston country bands in the early ’70s, and recalls the musical insularity of the pedal steel conventions she attended. “People would have albums, mostly of country tunes, and maybe a jazz tune like \u003ca href=\"https://www.youtube.com/watch?v=5GzaQN-PPhk\">‘Cherokee’\u003c/a> or something like that,” she recalls. “Kind of straight-ahead, and maybe 20 years behind the rest of the jazz world. Maybe 30 or 40 years behind.”\u003c/p>\n\u003cp>By the ’80s Alcorn had begun to experiment, though it was a lonely calling in Texas. She routed her instrument through a synthesizer for a while, making it sound like other instruments. She arranged John Coltrane’s “Naima.” She laughs, “I was doing country gigs and listening to Albert Ayler and people at the gigs would tell me I sounded different for some reason. When I got into Ornette Coleman, most of the musicians I knew in Houston didn’t want to play with me anymore because it was like I was out-of-tune or something.” \u003c/p>\n\u003cp>But in 1990, Alcorn met accordionist and pioneering electronic composer Pauline Oliveros. “I went to her first ‘Deep Listening’ retreat,” Alcorn says. “Pauline is from Houston, where I was living, and we became friends … And so that widened my ideas of what you would call music, and certainly what you would call improvisation. That had a profound effect on how I played, and still does.”\u003c/p>\n\u003cp>Lately, Alcorn has been the instrument’s on-call emissary in certain, somewhat outré, music circles, playing in the \u003ca href=\"https://maryhalvorson.bandcamp.com/album/away-with-you\">Mary Halvorson Octet\u003c/a> as well as Nate Wooley’s ecstatic music ensemble, Seven Storey Mountain. (And on last year’s \u003ca href=\"https://natewooley.bandcamp.com/album/columbia-icefield\">\u003cem>Columbia Icefield\u003c/em>\u003c/a>). If she’s setting an example for the wide new ways the pedal steel might work, the musicians who have followed are keen on discovering their own paths.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6JzwFJ5UKJnsftMJfaRPqV\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>(One can trace a scattered lineage of unconnected experimentalists outside Alcorn and Lanois. In the ’80s, Nigerian juju pioneer King Sunny Adé’s highlife orchestra featured pedal steelist Demola Adepoju, whose 1985 solo album \u003cem>Olufe-Mi \u003c/em>is due for its own resurrection. “Tiny Dancer” steelist B.J. Cole’s 1972 album, \u003ca href=\"https://www.youtube.com/watch?v=Vbp6ZlmP4n4\">\u003cem>The New Hovering Dog\u003c/em>\u003c/a>, provides an early outlying beacon of outré pedal-steel pop, and he’s played with a wide-range of big-eared artists from R.E.M. to Luke Vibert.) \u003c/p>\n\u003cp>For prolific veteran Jim O’Rourke, who used pedal steel to color the meticulous arrangements of his 1997’s album \u003ca href=\"https://jimorourke.bandcamp.com/album/bad-timing\">\u003cem>Bad Timing\u003c/em>\u003c/a>, it took Chas Smith’s 1987 LP \u003ca href=\"https://www.youtube.com/watch?v=dwbj684Ez74&list=OLAK5uy_m9Zrc_uj7tKz8m3F12KBaBgJc_OyzqJd8\">\u003cem>Nakadai\u003c/em>\u003c/a>\u003cem> \u003c/em>to really connect with the instrument. “That was where the nexus happened,” O’Rourke writes in an email, “where those worlds met for me, which only reinforced my love. It might be that the pedal steel is somehow one of the few instruments that is somewhere between an acoustic instrument, in a loose meaning of the term, and the synth/tape music that was and is my main interest.” He finally learned to play one for 2015’s \u003ca href=\"https://jimorourke.bandcamp.com/album/simple-songs\">\u003cem>Simple Songs\u003c/em>\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13872508\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275.jpg\" alt=\"Daniel Lanois, playing pedal steel guitar during a concert at the BAM Howard Gilman Opera House in Brooklyn on April 12, 2014.\" width=\"200\" height=\"199\" class=\"size-full wp-image-13872508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275-160x159.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Lanois, playing pedal steel guitar during a concert at the BAM Howard Gilman Opera House in Brooklyn on April 12, 2014. \u003ccite>(Jack Vartoogian/Getty Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after shedding a lifetime of accumulated instruments and studio gear upon moving to Japan, O’Rourke still keeps a pedal steel around. “I am still an absolute amateur, but it’s one instrument that still poses a challenge with an actual, foreseeable gain,” he notes. “It does your back in if you don’t watch it, though.”\u003c/p>\n\u003cp>Pedal steel can be heard these days on album centerpiece tracks by Vampire Weekend (where veteran session player Greg Leisz brings “Hold You Now” back to earth) and the Mountain Goats (where Dan Dugmore glows on the title track of \u003cem>In League With Dragons\u003c/em>). It’s there (somewhere) in the wall-of-sound saturation of Lana Del Ray’s \u003cem>Ultraviolence\u003c/em>, and as a signifying point of analog humanity in Phosphorescent’s auto-tuned post-apocalyptic “\u003ca href=\"https://phosphorescent.bandcamp.com/track/christmas-down-under\">Christmas Down Under.\u003c/a>” \u003c/p>\n\u003cp>But the pedal steel will likely remain a semi-secret language. Even in the Steel Guitar Forum, the instrument’s main online community, non-country players can feel like members of a permanent musical diaspora. “Fortunately, there are younger people on there and Susan Alcorn posts there all the time,” says Johnson, “and posts a lot of things on Facebook that are challenging for that community politically and socially and otherwise.”\u003c/p>\n\u003cp>Tom Bradshaw estimates a global population of somewhere between 40,000 to 50,000 pedal steel guitar players. And though he frets about players aging out, he also acknowledges a large, often invisible, community of what he calls “bedroom players,”hobbyists with no ambitions to set foot on stage. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If nothing else, the age of Bandcamp labels, SoundCloud rap, YouTube covers and viral videos of all stripes is made precisely for those bedroom players, as well as lone steel-slingers out in the wilderness, like the exotica-loving \u003ca href=\"https://soundcloud.com/ztom-motoyama\">Ztom Motoyama\u003c/a> in Japan, or Will Van Horn, who \u003ca href=\"https://www.youtube.com/watch?v=HjuSa3_CerU\">recently covered\u003c/a> Aphex Twin’s haunted “Avril 14th” on pedal steel. It also sounds fantastic in various modern remix modes, like the \u003ca href=\"https://www.youtube.com/watch?v=1Q_WbJTXcao\">chopped-and-screwed Alan Jackson\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=wgBxA2NtDoU\">vaporwave Mike Nesmith\u003c/a>. Just as the instrument cuts through large ensembles, it can also cut through the cultural noise, a versatile and seemingly ancient craft that continues to open a portal to a strange, glowing place. \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=The+Endless+Potential+Of+The+Pedal+Steel+Guitar%2C+An+Odd+Duck+By+Any+Measure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The title of Kiley Reid’s debut, \u003cem>Such a Fun Age\u003c/em>, works on so many levels it makes me giddy—and, what’s better, the title’s plurality of meaning is echoed all over the place within the novel, where both plot and dialogue are layered with history, prejudice, expectations and assumptions. The title’s “fun age” might refer to one of the two main characters, Emira Tucker, a 25-year-old black woman who keenly feels that working part-time as a babysitter and part-time as a typist doesn’t count as true adulting. It might refer to her charge, Briar, a white three-year-old whose imagination and speech patterns are so charmingly true to a particular kind of kid that she’s both instantly recognizable and entirely her own person. [aside postid='arts_13872364']\u003c/p>\n\u003cp>More broadly, the “fun age” might be our own, prior to the 2016 election—an age that was considered by some to be magically post-racist and post-sexist because it was impolite to be these things in public; an age of performative white feminism; an age of social media and virality and armchair activism and online virtue-signaling that ironically requires certain people—often, those already more vulnerable—to exist in specific politically correct ways while letting others—usually, those with power and privilege—off the hook. Don’t let all these layers put you off—the wonder of \u003cem>Such a Fun Age \u003c/em>is that it is also a page-turner with beautifully drawn characters and a riveting plot.\u003c/p>\n\u003cp>In the book’s opening chapter, Emira is called away from a friend’s birthday party by Alix (“uh-\u003cem>leeks\u003c/em>“) Chamberlain, whose two daughters, Briar and infant Catherine, she babysits for several times a week. Someone has thrown an egg at the Chamberlain house, hard enough to shatter a window, and Alix wants Briar out of the house when the police arrive. Emira, both somewhat tired of the party and in need of the extra cash, takes Briar to a grocery store in the Chamberlains’ neighborhood, her friend Zara tagging along. She, Emira and Briar have an impromptu dance party in the frozen foods aisle, as one occasionally will when a toddler is around, before Zara heads off for a hookup. [aside postid='arts_13872314']\u003c/p>\n\u003cp>The lovely, upbeat scene collapses when a security guard approaches and starts interrogating Emira because a white woman, who only moments before was congenially laughing at the dancing trio, was concerned to see a black woman with a white child out so late. “We just came here to look at nuts. Well, we don’t touch them or anything. We’re just… we’re really into nuts right now, so… yeah,” Emira tells the guard, but the situation escalates to the point where a white man starts capturing the verbal altercation with his phone. (“Can you step off?” Emira asks him; “I think you’re gonna want this filmed,” he says.) Emira has to call Peter Chamberlain to come and reassure the guard. “He’s an old white guy,” she says, “so I’m sure everyone will feel better.” She’s right; they do.\u003c/p>\n\u003cp>Over the course of the following months, the tensions between Emira and the Chamberlains rise due to several factors that have very little to do with Emira herself. Alix, the novel’s other main character—and foil, and sometimes antagonist—is a semi-successful businesswoman who has made a career out of writing letters requesting free stuff from companies and getting what she asks for. She also breastfed Briar while speaking at a panel once, an act of have-it-all-feminism that garnered lots of attention. What happened to Emira at the store has Alix consumed with (white) guilt, especially since the egg thrown through the window came with a cry of “racist,” aimed at Peter, a news anchor, who said, during a feel-good human interest segment earlier that night, that he hoped a black boy taking a white girl to Homecoming had “asked her father first.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Emira and Alix have as much distance between them in terms of class as race. Emira comes from a working class family of driven, creative people, which is part of why she feels especially weird that she isn’t ambitious in a particular direction. Alix’s parents became very suddenly wealthy when she was a teenager, inducting her into a nouveau riche lifestyle she had no idea how to handle and which she is still uncomfortable with, despite having leaned further and further into upper-middle class affluence over the years. But what the two women do share—not in the way you’d expect—is Kelley Copeland, the tall, handsome and seemingly woke white guy who thought Emira would want her encounter filmed. [aside postid='arts_13872290']\u003c/p>\n\u003cp>To share more of the plot would be to spoil the fun, as it were. This is a book that will read, I suspect, quite differently to various audiences—funny to some, deeply uncomfortable and shamefully recognizable to others—but whatever the experience, I urge you to read \u003cem>Such a Fun Age\u003c/em>. Let its empathic approach to even the ickiest characters stir you, allow yourself to share Emira’s millennial anxieties about adulting, take joy in the innocence of Briar’s still-unmarred personhood and rejoice that Kiley Reid is only just getting started.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast \u003c/em>The Other Stories\u003cem>. Her debut novel, \u003c/em>All My Mother’s Lovers\u003cem>, is forthcoming from Dutton in 2020.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The title of Kiley Reid’s debut, \u003cem>Such a Fun Age\u003c/em>, works on so many levels it makes me giddy—and, what’s better, the title’s plurality of meaning is echoed all over the place within the novel, where both plot and dialogue are layered with history, prejudice, expectations and assumptions. The title’s “fun age” might refer to one of the two main characters, Emira Tucker, a 25-year-old black woman who keenly feels that working part-time as a babysitter and part-time as a typist doesn’t count as true adulting. It might refer to her charge, Briar, a white three-year-old whose imagination and speech patterns are so charmingly true to a particular kind of kid that she’s both instantly recognizable and entirely her own person. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More broadly, the “fun age” might be our own, prior to the 2016 election—an age that was considered by some to be magically post-racist and post-sexist because it was impolite to be these things in public; an age of performative white feminism; an age of social media and virality and armchair activism and online virtue-signaling that ironically requires certain people—often, those already more vulnerable—to exist in specific politically correct ways while letting others—usually, those with power and privilege—off the hook. Don’t let all these layers put you off—the wonder of \u003cem>Such a Fun Age \u003c/em>is that it is also a page-turner with beautifully drawn characters and a riveting plot.\u003c/p>\n\u003cp>In the book’s opening chapter, Emira is called away from a friend’s birthday party by Alix (“uh-\u003cem>leeks\u003c/em>“) Chamberlain, whose two daughters, Briar and infant Catherine, she babysits for several times a week. Someone has thrown an egg at the Chamberlain house, hard enough to shatter a window, and Alix wants Briar out of the house when the police arrive. Emira, both somewhat tired of the party and in need of the extra cash, takes Briar to a grocery store in the Chamberlains’ neighborhood, her friend Zara tagging along. She, Emira and Briar have an impromptu dance party in the frozen foods aisle, as one occasionally will when a toddler is around, before Zara heads off for a hookup. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lovely, upbeat scene collapses when a security guard approaches and starts interrogating Emira because a white woman, who only moments before was congenially laughing at the dancing trio, was concerned to see a black woman with a white child out so late. “We just came here to look at nuts. Well, we don’t touch them or anything. We’re just… we’re really into nuts right now, so… yeah,” Emira tells the guard, but the situation escalates to the point where a white man starts capturing the verbal altercation with his phone. (“Can you step off?” Emira asks him; “I think you’re gonna want this filmed,” he says.) Emira has to call Peter Chamberlain to come and reassure the guard. “He’s an old white guy,” she says, “so I’m sure everyone will feel better.” She’s right; they do.\u003c/p>\n\u003cp>Over the course of the following months, the tensions between Emira and the Chamberlains rise due to several factors that have very little to do with Emira herself. Alix, the novel’s other main character—and foil, and sometimes antagonist—is a semi-successful businesswoman who has made a career out of writing letters requesting free stuff from companies and getting what she asks for. She also breastfed Briar while speaking at a panel once, an act of have-it-all-feminism that garnered lots of attention. What happened to Emira at the store has Alix consumed with (white) guilt, especially since the egg thrown through the window came with a cry of “racist,” aimed at Peter, a news anchor, who said, during a feel-good human interest segment earlier that night, that he hoped a black boy taking a white girl to Homecoming had “asked her father first.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Emira and Alix have as much distance between them in terms of class as race. Emira comes from a working class family of driven, creative people, which is part of why she feels especially weird that she isn’t ambitious in a particular direction. Alix’s parents became very suddenly wealthy when she was a teenager, inducting her into a nouveau riche lifestyle she had no idea how to handle and which she is still uncomfortable with, despite having leaned further and further into upper-middle class affluence over the years. But what the two women do share—not in the way you’d expect—is Kelley Copeland, the tall, handsome and seemingly woke white guy who thought Emira would want her encounter filmed. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To share more of the plot would be to spoil the fun, as it were. This is a book that will read, I suspect, quite differently to various audiences—funny to some, deeply uncomfortable and shamefully recognizable to others—but whatever the experience, I urge you to read \u003cem>Such a Fun Age\u003c/em>. Let its empathic approach to even the ickiest characters stir you, allow yourself to share Emira’s millennial anxieties about adulting, take joy in the innocence of Briar’s still-unmarred personhood and rejoice that Kiley Reid is only just getting started.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic, and founder/host of the podcast \u003c/em>The Other Stories\u003cem>. Her debut novel, \u003c/em>All My Mother’s Lovers\u003cem>, is forthcoming from Dutton in 2020.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Harvey Weinstein Heads to Trial For Sex Crimes in a #MeToo Landmark",
"headTitle": "Harvey Weinstein Heads to Trial For Sex Crimes in a #MeToo Landmark | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>Once one of Hollywood’s most powerful men, whose very reputation could help determine the fate of the films he financed, Harvey Weinstein is set for a starring role on a very different kind of stage: The former megaproducer’s criminal trial opens Monday in Manhattan, where Weinstein faces sexual assault charges that may land him in prison for a very long time.\u003c/p>\n\u003cp>More than 80 women have publicly accused Weinstein of various types of sexual misconduct since \u003cem>The \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em> and \u003cem>The \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">New Yorker\u003c/a>\u003c/em> published near-simultaneous bombshell reports more than two years ago. Those allegations, widespread as they were—dating back decades and including alleged incidents from \u003ca href=\"https://www.latimes.com/local/lanow/la-me-weinstein-lapd-20171102-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles\u003c/a> to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-41760069\" target=\"_blank\" rel=\"noopener noreferrer\">London\u003c/a>—helped ignite the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo movement\u003c/a> calling attention to sexual assault.\u003c/p>\n\u003cp>But it was the Manhattan district attorney, \u003ca href=\"https://www.manhattanda.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cyrus Vance\u003c/a>, who first made the move to charge Weinstein \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">in 2018\u003c/a>, eventually slapping the disgraced Oscar winner with five counts of sex crimes—including rape and predatory sexual assault—principally relating to two alleged victims in New York City.\u003c/p>\n\u003cp>The first incident involved Mimi Haleyi, a former production assistant at his old studio, the Weinstein Company. (That company is now dead—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">declared bankrupt\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\" target=\"_blank\" rel=\"noopener noreferrer\">sold to\u003c/a> a private equity firm.) Haleyi says that in 2006, Weinstein invited her to his New York City home, where he pulled out her tampon and orally forced himself on her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">told reporters\u003c/a> in October 2017. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>The name of the alleged victim in the second incident, from 2013, has not been released.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VFX-wWVOyjc&feature=emb_logo\u003c/p>\n\u003cp>Another alleged attack, dating to the winter of 1993-1994, became something of a flashpoint in the pretrial wrangling: Actress \u003ca href=\"https://www.newyorker.com/news/news-desk/weighing-the-costs-of-speaking-out-about-harvey-weinstein\" target=\"_blank\" rel=\"noopener noreferrer\">Annabella Sciorra\u003c/a> says Weinstein attacked her after a film industry dinner around that time. After the producer dropped her off at her apartment in Manhattan, Sciorra says that he reappeared at her door and pushed it open, overpowering and raping her once he had gotten inside.\u003c/p>\n\u003cp>The incident took place too long ago for prosecution under state law, but prosecutors pushed for Sciorra’s testimony to be included anyway over the objections of Weinstein’s legal team—and prosecutors \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">got their way\u003c/a>. She will be allowed to take the witness stand to bolster the case that Weinstein committed \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, which carries the longest possible sentence of his charges.\u003c/p>\n\u003cp>Weinstein, for his part, has pleaded not guilty to the charges, maintaining that everything that he did with these women and others was consensual.\u003c/p>\n\u003cp>While the case that heads to trial Monday is Weinstein’s first to include criminal charges, it is by no means the first case against the producer. Just last month, in fact, Weinstein and the board of his bankrupt film studio reached a tentative \u003ca href=\"https://www.npr.org/2019/12/11/787306873/harvey-weinstein-reaches-tentative-25-million-deal-to-settle-sex-claims\" target=\"_blank\" rel=\"noopener noreferrer\">$47 million deal \u003c/a>to settle their financial obligations—about $25 million of which would be earmarked for the accusers who filed lawsuits against him.\u003c/p>\n\u003cp>The settlement, which is still subject to approval by a judge, did not include any formal admission of wrongdoing or personal payments from Weinstein.\u003c/p>\n\u003cp>As for Weinstein’s criminal case in Manhattan, the producer has changed lawyers several times during his pretrial preparations. The first of his attorneys, Benjamin Brafman, staged an aggressive defense in the media. He warned that the #MeToo movement, while generally a positive development, also resulted in an unfair rush to judgment in Weinstein’s situation.\u003c/p>\n\u003cp>“When you have a #MeToo movement that pressures public officials to take certain action when perhaps it’s not warranted, then it gets to be very, very scary,” he told NPR \u003ca href=\"https://www.npr.org/2018/12/17/676803400/weinstein-seeks-dismissal-of-sexual-assault-case-in-possible-metoo-setback\" target=\"_blank\" rel=\"noopener noreferrer\">in late 2018\u003c/a>, while he was still representing Weinstein. “And I think that’s what happened here.”\u003c/p>\n\u003cp>Brafman and Weinstein officially \u003ca href=\"https://deadline.com/2019/01/harvey-weinstein-laywer-leaves-benjamin-brafman-criminal-trial-1202534787/\" target=\"_blank\" rel=\"noopener noreferrer\">parted ways\u003c/a> about a month after speaking with NPR. Donna Rotunno, a former prosecutor who joined Weinstein’s legal team \u003ca href=\"https://www.theguardian.com/film/2019/jul/11/harvey-weinstein-trial-legal-team-donna-rotunno\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a>, has suggested she plans to pursue a similarly aggressive defense strategy, trying to prove that the women willingly took part in their contact with Weinstein.\u003c/p>\n\u003cp>“I can promise you there is a truth that you have not reported on; we’re here to uncover that truth,” Rotunno explained. “I think it’s going to be obvious that the relationships had with women in this case were quite consensual. We have a lot of documentation to back those things up.”\u003c/p>\n\u003cp>But first, before the opposing sides make their cases in court, a jury must be selected to hear those arguments—and that task won’t be easy in a case this well known.\u003c/p>\n\u003cp>“The issue is not necessarily finding the needle in the haystack—you know, the one person who has never heard of the Weinstein case. The odds of finding such a person are slim to none,” said Nancy Gertner, a former federal judge and author of a \u003ca href=\"http://www.nancygertner.com/content/law-juries-6th-edition\" target=\"_blank\" rel=\"noopener noreferrer\">book on jury selection\u003c/a>.\u003c/p>\n\u003cp>She says that instead, each side likely will be scrutinizing every potential juror for any sign of prejudice, such as strong feelings about the #MeToo movement or Weinstein personally.\u003c/p>\n\u003cp>“In other words, within the pool of people who have heard about him, there are distinctions to be made,” Gertner added. “And that’s where you have to find a fair jury.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That process is expected to last about two weeks. The entire trial could last six to eight. If Weinstein is convicted on the most serious charge, predatory sexual assault, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">he faces\u003c/a> a minimum sentence of 10 to 25 years in prison or a maximum of life.\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=Harvey+Weinstein+Heads+To+Trial+For+Sex+Crimes+In+A+%23MeToo+Landmark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "It's the first criminal trial for Weinstein, whose alleged misconduct helped set off a movement. Now, the former producer faces five charges that may land him a long prison sentence in New York.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>Once one of Hollywood’s most powerful men, whose very reputation could help determine the fate of the films he financed, Harvey Weinstein is set for a starring role on a very different kind of stage: The former megaproducer’s criminal trial opens Monday in Manhattan, where Weinstein faces sexual assault charges that may land him in prison for a very long time.\u003c/p>\n\u003cp>More than 80 women have publicly accused Weinstein of various types of sexual misconduct since \u003cem>The \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em> and \u003cem>The \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">New Yorker\u003c/a>\u003c/em> published near-simultaneous bombshell reports more than two years ago. Those allegations, widespread as they were—dating back decades and including alleged incidents from \u003ca href=\"https://www.latimes.com/local/lanow/la-me-weinstein-lapd-20171102-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles\u003c/a> to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-41760069\" target=\"_blank\" rel=\"noopener noreferrer\">London\u003c/a>—helped ignite the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo movement\u003c/a> calling attention to sexual assault.\u003c/p>\n\u003cp>But it was the Manhattan district attorney, \u003ca href=\"https://www.manhattanda.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cyrus Vance\u003c/a>, who first made the move to charge Weinstein \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">in 2018\u003c/a>, eventually slapping the disgraced Oscar winner with five counts of sex crimes—including rape and predatory sexual assault—principally relating to two alleged victims in New York City.\u003c/p>\n\u003cp>The first incident involved Mimi Haleyi, a former production assistant at his old studio, the Weinstein Company. (That company is now dead—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">declared bankrupt\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\" target=\"_blank\" rel=\"noopener noreferrer\">sold to\u003c/a> a private equity firm.) Haleyi says that in 2006, Weinstein invited her to his New York City home, where he pulled out her tampon and orally forced himself on her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">told reporters\u003c/a> in October 2017. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>The name of the alleged victim in the second incident, from 2013, has not been released.\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/VFX-wWVOyjc'\n title='//www.youtube.com/embed/VFX-wWVOyjc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another alleged attack, dating to the winter of 1993-1994, became something of a flashpoint in the pretrial wrangling: Actress \u003ca href=\"https://www.newyorker.com/news/news-desk/weighing-the-costs-of-speaking-out-about-harvey-weinstein\" target=\"_blank\" rel=\"noopener noreferrer\">Annabella Sciorra\u003c/a> says Weinstein attacked her after a film industry dinner around that time. After the producer dropped her off at her apartment in Manhattan, Sciorra says that he reappeared at her door and pushed it open, overpowering and raping her once he had gotten inside.\u003c/p>\n\u003cp>The incident took place too long ago for prosecution under state law, but prosecutors pushed for Sciorra’s testimony to be included anyway over the objections of Weinstein’s legal team—and prosecutors \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">got their way\u003c/a>. She will be allowed to take the witness stand to bolster the case that Weinstein committed \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, which carries the longest possible sentence of his charges.\u003c/p>\n\u003cp>Weinstein, for his part, has pleaded not guilty to the charges, maintaining that everything that he did with these women and others was consensual.\u003c/p>\n\u003cp>While the case that heads to trial Monday is Weinstein’s first to include criminal charges, it is by no means the first case against the producer. Just last month, in fact, Weinstein and the board of his bankrupt film studio reached a tentative \u003ca href=\"https://www.npr.org/2019/12/11/787306873/harvey-weinstein-reaches-tentative-25-million-deal-to-settle-sex-claims\" target=\"_blank\" rel=\"noopener noreferrer\">$47 million deal \u003c/a>to settle their financial obligations—about $25 million of which would be earmarked for the accusers who filed lawsuits against him.\u003c/p>\n\u003cp>The settlement, which is still subject to approval by a judge, did not include any formal admission of wrongdoing or personal payments from Weinstein.\u003c/p>\n\u003cp>As for Weinstein’s criminal case in Manhattan, the producer has changed lawyers several times during his pretrial preparations. The first of his attorneys, Benjamin Brafman, staged an aggressive defense in the media. He warned that the #MeToo movement, while generally a positive development, also resulted in an unfair rush to judgment in Weinstein’s situation.\u003c/p>\n\u003cp>“When you have a #MeToo movement that pressures public officials to take certain action when perhaps it’s not warranted, then it gets to be very, very scary,” he told NPR \u003ca href=\"https://www.npr.org/2018/12/17/676803400/weinstein-seeks-dismissal-of-sexual-assault-case-in-possible-metoo-setback\" target=\"_blank\" rel=\"noopener noreferrer\">in late 2018\u003c/a>, while he was still representing Weinstein. “And I think that’s what happened here.”\u003c/p>\n\u003cp>Brafman and Weinstein officially \u003ca href=\"https://deadline.com/2019/01/harvey-weinstein-laywer-leaves-benjamin-brafman-criminal-trial-1202534787/\" target=\"_blank\" rel=\"noopener noreferrer\">parted ways\u003c/a> about a month after speaking with NPR. Donna Rotunno, a former prosecutor who joined Weinstein’s legal team \u003ca href=\"https://www.theguardian.com/film/2019/jul/11/harvey-weinstein-trial-legal-team-donna-rotunno\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a>, has suggested she plans to pursue a similarly aggressive defense strategy, trying to prove that the women willingly took part in their contact with Weinstein.\u003c/p>\n\u003cp>“I can promise you there is a truth that you have not reported on; we’re here to uncover that truth,” Rotunno explained. “I think it’s going to be obvious that the relationships had with women in this case were quite consensual. We have a lot of documentation to back those things up.”\u003c/p>\n\u003cp>But first, before the opposing sides make their cases in court, a jury must be selected to hear those arguments—and that task won’t be easy in a case this well known.\u003c/p>\n\u003cp>“The issue is not necessarily finding the needle in the haystack—you know, the one person who has never heard of the Weinstein case. The odds of finding such a person are slim to none,” said Nancy Gertner, a former federal judge and author of a \u003ca href=\"http://www.nancygertner.com/content/law-juries-6th-edition\" target=\"_blank\" rel=\"noopener noreferrer\">book on jury selection\u003c/a>.\u003c/p>\n\u003cp>She says that instead, each side likely will be scrutinizing every potential juror for any sign of prejudice, such as strong feelings about the #MeToo movement or Weinstein personally.\u003c/p>\n\u003cp>“In other words, within the pool of people who have heard about him, there are distinctions to be made,” Gertner added. “And that’s where you have to find a fair jury.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That process is expected to last about two weeks. The entire trial could last six to eight. If Weinstein is convicted on the most serious charge, predatory sexual assault, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">he faces\u003c/a> a minimum sentence of 10 to 25 years in prison or a maximum of life.\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=Harvey+Weinstein+Heads+To+Trial+For+Sex+Crimes+In+A+%23MeToo+Landmark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 2020 Golden Globes Were Unusually Earnest, But Offered Few Surprises",
"headTitle": "The 2020 Golden Globes Were Unusually Earnest, But Offered Few Surprises | KQED",
"content": "\u003cp>We have this conversation every year, but that doesn’t mean it’s not true: It’s hard to know what to make of the Golden Globes telecast. We—and by “we” I mean most awards-watchers—hold a few truths to be self-evident: that the Globes are silly, that it’s nice to see people be praised for good work, and that the Globes (like most awards, unfortunately) do a pretty terrible job of rewarding people who do good work in an equitable way, which means even deserved wins can feel bittersweet.\u003c/p>\n\u003cp>What’s more, Sunday night’s awards didn’t do much to narrow down the Oscar contenders, if that’s your angle. In fact, the film awards were spread around among a lot of contenders that are expected to be kicking around when the nominees are announced on January 13. The best motion picture drama, generally considered the top prize, went to \u003cem>1917, \u003c/em>a film that’s not even widely available in theaters until this Friday. It’s a World War I epic made by best director winner Sam Mendes and cinematographer Roger Deakins to resemble one long and continuous shot, and while it’s on awards radar and has been for a while, it’s only in about 10 or so theaters nationwide right now. It can only feel strange to win your big award before your real opening day.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8v6r6h8oAJw\u003c/p>\n\u003cp>Meanwhile, Quentin Tarantino’s \u003cem>Once Upon A Time … In Hollywood \u003c/em>started what could be a 2020 awards roll with wins for its screenplay, supporting actor Brad Pitt, and then the award for best musical or comedy film. Best actor in a drama went to Joaquin Phoenix for \u003cem>Joker\u003c/em>, and best actress to Renee Zellweger in \u003cem>Judy\u003c/em>. Best actor in a musical or comedy went to Taron Egerton, who played Elton John in \u003cem>Rocketman\u003c/em>, while best actress in a comedy (or a comedy-ish?) was Awkwafina in \u003cem>The Farewell\u003c/em>. Best supporting actress in a film was Laura Dern for \u003cem>Marriage Story\u003c/em>. And Bong Joon-ho’s stunning tale of class and family, \u003cem>Parasite\u003c/em>, was named best foreign language film—which it could very well pick up at the Oscars, too, along with a best picture nomination. That’s a lot of noise to sort through if you’re looking for a predictive signal. (Which you shouldn’t, really, since the Globes are given out by a bunch of journalists, none of whom are Oscar voters.)\u003c/p>\n\u003cp>The television haul was similarly scattered: HBO’s buzzy \u003cem>Succession \u003c/em>was best drama series, and \u003cem>Fleabag \u003c/em>was best comedy series. Honored actors included \u003cem>Succession\u003c/em>‘s Brian Cox, \u003cem>The Crown\u003c/em>‘s Olivia Colman, \u003cem>Fleabag\u003c/em>‘s Phoebe Waller-Bridge, and—delightfully—Ramy Youssef of the Hulu series \u003cem>Ramy\u003c/em>. (If you want a reason to root for the Globes, every now and then, they give an award to a new face on an underdog show precisely like \u003cem>Ramy\u003c/em>, and whether that should be a source of publicity or not, it generally is one.) Supporting winners in TV were \u003cem>Chernobyl\u003c/em>‘s Stellan Skarsgard and \u003cem>The Act\u003c/em>‘s Patricia Arquette. There were limited series wins for Russell Crowe in \u003cem>The Loudest Voice\u003c/em> and Michelle Williams as Gwen Verdon in \u003cem>Fosse/Verdon\u003c/em>, and \u003cem>Chernobyl \u003c/em>was best limited series or movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-g44lDWyJC0\u003c/p>\n\u003cp>There are many deserving winners on this long (long) list, if few surprises other than Youssef—and perhaps \u003cem>1917\u003c/em>, simply because it’s not familiar to audiences yet. Still, the failure to nominate more than a handful of actors and creators of color—or any female directors in a year that offered a number of solid contenders—makes the wins themselves a little hollow.\u003c/p>\n\u003cp>What made this ceremony stand out was what a number of winners and honorees chose to do with their time, perhaps a reflection of the heavy news cycle of the last weeks, months, or years, depending on the matter at hand. Several speakers mentioned the fires burning in Australia and their link to climate change, and Arquette was explicit in talking about the need to vote in 2020. But perhaps Michelle Williams gave the most personal speech about a matter of concern, explaining that she could not have had the life she’s had if she hadn’t had the right to choose, as she put it, when to have her children and with whom. She addressed women “from 18 to 118” directly: “Vote in your own self-interest; it’s what men have been doing for years.”\u003c/p>\n\u003cp>But it wasn’t only when current events came up that the speeches were the best reason to watch. Tom Hanks received the Cecil B. DeMille Award, and he spoke at length about collaboration and professionalism in precisely the way you might want Tom Hanks to speak on those matters—right up to a mention of what he learned from Peter Scolari and Holland Taylor, two of his \u003cem>Bosom Buddies\u003c/em> co-stars back when he was just a pup. And Kate McKinnon presented the Carol Burnett Award, inaugurated just last year when it went to Burnett herself, to Ellen DeGeneres. McKinnon spoke of the way it felt to think she might be gay, and how much less scary that was after she saw DeGeneres come out on television.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZU3Hq_UgHE4\u003c/p>\n\u003cp>Bong Joon-ho used his time to tell Americans to get over the “one-inch-tall barrier of subtitles” and open up a whole world of film. Skarsgard talked about how he doesn’t have noticeable eyebrows. Colman noted how many famous people she’d been pointing out from her table. Presenter Tiffany Haddish not only cheered on Michelle Williams, but she \u003ca href=\"https://twitter.com/johnjurg/status/1214023857847320576\">put mustard\u003c/a> on the word “Chernobyl” that it’s probably never had before.\u003c/p>\n\u003cp>Oh, and also: The less said the better about the surly, resentful, too-cool-to-put-in-any-effort hosting turn from Ricky Gervais, who swears that his fifth time hosting the Golden Globes—which he always insists he’s not a natural candidate to do at all, repeat invitations and acceptances of those invitations aside—will be his last. Let’s hope so.\u003c/p>\n\u003cp>It wasn’t the tipsy, silly Globes ceremony we’ve sometimes had in the past—but then, we don’t live in the world we did then, either. Maybe we’ll never see \u003ca href=\"https://www.theguardian.com/film/video/2014/jan/13/golden-globes-2014-emma-thompson-barefoot-video\">Emma Thompson toss her Louboutins away\u003c/a> again, and more’s the pity.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All in all, a surprisingly earnest evening that continued some narratives that already had forward momentum. Yes, Joaquin Phoenix is a powerful pick for \u003cem>Joker\u003c/em>, \u003cem>Once Upon A Time \u003c/em>is going strong, and Tom Hanks becoming overwhelmed with emotion is just about all we can take on a Sunday night.\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=%271917%27+Wins+At+The+Golden+Globes%2C+Before+Most+People+Can+Even+See+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We have this conversation every year, but that doesn’t mean it’s not true: It’s hard to know what to make of the Golden Globes telecast. We—and by “we” I mean most awards-watchers—hold a few truths to be self-evident: that the Globes are silly, that it’s nice to see people be praised for good work, and that the Globes (like most awards, unfortunately) do a pretty terrible job of rewarding people who do good work in an equitable way, which means even deserved wins can feel bittersweet.\u003c/p>\n\u003cp>What’s more, Sunday night’s awards didn’t do much to narrow down the Oscar contenders, if that’s your angle. In fact, the film awards were spread around among a lot of contenders that are expected to be kicking around when the nominees are announced on January 13. The best motion picture drama, generally considered the top prize, went to \u003cem>1917, \u003c/em>a film that’s not even widely available in theaters until this Friday. It’s a World War I epic made by best director winner Sam Mendes and cinematographer Roger Deakins to resemble one long and continuous shot, and while it’s on awards radar and has been for a while, it’s only in about 10 or so theaters nationwide right now. It can only feel strange to win your big award before your real opening day.\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/8v6r6h8oAJw'\n title='//www.youtube.com/embed/8v6r6h8oAJw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, Quentin Tarantino’s \u003cem>Once Upon A Time … In Hollywood \u003c/em>started what could be a 2020 awards roll with wins for its screenplay, supporting actor Brad Pitt, and then the award for best musical or comedy film. Best actor in a drama went to Joaquin Phoenix for \u003cem>Joker\u003c/em>, and best actress to Renee Zellweger in \u003cem>Judy\u003c/em>. Best actor in a musical or comedy went to Taron Egerton, who played Elton John in \u003cem>Rocketman\u003c/em>, while best actress in a comedy (or a comedy-ish?) was Awkwafina in \u003cem>The Farewell\u003c/em>. Best supporting actress in a film was Laura Dern for \u003cem>Marriage Story\u003c/em>. And Bong Joon-ho’s stunning tale of class and family, \u003cem>Parasite\u003c/em>, was named best foreign language film—which it could very well pick up at the Oscars, too, along with a best picture nomination. That’s a lot of noise to sort through if you’re looking for a predictive signal. (Which you shouldn’t, really, since the Globes are given out by a bunch of journalists, none of whom are Oscar voters.)\u003c/p>\n\u003cp>The television haul was similarly scattered: HBO’s buzzy \u003cem>Succession \u003c/em>was best drama series, and \u003cem>Fleabag \u003c/em>was best comedy series. Honored actors included \u003cem>Succession\u003c/em>‘s Brian Cox, \u003cem>The Crown\u003c/em>‘s Olivia Colman, \u003cem>Fleabag\u003c/em>‘s Phoebe Waller-Bridge, and—delightfully—Ramy Youssef of the Hulu series \u003cem>Ramy\u003c/em>. (If you want a reason to root for the Globes, every now and then, they give an award to a new face on an underdog show precisely like \u003cem>Ramy\u003c/em>, and whether that should be a source of publicity or not, it generally is one.) Supporting winners in TV were \u003cem>Chernobyl\u003c/em>‘s Stellan Skarsgard and \u003cem>The Act\u003c/em>‘s Patricia Arquette. There were limited series wins for Russell Crowe in \u003cem>The Loudest Voice\u003c/em> and Michelle Williams as Gwen Verdon in \u003cem>Fosse/Verdon\u003c/em>, and \u003cem>Chernobyl \u003c/em>was best limited series or movie.\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/-g44lDWyJC0'\n title='//www.youtube.com/embed/-g44lDWyJC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are many deserving winners on this long (long) list, if few surprises other than Youssef—and perhaps \u003cem>1917\u003c/em>, simply because it’s not familiar to audiences yet. Still, the failure to nominate more than a handful of actors and creators of color—or any female directors in a year that offered a number of solid contenders—makes the wins themselves a little hollow.\u003c/p>\n\u003cp>What made this ceremony stand out was what a number of winners and honorees chose to do with their time, perhaps a reflection of the heavy news cycle of the last weeks, months, or years, depending on the matter at hand. Several speakers mentioned the fires burning in Australia and their link to climate change, and Arquette was explicit in talking about the need to vote in 2020. But perhaps Michelle Williams gave the most personal speech about a matter of concern, explaining that she could not have had the life she’s had if she hadn’t had the right to choose, as she put it, when to have her children and with whom. She addressed women “from 18 to 118” directly: “Vote in your own self-interest; it’s what men have been doing for years.”\u003c/p>\n\u003cp>But it wasn’t only when current events came up that the speeches were the best reason to watch. Tom Hanks received the Cecil B. DeMille Award, and he spoke at length about collaboration and professionalism in precisely the way you might want Tom Hanks to speak on those matters—right up to a mention of what he learned from Peter Scolari and Holland Taylor, two of his \u003cem>Bosom Buddies\u003c/em> co-stars back when he was just a pup. And Kate McKinnon presented the Carol Burnett Award, inaugurated just last year when it went to Burnett herself, to Ellen DeGeneres. McKinnon spoke of the way it felt to think she might be gay, and how much less scary that was after she saw DeGeneres come out on television.\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/ZU3Hq_UgHE4'\n title='//www.youtube.com/embed/ZU3Hq_UgHE4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bong Joon-ho used his time to tell Americans to get over the “one-inch-tall barrier of subtitles” and open up a whole world of film. Skarsgard talked about how he doesn’t have noticeable eyebrows. Colman noted how many famous people she’d been pointing out from her table. Presenter Tiffany Haddish not only cheered on Michelle Williams, but she \u003ca href=\"https://twitter.com/johnjurg/status/1214023857847320576\">put mustard\u003c/a> on the word “Chernobyl” that it’s probably never had before.\u003c/p>\n\u003cp>Oh, and also: The less said the better about the surly, resentful, too-cool-to-put-in-any-effort hosting turn from Ricky Gervais, who swears that his fifth time hosting the Golden Globes—which he always insists he’s not a natural candidate to do at all, repeat invitations and acceptances of those invitations aside—will be his last. Let’s hope so.\u003c/p>\n\u003cp>It wasn’t the tipsy, silly Globes ceremony we’ve sometimes had in the past—but then, we don’t live in the world we did then, either. Maybe we’ll never see \u003ca href=\"https://www.theguardian.com/film/video/2014/jan/13/golden-globes-2014-emma-thompson-barefoot-video\">Emma Thompson toss her Louboutins away\u003c/a> again, and more’s the pity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All in all, a surprisingly earnest evening that continued some narratives that already had forward momentum. Yes, Joaquin Phoenix is a powerful pick for \u003cem>Joker\u003c/em>, \u003cem>Once Upon A Time \u003c/em>is going strong, and Tom Hanks becoming overwhelmed with emotion is just about all we can take on a Sunday night.\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=%271917%27+Wins+At+The+Golden+Globes%2C+Before+Most+People+Can+Even+See+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "marvel-cinematic-universe-to-get-first-trans-character",
"title": "Marvel Cinematic Universe to Get First Trans Character",
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"headTitle": "Marvel Cinematic Universe to Get First Trans Character | KQED",
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"content": "\u003cp>The Marvel Cinematic Universe is expanding, and soon fans will see a transgender character.\u003c/p>\n\u003cp>At an event Saturday at the New York Film Academy, the president of Marvel Studios was asked whether there were plans to bring “more LGBT+ characters” into the Marvel universe, “specifically the T, trans characters?”\u003c/p>\n\u003cp>“Yes, absolutely, yes,” Marvel Studios president Kevin Feige \u003ca href=\"https://youtu.be/d_P8V6KPnoc?t=1395\" target=\"_blank\" rel=\"noopener noreferrer\">responded\u003c/a>. “And very soon—in a movie that we’re shooting right now.” Feige didn’t go into details, such as what superpower the character might have, or which movie the character would appear in.\u003c/p>\n\u003cp>Marvel is currently shooting \u003cem>The Eternals\u003c/em>, which \u003ca href=\"https://people.com/movies/marvel-the-eternals-character-will-be-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">will feature\u003c/a> its first gay character, and its first deaf superhero. And the next installment in the Thor franchise will see Tessa Thompson playing Valkyrie, who will have an LGBT storyline. “As a new king, she needs to find her queen,” Thompson \u003ca href=\"https://io9.gizmodo.com/its-official-valkyrie-will-be-the-mcus-first-lgbtq-her-1836569528\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1395&v=d_P8V6KPnoc&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marvel made history in 2018 when it released \u003cem>Black Panther\u003c/em>, the first mainstream superhero movie featuring black superheroes and a mostly black cast. “\u003cem>Black Panther\u003c/em> is a story we haven’t seen told before in popular cinema—a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism,” \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">wrote NPR’s Glen Weldon\u003c/a> at the time.\u003c/p>\n\u003cp>“It’s a fantasy, in other words—but then, that’s exactly what superhero stories are for,” Weldon said. “It’s difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who’ve spent their lives unthinkingly soaking in it.”\u003c/p>\n\u003cp>In last year’s \u003cem>Captain Marvel\u003c/em>, Brie Larson played the eponymous character, who (spoiler alert) turns out to be one of the most powerful characters in the entire Marvel universe. She was the second woman in the Marvel universe to lead her own movie—or, as film critic \u003ca href=\"https://www.npr.org/2019/03/08/701480772/captain-marvel-falls-short-of-instilling-its-heroine-with-a-distinctive-personal\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Chang wrote\u003c/a>, the \u003cem>first \u003c/em>“assuming you don’t count the ill-fated 2005 Jennifer Garner vehicle, \u003cem>Elektra\u003c/em>.”\u003c/p>\n\u003cp>With \u003cem>Black Panther\u003c/em> and \u003cem>Captain Marvel\u003c/em>, “we wanted to keep showcasing heroes from the comics that represent the world that goes to see our movies,” Feige said. “So our intention was always to continue to do that.” Both of those movies were so successful, Feige said, that they “have inspired other companies around the world to do the same thing and tell those different types of stories.”\u003c/p>\n\u003cp>Marvel wouldn’t be the first studio to feature a transgender superhero. That distinction belongs to CW’s \u003cem>Supergirl\u003c/em>, which in 2018 cast the \u003ca href=\"https://www.npr.org/2018/07/23/631693257/supergirl-casts-first-transgender-superhero-on-television\" target=\"_blank\" rel=\"noopener noreferrer\">first transgender superhero\u003c/a> to be featured in a television show. Nicole Maines plays Nia Nal, who came out last year as a transgender woman named Dreamer who is half-alien and half-human. “That inadvertently [broke] the fourth wall because as Nia’s doing that, so am I,” Maines told \u003ca href=\"https://ew.com/tv/2019/06/14/supergirl-nicole-maines-dreamer/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>. “I’m going on television and declaring my identity as a trans woman, proudly, unapologetically, and in hopes of inspiring people.” The increasing representation of trans people in media has “taught me there are people in Hollywood who care,” Maines said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feige told the New York Film Academy audience that Marvel tries to encourage diversity behind the camera as well. “Both films we have coming out in 2020 are directed by women,” as are multiple Disney+ shows, he said. “It makes for better stories,” he continued. “When you’re sitting at a table … if everybody looks like you, you’re in trouble. You’re not going to get the best story out of that.”\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=Marvel+Cinematic+Universe+To+Get+First+Trans+Character&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Marvel Cinematic Universe is expanding, and soon fans will see a transgender character.\u003c/p>\n\u003cp>At an event Saturday at the New York Film Academy, the president of Marvel Studios was asked whether there were plans to bring “more LGBT+ characters” into the Marvel universe, “specifically the T, trans characters?”\u003c/p>\n\u003cp>“Yes, absolutely, yes,” Marvel Studios president Kevin Feige \u003ca href=\"https://youtu.be/d_P8V6KPnoc?t=1395\" target=\"_blank\" rel=\"noopener noreferrer\">responded\u003c/a>. “And very soon—in a movie that we’re shooting right now.” Feige didn’t go into details, such as what superpower the character might have, or which movie the character would appear in.\u003c/p>\n\u003cp>Marvel is currently shooting \u003cem>The Eternals\u003c/em>, which \u003ca href=\"https://people.com/movies/marvel-the-eternals-character-will-be-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">will feature\u003c/a> its first gay character, and its first deaf superhero. And the next installment in the Thor franchise will see Tessa Thompson playing Valkyrie, who will have an LGBT storyline. “As a new king, she needs to find her queen,” Thompson \u003ca href=\"https://io9.gizmodo.com/its-official-valkyrie-will-be-the-mcus-first-lgbtq-her-1836569528\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a>.\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/d_P8V6KPnoc'\n title='//www.youtube.com/embed/d_P8V6KPnoc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marvel made history in 2018 when it released \u003cem>Black Panther\u003c/em>, the first mainstream superhero movie featuring black superheroes and a mostly black cast. “\u003cem>Black Panther\u003c/em> is a story we haven’t seen told before in popular cinema—a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism,” \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">wrote NPR’s Glen Weldon\u003c/a> at the time.\u003c/p>\n\u003cp>“It’s a fantasy, in other words—but then, that’s exactly what superhero stories are for,” Weldon said. “It’s difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who’ve spent their lives unthinkingly soaking in it.”\u003c/p>\n\u003cp>In last year’s \u003cem>Captain Marvel\u003c/em>, Brie Larson played the eponymous character, who (spoiler alert) turns out to be one of the most powerful characters in the entire Marvel universe. She was the second woman in the Marvel universe to lead her own movie—or, as film critic \u003ca href=\"https://www.npr.org/2019/03/08/701480772/captain-marvel-falls-short-of-instilling-its-heroine-with-a-distinctive-personal\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Chang wrote\u003c/a>, the \u003cem>first \u003c/em>“assuming you don’t count the ill-fated 2005 Jennifer Garner vehicle, \u003cem>Elektra\u003c/em>.”\u003c/p>\n\u003cp>With \u003cem>Black Panther\u003c/em> and \u003cem>Captain Marvel\u003c/em>, “we wanted to keep showcasing heroes from the comics that represent the world that goes to see our movies,” Feige said. “So our intention was always to continue to do that.” Both of those movies were so successful, Feige said, that they “have inspired other companies around the world to do the same thing and tell those different types of stories.”\u003c/p>\n\u003cp>Marvel wouldn’t be the first studio to feature a transgender superhero. That distinction belongs to CW’s \u003cem>Supergirl\u003c/em>, which in 2018 cast the \u003ca href=\"https://www.npr.org/2018/07/23/631693257/supergirl-casts-first-transgender-superhero-on-television\" target=\"_blank\" rel=\"noopener noreferrer\">first transgender superhero\u003c/a> to be featured in a television show. Nicole Maines plays Nia Nal, who came out last year as a transgender woman named Dreamer who is half-alien and half-human. “That inadvertently [broke] the fourth wall because as Nia’s doing that, so am I,” Maines told \u003ca href=\"https://ew.com/tv/2019/06/14/supergirl-nicole-maines-dreamer/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>. “I’m going on television and declaring my identity as a trans woman, proudly, unapologetically, and in hopes of inspiring people.” The increasing representation of trans people in media has “taught me there are people in Hollywood who care,” Maines said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feige told the New York Film Academy audience that Marvel tries to encourage diversity behind the camera as well. “Both films we have coming out in 2020 are directed by women,” as are multiple Disney+ shows, he said. “It makes for better stories,” he continued. “When you’re sitting at a table … if everybody looks like you, you’re in trouble. You’re not going to get the best story out of that.”\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=Marvel+Cinematic+Universe+To+Get+First+Trans+Character&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Adam Sandler has been playing jerks and sleazebags for most of his career, but until now his movies didn’t make a habit of acknowledging it. So it’s exhilarating to watch \u003cem>Uncut Gems\u003c/em>, a gritty indie funhouse ride that sets Sandler loose in a world just as manic and angry as his character—a world in which his absurd, impulsive actions have real consequences. Like every straight male under the age of 40, the writer-director brothers Benny and Josh Safdie grew up with the sound of Sandler’s screech in their brains. Here they’ve cracked the code for how to build a riveting story around it, and Sandler himself—in a ratty goatee, designer clothes, and lounge-lizard earrings — has never looked so alive.\u003c/p>\n\u003cp>We’re in the New York Diamond District, the domain of Sandler’s Howard Ratner, a scheming jeweler and compulsive gambler whose high-risk life choices create a lot of unnecessary problems. Already deeply in debt, Howie pawns another man’s collateral on a priceless item to get enough money to place another sports bet; he neglects his wife (Idina Menzel) and family to have an affair with his much younger employee (Julia Fox); and he screws over friend and foe alike with empty promises and IOUs, even as he hoards what little cash he makes for his own schemes. This is an underworld that runs on crass materialism and smokescreens, where rare minerals share a display case and a bartering currency with fake Rolexes, and every space Howie enters seems to be literally glittering with both promise and instability. But he does have a soul buried under that flashy grin, if he can ever figure out who it’s in service of.\u003c/p>\n\u003cp>https://youtu.be/vTfJp2Ts9X8\u003c/p>\n\u003cp>As filmmakers, the Safdies are uniquely attuned to street-level dramas on the margins, but they’re also savvy students of genre, and so of course their movie about a jeweler pivots around a shiny MacGuffin. Howie has procured an ultra-rare opal from an Ethiopian diamond mine (it’s sent to him stuffed inside a frozen fish for safekeeping) and plans to put it up at auction for north of a million dollars. But that’s before Kevin Garnett walks into his life. The NBA star (playing himself in his prime, in a Hall of Fame performance for celebrity non-actors) is entranced by the opal, seeing visions of himself in its prism of pure light and color. This is the most elementary appeal of jewelry, after all, and the Safdies literally plunge us inside the radiant visions this stone induces, visualizing the geological perfection that makes so many sane people do crazy things. KG himself knows \u003ca href=\"https://www.youtube.com/watch?v=Wcz_kDCBTBk\">anything is possible\u003c/a>.\u003c/p>\n\u003cp>Garnett convinces Howie to let him borrow the stone as a good-luck charm while he plays the 2012 NBA semifinals, thus setting off a chain of events that will leave Howie scrambling to stay one step ahead of the debts he owes even as he accumulates more. What’s great about Sandler’s work here is that, the further he sinks into the muck, the more confident he becomes. He juggles the many, many threats on his life so that he becomes the ringleader of his own circus, gleefully lying through his teeth, spinning verbal patter and slipping into deep, guttural fits of rage when his ducks don’t line up precisely. Even the scenes of him watching basketball are riveting. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Uncut Gems\u003c/em> follows the mold of the Safdies’ previous effort, \u003cem>Good Time\u003c/em>, another breakneck New York tale about a guy with a gift for making bad situations worse. These kinds of movies are liable to cause heart palpitations. They shoot their spiralling heroes in tight, claustrophobic close-ups (although cinematographer Darius Khondji is also a fan of security-camera-style overhead zooms) and edit their journeys to induce constant whiplash, with an eye for the tactile qualities of every face, jewel and carpeted backroom. They also know precisely which buttons to push in their audience: using borrowed time to double down on bad bets is not for those who crave order in their lives. \u003c/p>\n\u003cp>But \u003cem>Gems\u003c/em> also wraps up its most high-wire scenes in some amazing comic setpieces. A malfunction in Howie’s security door traps Garnett and his fixer (LaKeith Stanfield) behind bulletproof glass for several minutes. When some collectors pay a visit to Howie during his daughter’s school play, they beat him, strip him naked and shove him into the trunk of his car, layering on the humiliations in compounded interest. The movie understands the comic (and cosmic) power of making the world’s best bluffer run straight off a cliff.\u003c/p>\n\u003cp>Of course, thanks to fare like \u003cem>Punch-Drunk Love\u003c/em>, we’ve known Sandler was always capable of a performance like this. But it feels even sweeter plopped into his extended late-career phase of lazy cash-cow comedies. After all, this character’s worldview is the product of a bottomless tackiness and naked desire for profit, a middle-aged man who wants the world to know what he thinks he’s worth. There’s not much daylight between Howie hawking a bedazzled Furby to star athletes and the real Sandler roping Al Pacino into a \u003ca href=\"https://www.youtube.com/watch?v=AeLuQQH1OHA\" target=\"_blank\" rel=\"noopener noreferrer\">retina-scarring Dunkin’ Donuts commercial\u003c/a>. What’s different is the self-reflection, the knowledge that bending the world to your will over and over is going to piss off everyone around you. This is what the actor and the film do so well in concert with each other. It’s the right movie for the right person at the right time, a thing of strange beauty forged under a mountain of heat, pressure and irritation. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adam Sandler has been playing jerks and sleazebags for most of his career, but until now his movies didn’t make a habit of acknowledging it. So it’s exhilarating to watch \u003cem>Uncut Gems\u003c/em>, a gritty indie funhouse ride that sets Sandler loose in a world just as manic and angry as his character—a world in which his absurd, impulsive actions have real consequences. Like every straight male under the age of 40, the writer-director brothers Benny and Josh Safdie grew up with the sound of Sandler’s screech in their brains. Here they’ve cracked the code for how to build a riveting story around it, and Sandler himself—in a ratty goatee, designer clothes, and lounge-lizard earrings — has never looked so alive.\u003c/p>\n\u003cp>We’re in the New York Diamond District, the domain of Sandler’s Howard Ratner, a scheming jeweler and compulsive gambler whose high-risk life choices create a lot of unnecessary problems. Already deeply in debt, Howie pawns another man’s collateral on a priceless item to get enough money to place another sports bet; he neglects his wife (Idina Menzel) and family to have an affair with his much younger employee (Julia Fox); and he screws over friend and foe alike with empty promises and IOUs, even as he hoards what little cash he makes for his own schemes. This is an underworld that runs on crass materialism and smokescreens, where rare minerals share a display case and a bartering currency with fake Rolexes, and every space Howie enters seems to be literally glittering with both promise and instability. But he does have a soul buried under that flashy grin, if he can ever figure out who it’s in service of.\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/vTfJp2Ts9X8'\n title='//www.youtube.com/embed/vTfJp2Ts9X8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As filmmakers, the Safdies are uniquely attuned to street-level dramas on the margins, but they’re also savvy students of genre, and so of course their movie about a jeweler pivots around a shiny MacGuffin. Howie has procured an ultra-rare opal from an Ethiopian diamond mine (it’s sent to him stuffed inside a frozen fish for safekeeping) and plans to put it up at auction for north of a million dollars. But that’s before Kevin Garnett walks into his life. The NBA star (playing himself in his prime, in a Hall of Fame performance for celebrity non-actors) is entranced by the opal, seeing visions of himself in its prism of pure light and color. This is the most elementary appeal of jewelry, after all, and the Safdies literally plunge us inside the radiant visions this stone induces, visualizing the geological perfection that makes so many sane people do crazy things. KG himself knows \u003ca href=\"https://www.youtube.com/watch?v=Wcz_kDCBTBk\">anything is possible\u003c/a>.\u003c/p>\n\u003cp>Garnett convinces Howie to let him borrow the stone as a good-luck charm while he plays the 2012 NBA semifinals, thus setting off a chain of events that will leave Howie scrambling to stay one step ahead of the debts he owes even as he accumulates more. What’s great about Sandler’s work here is that, the further he sinks into the muck, the more confident he becomes. He juggles the many, many threats on his life so that he becomes the ringleader of his own circus, gleefully lying through his teeth, spinning verbal patter and slipping into deep, guttural fits of rage when his ducks don’t line up precisely. Even the scenes of him watching basketball are riveting. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Uncut Gems\u003c/em> follows the mold of the Safdies’ previous effort, \u003cem>Good Time\u003c/em>, another breakneck New York tale about a guy with a gift for making bad situations worse. These kinds of movies are liable to cause heart palpitations. They shoot their spiralling heroes in tight, claustrophobic close-ups (although cinematographer Darius Khondji is also a fan of security-camera-style overhead zooms) and edit their journeys to induce constant whiplash, with an eye for the tactile qualities of every face, jewel and carpeted backroom. They also know precisely which buttons to push in their audience: using borrowed time to double down on bad bets is not for those who crave order in their lives. \u003c/p>\n\u003cp>But \u003cem>Gems\u003c/em> also wraps up its most high-wire scenes in some amazing comic setpieces. A malfunction in Howie’s security door traps Garnett and his fixer (LaKeith Stanfield) behind bulletproof glass for several minutes. When some collectors pay a visit to Howie during his daughter’s school play, they beat him, strip him naked and shove him into the trunk of his car, layering on the humiliations in compounded interest. The movie understands the comic (and cosmic) power of making the world’s best bluffer run straight off a cliff.\u003c/p>\n\u003cp>Of course, thanks to fare like \u003cem>Punch-Drunk Love\u003c/em>, we’ve known Sandler was always capable of a performance like this. But it feels even sweeter plopped into his extended late-career phase of lazy cash-cow comedies. After all, this character’s worldview is the product of a bottomless tackiness and naked desire for profit, a middle-aged man who wants the world to know what he thinks he’s worth. There’s not much daylight between Howie hawking a bedazzled Furby to star athletes and the real Sandler roping Al Pacino into a \u003ca href=\"https://www.youtube.com/watch?v=AeLuQQH1OHA\" target=\"_blank\" rel=\"noopener noreferrer\">retina-scarring Dunkin’ Donuts commercial\u003c/a>. What’s different is the self-reflection, the knowledge that bending the world to your will over and over is going to piss off everyone around you. This is what the actor and the film do so well in concert with each other. It’s the right movie for the right person at the right time, a thing of strange beauty forged under a mountain of heat, pressure and irritation. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Memoriam 2019: The Musicians We Lost",
"headTitle": "In Memoriam 2019: The Musicians We Lost | KQED",
"content": "\u003cp>Heroes of alt-rock and idols of classic Hollywood, jazz luminaries and Pulitzer-winning composers, cult legends and rule-breakers, rising stars and old masters: Music communities around the globe lost dozens of shining voices this year. Here’s NPR Music’s celebration of some of the musicians who left the world in 2019.\u003c/p>\n\u003chr>\n\u003ch3>Clydie King\u003c/h3>\n\u003cp>\u003cem>Aug. 21, 1943 – Jan. 7, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4nph9B2dSXk\u003c/p>\n\u003cp>King began her career by leading her own doo-wop group, but the Dallas native found her way to greater renown as an in-demand backup singer, recording with the likes of Ray Charles, The Rolling Stones, Lynyrd Skynyrd, Steely Dan and Bob Dylan. \u003c/p>\n\u003chr>\n\u003ch3>Joseph Jarman\u003c/h3>\n\u003cp>\u003cem>Sept. 14, 1937 – Jan. 9, 2019\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iuaBJ8-EVSg\u003c/p>\n\u003cp>An integral member of the Art Ensemble of Chicago who later was ordained as a Buddhist priest, the saxophonist, composer and multi-instrumentalist pushed experimental jazz, and the sounds he coaxed from his instruments, toward new horizons. (\u003ca href=\"https://www.npr.org/2019/01/19/686554564/different-ways-to-see-and-be-the-lives-of-joseph-jarman-and-alvin-fielder\" target=\"_blank\" rel=\"noopener noreferrer\">Read the NPR essay\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Carol Channing\u003c/h3>\n\u003cp>\u003cem>Jan. 31, 1921 – Jan. 15, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mknDZ88-zfg\u003c/p>\n\u003cp>Though she’ll always be identified with \u003cem>Hello, Dolly!\u003c/em>, Channing’s prolific career in theater, film, television and recording spanned more than six decades. (\u003ca href=\"https://www.npr.org/2019/01/15/105807270/bidding-farewell-to-hello-dolly-actress-carol-channing-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Oliver Mtukudzi\u003c/h3>\n\u003cp>\u003cem>Sept. 22, 1952 – Jan. 23, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GhXGyer-cIg\u003c/p>\n\u003cp>Known as “Tuku” to his legion of fans, Mtukudzi often aimed his songwriting at the politics of his native Zimbabwe—celebrating the country’s new independence in the early 1980s and criticizing the rule of Robert Mugabe as it stretched into the 2010s. (\u003ca href=\"https://www.npr.org/2019/01/24/687943803/african-music-legend-oliver-tuku-mtukudzi-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Michel Legrand\u003c/h3>\n\u003cp>\u003cem>Feb. 24, 1932 – Jan. 26, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DcFH66IyXCU\u003c/p>\n\u003cp>The French musician was a prolific composer of film scores, with collaborators including directors Jean-Luc Godard, Agnès Varda and Jacques Demy. His work on 1968’s \u003cem>The Thomas Crown Affair\u003c/em> brought him the first of several Oscars and many nominations. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>James Ingram\u003c/h3>\n\u003cp>\u003cem>Feb. 16, 1952 – January 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FUsnVOqrqqE\u003c/p>\n\u003cp>With a signature timbre that instantly evokes the classic R&B sound of the 1980s, Ingram landed two Grammys and two No. 1 hits as a singer and became an in-demand collaborator, co-writing with Quincy Jones and dueting with Linda Ronstadt. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ethel Ennis\u003c/h3>\n\u003cp>\u003cem>Nov. 28, 1932 – Feb. 17, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jW9X7kHGoho\u003c/p>\n\u003cp>A singer, community builder and regional celebrity—known in Baltimore as the city’s “First Lady of Jazz”—Ennis’ recordings in the mid-20th century became vital contributions to a heyday of vocal jazz and traditional pop. (\u003ca href=\"https://www.wbgo.org/post/ethel-ennis-sophisticated-singer-who-reigned-baltimores-first-lady-jazz-dies-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dominick Argento\u003c/h3>\n\u003cp>\u003cem>Oct. 27, 1927 – Feb. 20, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4bMf2ipOnCo\u003c/p>\n\u003cp>The Pulitzer-winning composer was best known for his lyrical and astringent music for the human voice, writing 13 operas as well as a number of song cycles and choral works. (\u003ca href=\"https://www.npr.org/2019/02/22/697025521/dominick-argento-literature-loving-and-pulitzer-prize-winning-composer-dead-at-9\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jackie Shane\u003c/h3>\n\u003cp>\u003cem>May 15, 1940 – February 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yUYW2iwimBw\u003c/p>\n\u003cp>The trailblazing transgender soul singer from Nashville found fame in Toronto in the 1960s, and a cult following later, before retreating underground for decades. She resurfaced in 2017 when a compilation of her recordings drew new attention to her life and career. (\u003ca href=\"https://www.npr.org/sections/therecord/2017/10/25/559775225/jackie-shane-a-force-of-nature-who-disappeared-has-a-story-all-her-own\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR essay from 2017\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Peter Tork\u003c/h3>\n\u003cp>\u003cem>Feb. 13, 1942 – Feb. 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xvqeSJlgaNk\u003c/p>\n\u003cp>Tork was the oldest of the made-for-TV rock quartet The Monkees, and a musician in his own right before being cast. The sitcom band fashioned as a prefab answer to The Beatles found its way to real-world No. 1 hits, including “Last Train to Clarksville” and “I’m a Believer.” (\u003ca href=\"https://www.npr.org/2019/02/21/696864784/peter-tork-of-the-monkees-dies-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mark Hollis\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1955 – Feb. 25, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cFH5JgyZK1I\u003c/p>\n\u003cp>Hollis was the mastermind of the influential U.K. band Talk Talk, which touched both the heights of radio pop with songs like “It’s My Life” and the fringes of what would come to be known as post-rock with albums like \u003cem>Spirit of Eden\u003c/em>. (\u003ca href=\"https://www.npr.org/2019/02/28/698650688/mark-hollis-and-talk-talks-brilliant-nuanced-stubborn-visions\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>André Previn\u003c/h3>\n\u003cp>\u003cem>April 6, 1929 – Feb. 28, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6CPv7sX7CG8\u003c/p>\n\u003cp>Previn was a celebrated polymath: a composer of Oscar-winning film music, conductor, pianist and music director of major orchestras, including the symphonies of Houston, Pittsburgh and London. (\u003ca href=\"https://www.npr.org/sections/thetwo-way/2019/02/28/517960940/andre-previn-musical-polymath-has-died-at-age-89\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Keith Flint\u003c/h3>\n\u003cp>\u003cem>Sept. 17, 1969 – March 4, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wmin5WkOuPw\u003c/p>\n\u003cp>Flint was the ragged voice and scowling face of The Prodigy’s barnstorming 1990s singles “Firestarter” and “Breathe,” which made the British dance act a sensation with alternative rock fans and helped popularize big-beat music in America. (\u003ca href=\"https://www.npr.org/2019/03/04/699974575/keith-flint-vocalist-of-techno-popularizers-the-prodigy-dead-at-49\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Hal Blaine\u003c/h3>\n\u003cp>\u003cem>Feb. 5, 1929 – March 11, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZV5tgZlTEkQ\u003c/p>\n\u003cp>Blaine was part of the session dream team The Wrecking Crew, but his resume was in a class all its own. His drumming backed Grammy-winning and chart-topping songs by Frank Sinatra, The Beach Boys, Simon & Garfunkel and many more, and is the signature pulse of The Ronettes’ “Be My Baby.” (\u003ca href=\"https://www.npr.org/2019/03/12/702485933/hal-blaine-most-recorded-drummer-in-history-dies-at-90\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dick Dale\u003c/h3>\n\u003cp>\u003cem>May 4, 1937 – March 16, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mKpsuGMeqHI\u003c/p>\n\u003cp>Born Richard Anthony Monsour, Dale changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. His high-energy interpretation of an old song from Asia Minor, “Misirlou,” became surf rock’s calling card. (\u003ca href=\"https://www.npr.org/2019/03/18/704329806/dick-dale-surf-guitar-legend-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Scott Walker\u003c/h3>\n\u003cp>\u003cem>Jan. 9, 1943 – March 22, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zP3zCsMC5cE\u003c/p>\n\u003cp>Walker was first known for his work with blue-eyed soul trio The Walker Brothers in the 1960s, but it was his late-career trilogy of challenging art-rock albums that defined his reputation as one of avant-garde music’s most electrifying auteurs. (\u003ca href=\"https://www.npr.org/2019/03/25/706469684/scott-walker-pop-idol-turned-avant-auteur-dies-at-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ranking Roger\u003c/h3>\n\u003cp>\u003cem>Feb. 21, 1963 – March 26, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SHWrmIzgB5A\u003c/p>\n\u003cp>As a singer for the U.K. band The Beat (known as The English Beat in the U.S.), Roger Charlery helped transform ska into the subgenre two-tone, infusing the Caribbean-rooted music with punk-rock structures and ’80s textures. (\u003ca href=\"https://www.npr.org/2019/03/27/707147386/ranking-roger-frontman-for-the-english-beat-dies-at-56\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Nipsey Hussle\u003c/h3>\n\u003cp>\u003cem>Aug. 15, 1985 – March 31, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PAcGg_4KKYs\u003c/p>\n\u003cp>A beloved inspirational figure in hip-hop, the rapper and philanthropist born Ermias Joseph Asghedom survived gang life in South Central Los Angeles and legitimized his street hustle, using his entrepreneurial skills to create economic empowerment in his community. (\u003ca href=\"https://www.npr.org/2019/04/01/708675102/nipsey-hussle-grammy-nominated-rapper-and-philanthropist-shot-and-killed\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Beth Carvalho\u003c/h3>\n\u003cp>\u003cem>May 5, 1946 – April 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zav50SgbK8o\u003c/p>\n\u003cp>Known as the “godmother of samba” in Brazil, Carvalho propelled her country’s music forward with her husky voice and infectious performances, which earned her a lifetime achievement honor from the Latin Grammy Awards.\u003c/p>\n\u003chr>\n\u003ch3>Doris Day\u003c/h3>\n\u003cp>\u003cem>April 3, 1922 – May 13, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=td7lCCO9aaQ\u003c/p>\n\u003cp>A big-band singer and actress who became a titan of classic Hollywood, Day made nearly three dozen films and more than 600 recordings, topping both the \u003cem>Billboard\u003c/em> and box office charts at the height of her career. (\u003ca href=\"https://www.npr.org/2019/05/13/225446337/actress-and-singer-doris-day-hollywoods-girl-next-door-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Leon Redbone\u003c/h3>\n\u003cp>\u003cem>Aug. 26, 1949 – May 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FUxbInKev-o\u003c/p>\n\u003cp>Playing dusty classics from Tin Pan Alley and ragtime to blues and country with a loose fidelity and a wry style, the famously mysterious artist became an object of fascination and admiration, with famous fans including Bob Dylan, Bonnie Raitt and John Prine. (\u003ca href=\"https://www.npr.org/2019/05/30/728315252/leon-redbone-an-unusual-singer-from-a-bygone-era-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Roky Erickson\u003c/h3>\n\u003cp>\u003cem>July 15, 1947 – May 31, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gHK9vj0VE7w\u003c/p>\n\u003cp>Perhaps the embodiment of his hometown’s slogan, “Keep Austin Weird,” the psychedelic lodestar helmed The 13th Floor Elevators and wrote one of garage rock’s original anthems, “You’re Gonna Miss Me,” forging new paths for rock music and becoming a beloved cult figure. (\u003ca href=\"https://www.npr.org/2019/05/31/728821278/roky-erickson-of-the-13th-floor-elevators-dies-at-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dr. John\u003c/h3>\n\u003cp>\u003cem>Nov. 21, 1940 – June 6, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SCRrXZP8b0I\u003c/p>\n\u003cp>The pianist, guitarist, jive talker and psychedelic godfather born Malcolm John Rebennack was among the most beloved fixtures of New Orleans music, carving wide lanes through blues, jazz and rock with an unmistakable look, voice and personality. (\u003ca href=\"https://www.npr.org/2019/06/06/730481477/dr-john-legend-of-new-orleans-dead-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Bushwick Bill\u003c/h3>\n\u003cp>\u003cem>Dec. 8, 1966 – June 9, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IJtHdkyo0hc\u003c/p>\n\u003cp>Born Richard Shaw in Kingston, Jamaica, the MC was a founding member of the pioneering Houston trio Geto Boys, whose dark horrorcore raps helped put the city on hip-hop’s map. (\u003ca href=\"https://www.npr.org/2019/06/10/731076691/bushwick-bill-of-houston-rap-group-geto-boys-dead-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dave Bartholomew\u003c/h3>\n\u003cp>\u003cem>Dec. 24, 1918 – June 23, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LNjuxtjtuWg\u003c/p>\n\u003cp>Best known for collaborating on an extraordinary string of hits with Fats Domino, the New Orleans trumpeter, songwriter, bandleader, producer and arranger was one of the primary architects of the sound that became rock and roll. (\u003ca href=\"https://www.npr.org/2019/06/23/698212277/dave-bartholomew-a-father-of-rock-and-roll-dead-at-100\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>João Gilberto\u003c/h3>\n\u003cp>\u003cem>June 10, 1931 – July 6, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g6w3a2v_50U\u003c/p>\n\u003cp>Gilberto was the founding master of bossa nova, which drew on Brazil’s African-influenced samba tradition but was performed without the usual battery of drums and rhythm instruments. His intimate and nuanced guitar playing and singing became central to the style. (\u003ca href=\"https://www.npr.org/2019/07/06/739224759/jo-o-gilberto-master-of-bossa-nova-dies-at-88\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Johnny Clegg\u003c/h3>\n\u003cp>\u003cem>June 7, 1953 – July 16, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qnYtcH4YS44\u003c/p>\n\u003cp>A singer, dancer and activist who co-founded two groundbreaking, racially mixed bands during the apartheid era, Clegg was one of the most celebrated voices in modern South African music. (\u003ca href=\"https://www.npr.org/2019/07/16/738065415/johnny-clegg-a-uniting-voice-against-apartheid-dies-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ben Johnston\u003c/h3>\n\u003cp>\u003cem>March 15, 1926 – July 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wp7VjBtOJ74\u003c/p>\n\u003cp>A master of microtonal music, the avant-garde composer heard notes between the standard 12 pitches in an octave to create a wide range of pieces for orchestra, chamber ensembles, piano and stage. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2016/12/31/507542859/ben-johnston-hears-the-notes-between-the-notes\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR profile from 2016\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Art Neville\u003c/h3>\n\u003cp>\u003cem>Dec. 17, 1937 – July 22, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TKDMiyRmbik\u003c/p>\n\u003cp>The keyboardist, singer and songwriter sometimes known as “Poppa Funk” was a founding member of The Meters and of The Neville Brothers, the musical family whose soul sound traveled far beyond its home base of New Orleans. (\u003ca href=\"https://www.npr.org/2019/07/22/744150388/art-neville-a-new-orleans-icon-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>David Berman\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1967 – Aug. 7, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XvUBbROsXBw\u003c/p>\n\u003cp>In his songs as Silver Jews and more recently as Purple Mountains, alongside frequent collaborators Pavement and labelmates Bill Callahan and Will Oldham, Berman established himself as a world-class lyricist who embodied indie rock’s literate side. (\u003ca href=\"https://www.npr.org/2019/08/07/749245911/silver-jews-david-berman-dies-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Celso Piña\u003c/h3>\n\u003cp>\u003cem>April 6, 1953 – Aug. 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z2c5xCmLiAE\u003c/p>\n\u003cp>The prolific and celebrated Mexican accordion player contributed greatly to the evolution of cumbia, bringing the Colombian folk style to stages around the world and deftly blending it with contemporary Latin styles. (\u003ca href=\"https://www.npr.org/sections/altlatino/2019/08/23/753687796/accordion-master-celso-pina-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Camilo Sesto\u003c/h3>\n\u003cp>\u003cem>Sept. 16, 1946 – Sept. 8, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xVDmyuzkiPo\u003c/p>\n\u003cp>This Spanish pop sensation amassed dozens of No. 1 songs worldwide, wrote and produced hits for his Latin pop peers and starred in a Spanish-language adaptation of \u003cem>Jesus Christ Superstar\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Daniel Johnston\u003c/h3>\n\u003cp>\u003cem>Jan. 22, 1961 – Sept. 11, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3OvWFurOBk8\u003c/p>\n\u003cp>The outsider singer, songwriter and visual artist was a true musician’s musician. His guileless lyrics about love and alienation found fans in artists like Tom Waits, Yo La Tengo, Bright Eyes and Kurt Cobain, whose appreciation of his work helped bring it to a wider audience. (\u003ca href=\"https://www.npr.org/2019/09/11/759904906/daniel-johnston-acclaimed-singer-songwriter-dies-at-58\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ric Ocasek\u003c/h3>\n\u003cp>\u003cem>March 23, 1944 – Sept. 15, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xuZA6qiJVfU\u003c/p>\n\u003cp>As the leader of The Cars, Ocasek wove offbeat new-wave elements into a hook-savvy Top 40 sound, and rocked a distinctive look perfect for MTV. His influence outlasted the group’s 1980s reign, as he became a commanding producer for a younger generation of alternative bands. (\u003ca href=\"https://www.npr.org/2019/09/15/761076999/ric-ocasek-frontman-of-the-cars-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Harold Mabern\u003c/h3>\n\u003cp>\u003cem>March 20, 1936 – Sept. 17, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=INPSuX3rck8\u003c/p>\n\u003cp>Mabern was a jazz pianist of percussive fire and boundless soul, with a language that pulled from hard bop, post-bop, Memphis soul and the blues. His penchant for block chords combined McCoy Tyner’s modal coloration with the ringing affirmations of gospel. (\u003ca href=\"https://www.wbgo.org/post/harold-mabern-pianist-who-mastered-post-bop-blues-and-memphis-soul-dead-83\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Christopher Rouse\u003c/h3>\n\u003cp>\u003cem>Feb. 15, 1949 – Sept. 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T4SlLHTLaLc\u003c/p>\n\u003cp>A composer of uncompromisingly expressive works, primarily for orchestra (one of which earned him a Pulitzer Prize), Rouse also taught courses in the history of rock. He once called himself a writer of “fast and furious” music. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2019/09/23/763418066/remembering-the-fast-and-furious-music-of-christopher-rouse\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Robert Hunter\u003c/h3>\n\u003cp>\u003cem>June 23, 1941 – Sept. 23, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pafY6sZt0FE\u003c/p>\n\u003cp>As the Grateful Dead’s behind-the-scenes lyricist, Hunter provided the band with many of its most enduring lines, including the rock radio staple “Truckin’ ” and its immortal refrain, “What a long, strange trip it’s been.” (\u003ca href=\"https://www.npr.org/2019/09/25/763933353/robert-hunters-words-helped-bring-life-to-the-grateful-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>José José\u003c/h3>\n\u003cp>\u003cem>Feb. 17, 1948 – Sept. 28, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E20G25SCAEg\u003c/p>\n\u003cp>Known as Mexico’s “Prince of Song,” the powerhouse crooner born José Rómulo Sosa Ortiz was a fixture of the Latin charts in the 1970s and ’80s. In the 2000s he received lifetime achievement honors from the Latin Grammys and a star on the Hollywood Walk of Fame. (\u003ca href=\"https://www.npr.org/2019/09/30/765653356/jos-jos-the-prince-of-song-dies-at-age-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jessye Norman\u003c/h3>\n\u003cp>\u003cem>Sept. 15, 1945 – Sept. 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jOIAi2XwuWo\u003c/p>\n\u003cp>Praised for the beauty and opulence of her voice, Norman crafted a distinctive career that spanned decades and styles of music, becoming a leading figure both in the opera house and on the recital stage. Her repertoire was broad, from baroque music to modernists, pop songs and blues to her beloved Duke Ellington. (\u003ca href=\"https://www.npr.org/2019/09/30/765886905/opera-singer-jessye-norman-dies-at-74\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Giya Kancheli\u003c/h3>\n\u003cp>\u003cem>Aug. 10, 1935 – Oct. 2, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8uv0yNUduOk\u003c/p>\n\u003cp>The Georgian composer’s work spanned seven symphonies and large-scale works (like his \u003cem>Styx \u003c/em>for viola, chorus and orchestra), as well as many intimate pieces for small ensembles and solo instruments, like the sweet, wistful piano tune “When Almonds Blossomed.” (\u003ca href=\"https://www.npr.org/2019/10/02/766505272/composer-giya-kancheli-championed-by-ecm-dies-at-84\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Kim Shattuck\u003c/h3>\n\u003cp>\u003cem>July 17, 1963 – Oct. 2, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vsxyaZhdW1s\u003c/p>\n\u003cp>Shattuck was best known as the singer, guitarist and primary songwriter of The Muffs, but she was also one of alternative rock’s favorite guest artists, singing on tracks by NOFX and Bowling for Soup and playing bass on tour with the reunited Pixies. (\u003ca href=\"https://www.npr.org/2019/10/03/766780466/kim-shattuck-an-enduring-presence-in-l-a-punk-dead-at-56\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ginger Baker\u003c/h3>\n\u003cp>\u003cem>Aug. 19, 1939 – Oct. 6, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8O5IgyDcohQ\u003c/p>\n\u003cp>As the engine room of Cream, Blind Faith and other bands of the 1960s and ’70s, Baker’s intensity, inventiveness and fluency in the polyrhythms of jazz and Afrobeat made him a primary inspiration for generations of rock drummers. (\u003ca href=\"https://www.npr.org/2019/10/06/765781758/ginger-baker-cream-drummer-and-force-of-nature-dies-at-80\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Raymond Leppard\u003c/h3>\n\u003cp>\u003cem>Aug. 11, 1927 – Oct. 22, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5OCW7KVUbdg\u003c/p>\n\u003cp>With full-bodied performances and pioneering scholarship, the British-born conductor, harpsichordist and composer helped reintroduce audiences to 16th and 17th century Italian masterpieces, and wrote contemporary works for stage and screen. (\u003ca href=\"https://www.npr.org/2019/10/22/771849121/conductor-and-composer-raymond-leppard-a-champion-of-the-old-and-the-new-has-die\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mariss Jansons\u003c/h3>\n\u003cp>\u003cem>Jan. 14, 1943 – Nov. 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2piCORWRrX0\u003c/p>\n\u003cp>Hailed for incisive and evocative performances of works by Mahler, Tchaikovsky, Rachmaninoff and Strauss, the conductor enjoyed a truly global career, directing major orchestras in Russia, Norway, England and the United States. (\u003ca href=\"https://www.npr.org/2019/12/02/784137730/famed-conductor-mariss-jansons-has-died-age-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Juice WRLD\u003c/h3>\n\u003cp>\u003cem>Dec. 2, 1998 – Dec. 8, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mzB1VGEGcSU\u003c/p>\n\u003cp>The young Chicago rapper born Jarad Anthony Higgins was one of the fastest-rising names in the emo-rap subculture that incubated on SoundCloud before exploding onto the charts. His 2017 single “Lucid Dreams” hit No. 2 on the \u003cem>Billboard\u003c/em> Hot 100, and this March his album \u003cem>Death Race for Love\u003c/em> went to No. 1. (\u003ca href=\"https://www.npr.org/2019/12/08/786064628/reports-rapper-juice-wrld-dead-at-age-21\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jerry Herman\u003c/h3>\n\u003cp>\u003cem>July 10, 1931 – Dec. 26, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qfceR0mJuEc\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Broadway legend was the songwriter behind hit musicals including \u003cem>Hello, Dolly!\u003c/em>, \u003cem>Mame \u003c/em>and \u003cem>La Cage aux Folles\u003c/em>. His shows created signature roles for their stars and, in the case of \u003cem>Hello, Dolly!\u003c/em>, knocked The Beatles off the top of the \u003cem>Billboard\u003c/em> Hot 100 when Louis Armstrong covered the title tune.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=In+Memoriam+2019%3A+The+Musicians+We+Lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "NPR Music celebrates the alt-rock heroes, Hollywood idols, Pulitzer-winning composers, jazz luminaries, cult legends, bold activists, old masters and rising stars the world lost this year.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heroes of alt-rock and idols of classic Hollywood, jazz luminaries and Pulitzer-winning composers, cult legends and rule-breakers, rising stars and old masters: Music communities around the globe lost dozens of shining voices this year. Here’s NPR Music’s celebration of some of the musicians who left the world in 2019.\u003c/p>\n\u003chr>\n\u003ch3>Clydie King\u003c/h3>\n\u003cp>\u003cem>Aug. 21, 1943 – Jan. 7, 2019\u003c/em>\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/4nph9B2dSXk'\n title='//www.youtube.com/embed/4nph9B2dSXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>King began her career by leading her own doo-wop group, but the Dallas native found her way to greater renown as an in-demand backup singer, recording with the likes of Ray Charles, The Rolling Stones, Lynyrd Skynyrd, Steely Dan and Bob Dylan. \u003c/p>\n\u003chr>\n\u003ch3>Joseph Jarman\u003c/h3>\n\u003cp>\u003cem>Sept. 14, 1937 – Jan. 9, 2019\u003c/em>\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/iuaBJ8-EVSg'\n title='//www.youtube.com/embed/iuaBJ8-EVSg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An integral member of the Art Ensemble of Chicago who later was ordained as a Buddhist priest, the saxophonist, composer and multi-instrumentalist pushed experimental jazz, and the sounds he coaxed from his instruments, toward new horizons. (\u003ca href=\"https://www.npr.org/2019/01/19/686554564/different-ways-to-see-and-be-the-lives-of-joseph-jarman-and-alvin-fielder\" target=\"_blank\" rel=\"noopener noreferrer\">Read the NPR essay\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Carol Channing\u003c/h3>\n\u003cp>\u003cem>Jan. 31, 1921 – Jan. 15, 2019\u003c/em>\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/mknDZ88-zfg'\n title='//www.youtube.com/embed/mknDZ88-zfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though she’ll always be identified with \u003cem>Hello, Dolly!\u003c/em>, Channing’s prolific career in theater, film, television and recording spanned more than six decades. (\u003ca href=\"https://www.npr.org/2019/01/15/105807270/bidding-farewell-to-hello-dolly-actress-carol-channing-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Oliver Mtukudzi\u003c/h3>\n\u003cp>\u003cem>Sept. 22, 1952 – Jan. 23, 2019\u003c/em>\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/GhXGyer-cIg'\n title='//www.youtube.com/embed/GhXGyer-cIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Known as “Tuku” to his legion of fans, Mtukudzi often aimed his songwriting at the politics of his native Zimbabwe—celebrating the country’s new independence in the early 1980s and criticizing the rule of Robert Mugabe as it stretched into the 2010s. (\u003ca href=\"https://www.npr.org/2019/01/24/687943803/african-music-legend-oliver-tuku-mtukudzi-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Michel Legrand\u003c/h3>\n\u003cp>\u003cem>Feb. 24, 1932 – Jan. 26, 2019\u003c/em>\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/DcFH66IyXCU'\n title='//www.youtube.com/embed/DcFH66IyXCU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The French musician was a prolific composer of film scores, with collaborators including directors Jean-Luc Godard, Agnès Varda and Jacques Demy. His work on 1968’s \u003cem>The Thomas Crown Affair\u003c/em> brought him the first of several Oscars and many nominations. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>James Ingram\u003c/h3>\n\u003cp>\u003cem>Feb. 16, 1952 – January 2019\u003c/em>\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/FUsnVOqrqqE'\n title='//www.youtube.com/embed/FUsnVOqrqqE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With a signature timbre that instantly evokes the classic R&B sound of the 1980s, Ingram landed two Grammys and two No. 1 hits as a singer and became an in-demand collaborator, co-writing with Quincy Jones and dueting with Linda Ronstadt. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ethel Ennis\u003c/h3>\n\u003cp>\u003cem>Nov. 28, 1932 – Feb. 17, 2019\u003c/em>\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/jW9X7kHGoho'\n title='//www.youtube.com/embed/jW9X7kHGoho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A singer, community builder and regional celebrity—known in Baltimore as the city’s “First Lady of Jazz”—Ennis’ recordings in the mid-20th century became vital contributions to a heyday of vocal jazz and traditional pop. (\u003ca href=\"https://www.wbgo.org/post/ethel-ennis-sophisticated-singer-who-reigned-baltimores-first-lady-jazz-dies-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dominick Argento\u003c/h3>\n\u003cp>\u003cem>Oct. 27, 1927 – Feb. 20, 2019\u003c/em>\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/4bMf2ipOnCo'\n title='//www.youtube.com/embed/4bMf2ipOnCo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Pulitzer-winning composer was best known for his lyrical and astringent music for the human voice, writing 13 operas as well as a number of song cycles and choral works. (\u003ca href=\"https://www.npr.org/2019/02/22/697025521/dominick-argento-literature-loving-and-pulitzer-prize-winning-composer-dead-at-9\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jackie Shane\u003c/h3>\n\u003cp>\u003cem>May 15, 1940 – February 2019\u003c/em>\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/yUYW2iwimBw'\n title='//www.youtube.com/embed/yUYW2iwimBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trailblazing transgender soul singer from Nashville found fame in Toronto in the 1960s, and a cult following later, before retreating underground for decades. She resurfaced in 2017 when a compilation of her recordings drew new attention to her life and career. (\u003ca href=\"https://www.npr.org/sections/therecord/2017/10/25/559775225/jackie-shane-a-force-of-nature-who-disappeared-has-a-story-all-her-own\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR essay from 2017\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Peter Tork\u003c/h3>\n\u003cp>\u003cem>Feb. 13, 1942 – Feb. 21, 2019\u003c/em>\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/xvqeSJlgaNk'\n title='//www.youtube.com/embed/xvqeSJlgaNk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tork was the oldest of the made-for-TV rock quartet The Monkees, and a musician in his own right before being cast. The sitcom band fashioned as a prefab answer to The Beatles found its way to real-world No. 1 hits, including “Last Train to Clarksville” and “I’m a Believer.” (\u003ca href=\"https://www.npr.org/2019/02/21/696864784/peter-tork-of-the-monkees-dies-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mark Hollis\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1955 – Feb. 25, 2019\u003c/em>\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/cFH5JgyZK1I'\n title='//www.youtube.com/embed/cFH5JgyZK1I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hollis was the mastermind of the influential U.K. band Talk Talk, which touched both the heights of radio pop with songs like “It’s My Life” and the fringes of what would come to be known as post-rock with albums like \u003cem>Spirit of Eden\u003c/em>. (\u003ca href=\"https://www.npr.org/2019/02/28/698650688/mark-hollis-and-talk-talks-brilliant-nuanced-stubborn-visions\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>André Previn\u003c/h3>\n\u003cp>\u003cem>April 6, 1929 – Feb. 28, 2019\u003c/em>\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/6CPv7sX7CG8'\n title='//www.youtube.com/embed/6CPv7sX7CG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Previn was a celebrated polymath: a composer of Oscar-winning film music, conductor, pianist and music director of major orchestras, including the symphonies of Houston, Pittsburgh and London. (\u003ca href=\"https://www.npr.org/sections/thetwo-way/2019/02/28/517960940/andre-previn-musical-polymath-has-died-at-age-89\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Keith Flint\u003c/h3>\n\u003cp>\u003cem>Sept. 17, 1969 – March 4, 2019\u003c/em>\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/wmin5WkOuPw'\n title='//www.youtube.com/embed/wmin5WkOuPw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Flint was the ragged voice and scowling face of The Prodigy’s barnstorming 1990s singles “Firestarter” and “Breathe,” which made the British dance act a sensation with alternative rock fans and helped popularize big-beat music in America. (\u003ca href=\"https://www.npr.org/2019/03/04/699974575/keith-flint-vocalist-of-techno-popularizers-the-prodigy-dead-at-49\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Hal Blaine\u003c/h3>\n\u003cp>\u003cem>Feb. 5, 1929 – March 11, 2019\u003c/em>\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/ZV5tgZlTEkQ'\n title='//www.youtube.com/embed/ZV5tgZlTEkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Blaine was part of the session dream team The Wrecking Crew, but his resume was in a class all its own. His drumming backed Grammy-winning and chart-topping songs by Frank Sinatra, The Beach Boys, Simon & Garfunkel and many more, and is the signature pulse of The Ronettes’ “Be My Baby.” (\u003ca href=\"https://www.npr.org/2019/03/12/702485933/hal-blaine-most-recorded-drummer-in-history-dies-at-90\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dick Dale\u003c/h3>\n\u003cp>\u003cem>May 4, 1937 – March 16, 2019\u003c/em>\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/mKpsuGMeqHI'\n title='//www.youtube.com/embed/mKpsuGMeqHI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born Richard Anthony Monsour, Dale changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. His high-energy interpretation of an old song from Asia Minor, “Misirlou,” became surf rock’s calling card. (\u003ca href=\"https://www.npr.org/2019/03/18/704329806/dick-dale-surf-guitar-legend-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Scott Walker\u003c/h3>\n\u003cp>\u003cem>Jan. 9, 1943 – March 22, 2019\u003c/em>\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/zP3zCsMC5cE'\n title='//www.youtube.com/embed/zP3zCsMC5cE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Walker was first known for his work with blue-eyed soul trio The Walker Brothers in the 1960s, but it was his late-career trilogy of challenging art-rock albums that defined his reputation as one of avant-garde music’s most electrifying auteurs. (\u003ca href=\"https://www.npr.org/2019/03/25/706469684/scott-walker-pop-idol-turned-avant-auteur-dies-at-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ranking Roger\u003c/h3>\n\u003cp>\u003cem>Feb. 21, 1963 – March 26, 2019\u003c/em>\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/SHWrmIzgB5A'\n title='//www.youtube.com/embed/SHWrmIzgB5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a singer for the U.K. band The Beat (known as The English Beat in the U.S.), Roger Charlery helped transform ska into the subgenre two-tone, infusing the Caribbean-rooted music with punk-rock structures and ’80s textures. (\u003ca href=\"https://www.npr.org/2019/03/27/707147386/ranking-roger-frontman-for-the-english-beat-dies-at-56\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Nipsey Hussle\u003c/h3>\n\u003cp>\u003cem>Aug. 15, 1985 – March 31, 2019\u003c/em>\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/PAcGg_4KKYs'\n title='//www.youtube.com/embed/PAcGg_4KKYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A beloved inspirational figure in hip-hop, the rapper and philanthropist born Ermias Joseph Asghedom survived gang life in South Central Los Angeles and legitimized his street hustle, using his entrepreneurial skills to create economic empowerment in his community. (\u003ca href=\"https://www.npr.org/2019/04/01/708675102/nipsey-hussle-grammy-nominated-rapper-and-philanthropist-shot-and-killed\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Beth Carvalho\u003c/h3>\n\u003cp>\u003cem>May 5, 1946 – April 30, 2019\u003c/em>\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/Zav50SgbK8o'\n title='//www.youtube.com/embed/Zav50SgbK8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Known as the “godmother of samba” in Brazil, Carvalho propelled her country’s music forward with her husky voice and infectious performances, which earned her a lifetime achievement honor from the Latin Grammy Awards.\u003c/p>\n\u003chr>\n\u003ch3>Doris Day\u003c/h3>\n\u003cp>\u003cem>April 3, 1922 – May 13, 2019\u003c/em>\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/td7lCCO9aaQ'\n title='//www.youtube.com/embed/td7lCCO9aaQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A big-band singer and actress who became a titan of classic Hollywood, Day made nearly three dozen films and more than 600 recordings, topping both the \u003cem>Billboard\u003c/em> and box office charts at the height of her career. (\u003ca href=\"https://www.npr.org/2019/05/13/225446337/actress-and-singer-doris-day-hollywoods-girl-next-door-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Leon Redbone\u003c/h3>\n\u003cp>\u003cem>Aug. 26, 1949 – May 30, 2019\u003c/em>\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/FUxbInKev-o'\n title='//www.youtube.com/embed/FUxbInKev-o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Playing dusty classics from Tin Pan Alley and ragtime to blues and country with a loose fidelity and a wry style, the famously mysterious artist became an object of fascination and admiration, with famous fans including Bob Dylan, Bonnie Raitt and John Prine. (\u003ca href=\"https://www.npr.org/2019/05/30/728315252/leon-redbone-an-unusual-singer-from-a-bygone-era-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Roky Erickson\u003c/h3>\n\u003cp>\u003cem>July 15, 1947 – May 31, 2019\u003c/em>\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/gHK9vj0VE7w'\n title='//www.youtube.com/embed/gHK9vj0VE7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Perhaps the embodiment of his hometown’s slogan, “Keep Austin Weird,” the psychedelic lodestar helmed The 13th Floor Elevators and wrote one of garage rock’s original anthems, “You’re Gonna Miss Me,” forging new paths for rock music and becoming a beloved cult figure. (\u003ca href=\"https://www.npr.org/2019/05/31/728821278/roky-erickson-of-the-13th-floor-elevators-dies-at-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dr. John\u003c/h3>\n\u003cp>\u003cem>Nov. 21, 1940 – June 6, 2019\u003c/em>\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/SCRrXZP8b0I'\n title='//www.youtube.com/embed/SCRrXZP8b0I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pianist, guitarist, jive talker and psychedelic godfather born Malcolm John Rebennack was among the most beloved fixtures of New Orleans music, carving wide lanes through blues, jazz and rock with an unmistakable look, voice and personality. (\u003ca href=\"https://www.npr.org/2019/06/06/730481477/dr-john-legend-of-new-orleans-dead-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Bushwick Bill\u003c/h3>\n\u003cp>\u003cem>Dec. 8, 1966 – June 9, 2019\u003c/em>\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/IJtHdkyo0hc'\n title='//www.youtube.com/embed/IJtHdkyo0hc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born Richard Shaw in Kingston, Jamaica, the MC was a founding member of the pioneering Houston trio Geto Boys, whose dark horrorcore raps helped put the city on hip-hop’s map. (\u003ca href=\"https://www.npr.org/2019/06/10/731076691/bushwick-bill-of-houston-rap-group-geto-boys-dead-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dave Bartholomew\u003c/h3>\n\u003cp>\u003cem>Dec. 24, 1918 – June 23, 2019\u003c/em>\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/LNjuxtjtuWg'\n title='//www.youtube.com/embed/LNjuxtjtuWg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Best known for collaborating on an extraordinary string of hits with Fats Domino, the New Orleans trumpeter, songwriter, bandleader, producer and arranger was one of the primary architects of the sound that became rock and roll. (\u003ca href=\"https://www.npr.org/2019/06/23/698212277/dave-bartholomew-a-father-of-rock-and-roll-dead-at-100\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>João Gilberto\u003c/h3>\n\u003cp>\u003cem>June 10, 1931 – July 6, 2019\u003c/em>\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/g6w3a2v_50U'\n title='//www.youtube.com/embed/g6w3a2v_50U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gilberto was the founding master of bossa nova, which drew on Brazil’s African-influenced samba tradition but was performed without the usual battery of drums and rhythm instruments. His intimate and nuanced guitar playing and singing became central to the style. (\u003ca href=\"https://www.npr.org/2019/07/06/739224759/jo-o-gilberto-master-of-bossa-nova-dies-at-88\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Johnny Clegg\u003c/h3>\n\u003cp>\u003cem>June 7, 1953 – July 16, 2019\u003c/em>\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/qnYtcH4YS44'\n title='//www.youtube.com/embed/qnYtcH4YS44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A singer, dancer and activist who co-founded two groundbreaking, racially mixed bands during the apartheid era, Clegg was one of the most celebrated voices in modern South African music. (\u003ca href=\"https://www.npr.org/2019/07/16/738065415/johnny-clegg-a-uniting-voice-against-apartheid-dies-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ben Johnston\u003c/h3>\n\u003cp>\u003cem>March 15, 1926 – July 21, 2019\u003c/em>\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/Wp7VjBtOJ74'\n title='//www.youtube.com/embed/Wp7VjBtOJ74'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A master of microtonal music, the avant-garde composer heard notes between the standard 12 pitches in an octave to create a wide range of pieces for orchestra, chamber ensembles, piano and stage. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2016/12/31/507542859/ben-johnston-hears-the-notes-between-the-notes\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR profile from 2016\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Art Neville\u003c/h3>\n\u003cp>\u003cem>Dec. 17, 1937 – July 22, 2019\u003c/em>\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/TKDMiyRmbik'\n title='//www.youtube.com/embed/TKDMiyRmbik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The keyboardist, singer and songwriter sometimes known as “Poppa Funk” was a founding member of The Meters and of The Neville Brothers, the musical family whose soul sound traveled far beyond its home base of New Orleans. (\u003ca href=\"https://www.npr.org/2019/07/22/744150388/art-neville-a-new-orleans-icon-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>David Berman\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1967 – Aug. 7, 2019\u003c/em>\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/XvUBbROsXBw'\n title='//www.youtube.com/embed/XvUBbROsXBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In his songs as Silver Jews and more recently as Purple Mountains, alongside frequent collaborators Pavement and labelmates Bill Callahan and Will Oldham, Berman established himself as a world-class lyricist who embodied indie rock’s literate side. (\u003ca href=\"https://www.npr.org/2019/08/07/749245911/silver-jews-david-berman-dies-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Celso Piña\u003c/h3>\n\u003cp>\u003cem>April 6, 1953 – Aug. 21, 2019\u003c/em>\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/z2c5xCmLiAE'\n title='//www.youtube.com/embed/z2c5xCmLiAE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The prolific and celebrated Mexican accordion player contributed greatly to the evolution of cumbia, bringing the Colombian folk style to stages around the world and deftly blending it with contemporary Latin styles. (\u003ca href=\"https://www.npr.org/sections/altlatino/2019/08/23/753687796/accordion-master-celso-pina-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Camilo Sesto\u003c/h3>\n\u003cp>\u003cem>Sept. 16, 1946 – Sept. 8, 2019\u003c/em>\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/xVDmyuzkiPo'\n title='//www.youtube.com/embed/xVDmyuzkiPo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This Spanish pop sensation amassed dozens of No. 1 songs worldwide, wrote and produced hits for his Latin pop peers and starred in a Spanish-language adaptation of \u003cem>Jesus Christ Superstar\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Daniel Johnston\u003c/h3>\n\u003cp>\u003cem>Jan. 22, 1961 – Sept. 11, 2019\u003c/em>\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/3OvWFurOBk8'\n title='//www.youtube.com/embed/3OvWFurOBk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The outsider singer, songwriter and visual artist was a true musician’s musician. His guileless lyrics about love and alienation found fans in artists like Tom Waits, Yo La Tengo, Bright Eyes and Kurt Cobain, whose appreciation of his work helped bring it to a wider audience. (\u003ca href=\"https://www.npr.org/2019/09/11/759904906/daniel-johnston-acclaimed-singer-songwriter-dies-at-58\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ric Ocasek\u003c/h3>\n\u003cp>\u003cem>March 23, 1944 – Sept. 15, 2019\u003c/em>\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/xuZA6qiJVfU'\n title='//www.youtube.com/embed/xuZA6qiJVfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the leader of The Cars, Ocasek wove offbeat new-wave elements into a hook-savvy Top 40 sound, and rocked a distinctive look perfect for MTV. His influence outlasted the group’s 1980s reign, as he became a commanding producer for a younger generation of alternative bands. (\u003ca href=\"https://www.npr.org/2019/09/15/761076999/ric-ocasek-frontman-of-the-cars-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Harold Mabern\u003c/h3>\n\u003cp>\u003cem>March 20, 1936 – Sept. 17, 2019\u003c/em>\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/INPSuX3rck8'\n title='//www.youtube.com/embed/INPSuX3rck8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mabern was a jazz pianist of percussive fire and boundless soul, with a language that pulled from hard bop, post-bop, Memphis soul and the blues. His penchant for block chords combined McCoy Tyner’s modal coloration with the ringing affirmations of gospel. (\u003ca href=\"https://www.wbgo.org/post/harold-mabern-pianist-who-mastered-post-bop-blues-and-memphis-soul-dead-83\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Christopher Rouse\u003c/h3>\n\u003cp>\u003cem>Feb. 15, 1949 – Sept. 21, 2019\u003c/em>\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/T4SlLHTLaLc'\n title='//www.youtube.com/embed/T4SlLHTLaLc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A composer of uncompromisingly expressive works, primarily for orchestra (one of which earned him a Pulitzer Prize), Rouse also taught courses in the history of rock. He once called himself a writer of “fast and furious” music. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2019/09/23/763418066/remembering-the-fast-and-furious-music-of-christopher-rouse\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Robert Hunter\u003c/h3>\n\u003cp>\u003cem>June 23, 1941 – Sept. 23, 2019\u003c/em>\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/pafY6sZt0FE'\n title='//www.youtube.com/embed/pafY6sZt0FE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the Grateful Dead’s behind-the-scenes lyricist, Hunter provided the band with many of its most enduring lines, including the rock radio staple “Truckin’ ” and its immortal refrain, “What a long, strange trip it’s been.” (\u003ca href=\"https://www.npr.org/2019/09/25/763933353/robert-hunters-words-helped-bring-life-to-the-grateful-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>José José\u003c/h3>\n\u003cp>\u003cem>Feb. 17, 1948 – Sept. 28, 2019\u003c/em>\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/E20G25SCAEg'\n title='//www.youtube.com/embed/E20G25SCAEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Known as Mexico’s “Prince of Song,” the powerhouse crooner born José Rómulo Sosa Ortiz was a fixture of the Latin charts in the 1970s and ’80s. In the 2000s he received lifetime achievement honors from the Latin Grammys and a star on the Hollywood Walk of Fame. (\u003ca href=\"https://www.npr.org/2019/09/30/765653356/jos-jos-the-prince-of-song-dies-at-age-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jessye Norman\u003c/h3>\n\u003cp>\u003cem>Sept. 15, 1945 – Sept. 30, 2019\u003c/em>\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/jOIAi2XwuWo'\n title='//www.youtube.com/embed/jOIAi2XwuWo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Praised for the beauty and opulence of her voice, Norman crafted a distinctive career that spanned decades and styles of music, becoming a leading figure both in the opera house and on the recital stage. Her repertoire was broad, from baroque music to modernists, pop songs and blues to her beloved Duke Ellington. (\u003ca href=\"https://www.npr.org/2019/09/30/765886905/opera-singer-jessye-norman-dies-at-74\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Giya Kancheli\u003c/h3>\n\u003cp>\u003cem>Aug. 10, 1935 – Oct. 2, 2019\u003c/em>\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/8uv0yNUduOk'\n title='//www.youtube.com/embed/8uv0yNUduOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Georgian composer’s work spanned seven symphonies and large-scale works (like his \u003cem>Styx \u003c/em>for viola, chorus and orchestra), as well as many intimate pieces for small ensembles and solo instruments, like the sweet, wistful piano tune “When Almonds Blossomed.” (\u003ca href=\"https://www.npr.org/2019/10/02/766505272/composer-giya-kancheli-championed-by-ecm-dies-at-84\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Kim Shattuck\u003c/h3>\n\u003cp>\u003cem>July 17, 1963 – Oct. 2, 2019\u003c/em>\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/vsxyaZhdW1s'\n title='//www.youtube.com/embed/vsxyaZhdW1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shattuck was best known as the singer, guitarist and primary songwriter of The Muffs, but she was also one of alternative rock’s favorite guest artists, singing on tracks by NOFX and Bowling for Soup and playing bass on tour with the reunited Pixies. (\u003ca href=\"https://www.npr.org/2019/10/03/766780466/kim-shattuck-an-enduring-presence-in-l-a-punk-dead-at-56\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ginger Baker\u003c/h3>\n\u003cp>\u003cem>Aug. 19, 1939 – Oct. 6, 2019\u003c/em>\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/8O5IgyDcohQ'\n title='//www.youtube.com/embed/8O5IgyDcohQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the engine room of Cream, Blind Faith and other bands of the 1960s and ’70s, Baker’s intensity, inventiveness and fluency in the polyrhythms of jazz and Afrobeat made him a primary inspiration for generations of rock drummers. (\u003ca href=\"https://www.npr.org/2019/10/06/765781758/ginger-baker-cream-drummer-and-force-of-nature-dies-at-80\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Raymond Leppard\u003c/h3>\n\u003cp>\u003cem>Aug. 11, 1927 – Oct. 22, 2019\u003c/em>\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/5OCW7KVUbdg'\n title='//www.youtube.com/embed/5OCW7KVUbdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With full-bodied performances and pioneering scholarship, the British-born conductor, harpsichordist and composer helped reintroduce audiences to 16th and 17th century Italian masterpieces, and wrote contemporary works for stage and screen. (\u003ca href=\"https://www.npr.org/2019/10/22/771849121/conductor-and-composer-raymond-leppard-a-champion-of-the-old-and-the-new-has-die\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mariss Jansons\u003c/h3>\n\u003cp>\u003cem>Jan. 14, 1943 – Nov. 30, 2019\u003c/em>\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/2piCORWRrX0'\n title='//www.youtube.com/embed/2piCORWRrX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hailed for incisive and evocative performances of works by Mahler, Tchaikovsky, Rachmaninoff and Strauss, the conductor enjoyed a truly global career, directing major orchestras in Russia, Norway, England and the United States. (\u003ca href=\"https://www.npr.org/2019/12/02/784137730/famed-conductor-mariss-jansons-has-died-age-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Juice WRLD\u003c/h3>\n\u003cp>\u003cem>Dec. 2, 1998 – Dec. 8, 2019\u003c/em>\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/mzB1VGEGcSU'\n title='//www.youtube.com/embed/mzB1VGEGcSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The young Chicago rapper born Jarad Anthony Higgins was one of the fastest-rising names in the emo-rap subculture that incubated on SoundCloud before exploding onto the charts. His 2017 single “Lucid Dreams” hit No. 2 on the \u003cem>Billboard\u003c/em> Hot 100, and this March his album \u003cem>Death Race for Love\u003c/em> went to No. 1. (\u003ca href=\"https://www.npr.org/2019/12/08/786064628/reports-rapper-juice-wrld-dead-at-age-21\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jerry Herman\u003c/h3>\n\u003cp>\u003cem>July 10, 1931 – Dec. 26, 2019\u003c/em>\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/qfceR0mJuEc'\n title='//www.youtube.com/embed/qfceR0mJuEc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Broadway legend was the songwriter behind hit musicals including \u003cem>Hello, Dolly!\u003c/em>, \u003cem>Mame \u003c/em>and \u003cem>La Cage aux Folles\u003c/em>. His shows created signature roles for their stars and, in the case of \u003cem>Hello, Dolly!\u003c/em>, knocked The Beatles off the top of the \u003cem>Billboard\u003c/em> Hot 100 when Louis Armstrong covered the title tune.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=In+Memoriam+2019%3A+The+Musicians+We+Lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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