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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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"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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"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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"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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"title": "50 Wonderful Things From 2019",
"headTitle": "50 Wonderful Things From 2019 | KQED",
"content": "\u003cp>Standard caveats (really standard—same as \u003ca href=\"https://www.npr.org/2018/12/27/679839731/50-wonderful-things-from-2018\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a> and \u003ca href=\"https://www.npr.org/2017/12/27/570931638/50-wonderful-things-from-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the year before\u003c/a>): I don’t watch everything. I am behind on many things. That’s just the way the world is. So if something you loved isn’t here, it is not a rebuke.\u003c/p>\n\u003cp>And: These are cultural, mostly pop-cultural, things. These are not the best things in the world. Like yours, my actual list of wonderful things from the year, if I wrote it in a journal instead of for work, would be a list of people and moments spent with them—of days when it was unexpectedly sunny and of times when things suddenly felt better. But whatever journey you’re on at any given moment, you can always use more good things. So here we go.\u003c/p>\n\u003cp>1. \u003cstrong>The \u003c/strong>\u003cstrong>\u003cem>Knives Out \u003c/em>\u003c/strong>\u003cstrong>sculpture. \u003c/strong>\u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\" target=\"_blank\" rel=\"noopener noreferrer\">We’ve talked about\u003c/a> the sweaters in Rian Johnson’s great whodunit, and about the performances, and about the … uh, commitment? … of Daniel Craig’s very silly accent. But let’s also appreciate the \u003ca href=\"https://www.npr.org/2019/11/26/782904344/get-a-clue-go-see-knives-out\" target=\"_blank\" rel=\"noopener noreferrer\">enormous sculpture\u003c/a> made of knives that frames the heads of every member of the family as they’re interviewed.\u003c/p>\n\u003cp>2. \u003cstrong>James Marsden jumping on the trampoline in \u003c/strong>\u003cstrong>\u003cem>Dead to Me\u003c/em>\u003c/strong>\u003cstrong>.\u003c/strong> James Marsden is one of those interesting actors who can do so many different things well that he’s easy to take for granted. It’s a mistake, though. Playing a slick, inspirational-speaking jerk, he wakes up, goes out on his balcony and executes a series of silly trampoline moves he says are meant to “get [his] lymph nodes going.”\u003c/p>\n\u003cp>3. \u003cstrong>John Mulaney’s plaid pants in the “Co-op” episode of \u003c/strong>\u003cstrong>\u003cem>Documentary Now\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>The comedian’s wardrobe choices have showed up on this list before, but they’ve never been quite so indelible as his weirdly magnetic ’70s get-up as \u003cem>Documentary Now\u003c/em>‘s \u003ca href=\"https://www.npr.org/2019/02/27/698126773/the-show-tunes-and-plaid-pants-of-the-documentary-now-sondheim-send-up\" target=\"_blank\" rel=\"noopener noreferrer\">version of Stephen Sondheim\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7KMpuoSB8HA\u003c/p>\n\u003cp>4. \u003cstrong>“This is a love story” in \u003c/strong>\u003cstrong>\u003cem>Fleabag\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>We were all so lucky to get two seasons of Phoebe Waller-Bridge’s masterpiece, and \u003ca href=\"https://www.youtube.com/watch?v=jPaEqk3kVjo\" target=\"_blank\" rel=\"noopener noreferrer\">the turn to camera to say\u003c/a> “this is a love story” set up the brilliant second season with intrigue, humor and Waller-Bridge’s inimitable kind of heart. The sequence of shots is so brilliant, and the entire episode so satisfying. We’ll be lucky to see its equal.\u003c/p>\n\u003cp>5.\u003cstrong> Aasif Mandvi in \u003c/strong>\u003cstrong>\u003cem>This Way Up. \u003c/em>\u003c/strong>Aisling Bea’s \u003ca href=\"https://www.npr.org/2019/08/21/752811433/this-way-up-deserves-a-spot-on-your-crowded-viewing-list\" target=\"_blank\" rel=\"noopener noreferrer\">series about a young Irish woman\u003c/a> fresh out of mental health treatment offered a lot of simple pleasures. But one was seeing Aasif Mandvi, who was very funny on \u003cem>The Daily Show\u003c/em> and plays an awful lot of doctors because Hollywood is Hollywood, play the boyfriend of the character played by Sharon Horgan. A fine romantic lead, Mandvi got to show some chops that I personally hadn’t seen very much before, and it was thrilling.\u003c/p>\n\u003cp>6. \u003cstrong>Natasha Lyonne killing it in \u003c/strong>\u003cstrong>\u003cem>Russian Doll\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>Natasha Lyonne is a force, and this performance (and her work in \u003ca href=\"https://www.npr.org/2019/02/01/690276468/natasha-lyonne-anchors-the-riveting-russian-doll\" target=\"_blank\" rel=\"noopener noreferrer\">creating the show\u003c/a>) is a force. May everyone find such a perfect place to be at the peak of their powers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YHcKoAMGGvY\u003c/p>\n\u003cp>7. \u003cstrong>J. Smith-Cameron in \u003c/strong>\u003cstrong>\u003cem>Succession\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>There is so much to admire about \u003ca href=\"https://www.npr.org/2019/08/12/750189331/succession-back-to-the-pit-of-vipers-for-another-season-of-discontent\" target=\"_blank\" rel=\"noopener noreferrer\">HBO’s rich-jerks drama\u003c/a>, but one of the real stars of Season 2 was J. Smith-Cameron as Gerri, one of the Roy family’s faithful lieutenants. Once mostly a figure in meetings hovering over paperwork, Gerri ended Season 2 with a sharper sense of humor, a more distinct role in the family, a star turn at the Roy Family [Figurative] Murder Breakfast and a sexual relationship-ish that’s both offbeat and sweet.\u003c/p>\n\u003cp>8.\u003cstrong> The big resolution in \u003c/strong>\u003cstrong>\u003cem>Unbelievable\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>It wouldn’t be fair to say much about the photo that loads late in \u003ca href=\"https://www.npr.org/2019/10/01/766049015/unbelievable-is-a-searing-drama-about-violence-and-justice\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix’s fact-based series\u003c/a> about an unsolved rape case, but making a plot turn feel so simultaneously satisfying and wrenching is very difficult. And while the series largely belongs to performances from Kaitlyn Dever, Merritt Wever and Toni Collette, you’d be hard-pressed to find a better wordless 30 seconds in all of 2020 than the ones Eric Lange, playing a detective, delivers early in the last episode when this scene hits.\u003c/p>\n\u003cp>9. \u003cstrong>The manipulation of time in \u003c/strong>\u003cstrong>\u003cem>Watchmen\u003c/em>\u003c/strong>\u003cstrong> episode 6. \u003c/strong>The first—and maybe the only—season of HBO’s \u003cem>Watchmen \u003c/em>was excellent throughout, but it reached a new high in the sixth episode, as interwoven past and present stories created connections that were surprising, but seemed somehow inevitable.\u003c/p>\n\u003cp>10.\u003cstrong> Billy Crudup in \u003c/strong>\u003cstrong>\u003cem>The Morning Show\u003c/em>\u003c/strong>\u003cstrong>.\u003c/strong> I’m among those who believe that Apple TV+’s first big series, about the aftermath of a sexual harassment scandal on a network morning show, got a rougher reception than it deserved—partly because it takes a couple of episodes to find its feet and focus. But even many of those who remained unimpressed by it found kind words for the snake-like, inscrutable, toothy and toothsome performance by Billy Crudup as a network executive who could do good only when it meant doing well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cf7N_j6Uvkg\u003c/p>\n\u003cp>11. \u003cstrong>The turn in \u003c/strong>\u003cstrong>\u003cem>Parasite\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>I was very lucky to see Bong Joon-ho’s fabulous, complex film at the Toronto International Film Festival without knowing almost anything about it. I didn’t even really know what \u003cem>kind \u003c/em>of movie it was, and that was as it should be.\u003c/p>\n\u003cp>12.\u003cstrong> Jeremy Bearimy, baby. \u003c/strong>At the end of the third season of NBC’s \u003cem>The Good Place\u003c/em>, the conscientious, anxious, deeply moral Chidi (William Jackson Harper) and his partner-in-crime Eleanor (Kristen Bell) are forced to part company. After being reminded that theirs is a story that spans many lifetimes, Chidi uses what was once a silly, jokey phrase about the structure of time to make a profoundly romantic declaration, telling Eleanor that they will “chill out in the dot of the i forever.” That this means nothing if you haven’t \u003ca href=\"https://www.npr.org/2019/09/26/764229236/the-good-place-starts-its-final-approach\" target=\"_blank\" rel=\"noopener noreferrer\">watched the show\u003c/a>, and everything if you have, is what makes it so distinct and moving.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RFm9ClqlGuo\u003c/p>\n\u003cp>13.\u003cstrong> Jennifer Lopez’s dance in \u003c/strong>\u003cstrong>\u003cem>Hustlers\u003c/em>\u003c/strong>\u003cstrong>, and the accompanying video. \u003c/strong>I don’t disagree with the many people who have said J. Lo should be in the running for awards for her performance in Lorene Scafaria’s crime drama. But that doesn’t mean I don’t also appreciate the athleticism of Lopez’s first dance on the pole, as well as the \u003ca href=\"https://www.youtube.com/watch?v=pRhOWrk5_NM\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes look\u003c/a> at her training that she shared.\u003c/p>\n\u003cp>14.\u003cstrong> Every time Christian Siriano said “You’re killing me” on \u003c/strong>\u003cstrong>\u003cem>Project Runway\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>A great example of \u003ca href=\"https://www.npr.org/2019/06/14/732423982/project-runway-proves-change-can-be-healthy\" target=\"_blank\" rel=\"noopener noreferrer\">how to reset\u003c/a> a competitive reality show, Siriano was the perfect new mentor, and the way he freely expressed his frustration with the designers was one of his secret weapons. (See also: “You’re putting a zipper right on the boob?”)\u003c/p>\n\u003cp>15. \u003cstrong>\u003cem>Oklahoma! \u003c/em>\u003c/strong>It’s not that \u003cem>Oklahoma! \u003c/em>hasn’t always been a dark musical—it has. But the Broadway revival I got to see this spring brought out new layers of darkness, new kinds of bleakness. The finale—which I will not describe—is one of the most startling, provocative stage moments I’ve ever seen, particularly working from such a well-known text. (Bonus: Soraya McDonald’s \u003ca href=\"https://theundefeated.com/features/the-unbearable-whiteness-of-oklahoma-on-broadway/\" target=\"_blank\" rel=\"noopener noreferrer\">excellent piece\u003c/a> at \u003cem>The Undefeated\u003c/em> about the production.)\u003c/p>\n\u003cp>16. \u003cstrong>\u003cem>What The Constitution Means to Me. \u003c/em>\u003c/strong>Heidi Schreck shook up the \u003ca href=\"https://www.npr.org/2019/03/30/707858702/staging-a-debate-over-what-the-constitution-means-to-me\" target=\"_blank\" rel=\"noopener noreferrer\">one-woman show\u003c/a> with her combination of speech, debate, dramatic monologue and call to arms. The piece is so smart and thoughtful that it’s easy to forget, when describing it, that it’s also funny and entertaining—enlivened by a late development that had the audience I was part of enthralled.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W3GV1K2nctM\u003c/p>\n\u003cp>17. \u003cstrong>The horse fight in \u003c/strong>\u003cstrong>\u003cem>John Wick: Chapter 3—Parabellum\u003c/em>\u003c/strong>. The biggest problem with any John Wick movie, I now believe, is that it can’t be all Keanu Reeves fighting bad guys using horses and library books.\u003c/p>\n\u003cp>18. \u003cstrong>The way \u003c/strong>\u003cstrong>\u003cem>Crazy Ex-Girlfriend\u003c/em>\u003c/strong>\u003cstrong> landed the plane. \u003c/strong>It’s so hard to end a show as ambitious as \u003cem>Crazy Ex-Girlfriend\u003c/em>—particularly when it set itself up as, in part, a romantic-comedy spoof and then demonstrated that a romantic-comedy ending would be an utter betrayal of its first principles. The final episode showed respect to Rebecca’s desire to be loved; her growth as a person; the musical talent that’s been under our noses the entire time; and the fact that no matter how much she works to improve herself, White Josh will never, ever like her. Extra points for the way that, as the show wound down, co-creator and star Rachel Bloom \u003ca href=\"https://twitter.com/lindaholmes/status/1105976011487879169\" target=\"_blank\" rel=\"noopener noreferrer\">sold it like double the rent was due at all times\u003c/a>.\u003c/p>\n\u003cp>19.\u003cstrong> The unreal, unsettling doppelgangers in \u003c/strong>\u003cstrong>\u003cem>Us\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>Doppelgangers are such a staple of horror that to make them really, genuinely scary, you have to develop their look and style in a very particular way—\u003ca href=\"https://www.npr.org/2019/03/22/705875221/jordan-peele-looked-into-the-mirror-and-saw-the-evil-inside-us\" target=\"_blank\" rel=\"noopener noreferrer\">as Jordan Peele did\u003c/a> in \u003cem>Us\u003c/em>. Led by Lupita Nyong’o as Red, the family of copies that shows up in their red jumpsuits, with their scissors and obviously ill intentions, use their stillness as a weapon, settling for “creepy” until it’s time to be worse than that.\u003c/p>\n\u003cp>20. \u003cstrong>The “Anna Ishii-Peters” episode of \u003c/strong>\u003cstrong>\u003cem>PEN15\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>I’m not sure why stories in which teenagers bond with each other’s families are so consistently moving, but “Anna Ishii-Peters” follows in the tradition of \u003cem>My So-Called Life\u003c/em> and its “Other People’s Mothers” episode to great effect. \u003cem>PEN15 \u003c/em>is a lovely, thoughtful, \u003ca href=\"https://www.npr.org/2019/02/11/691694798/looking-at-middle-school-through-grown-up-glasses-in-pen15\" target=\"_blank\" rel=\"noopener noreferrer\">big-hearted look at adolescence\u003c/a>—in addition to being a raunchy, candid document of the kind of body horror that only happens in middle school.\u003c/p>\n\u003cp>21. \u003cstrong>The third season of the podcast \u003c/strong>\u003cem>\u003cstrong>Slow Burn\u003c/strong>\u003c/em>\u003cstrong>.\u003c/strong> New host \u003ca href=\"https://www.npr.org/2019/11/07/776908450/slow-burn-season-3-turns-its-investigative-eye-to-the-murders-of-biggie-and-tupa\" target=\"_blank\" rel=\"noopener noreferrer\">Joel Anderson takes listeners through\u003c/a> two of the most famous (officially) unsolved murders of the 20th century: those of rappers Tupac Shakur and Biggie Smalls. Finding the line between overexplaining and underexplaining, the series (in the manner of all good true crime) moves beyond its specific subjects to talk about how rap was developing in the 1990s, and how it was changed by the deaths of these two very young men.\u003c/p>\n\u003cp>22. \u003cem>\u003cstrong>Bon Appétit\u003c/strong>\u003c/em>\u003cstrong> videos! \u003c/strong>Few instructional YouTube channels are as beloved and useful as the one from \u003cem>Bon Appétit\u003c/em>, which has almost five million subscribers. It contains plenty of straight-up how-to pieces, but continues to innovate with series like Reverse Engineering, a monthly show in which deputy food editor Chris Morocco tries to recreate dishes he’s allowed to taste and touch but not see. \u003ca href=\"https://www.youtube.com/channel/UCbpMy0Fg74eXXkvxJrtEn3w\" target=\"_blank\" rel=\"noopener noreferrer\">The whole channel\u003c/a> is a pleasure from start to finish, and its passionate following is well-earned.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rE4KHYrWEXY\u003c/p>\n\u003cp>23. \u003cstrong>The synchronized swimming in \u003c/strong>\u003cstrong>\u003cem>The Marvelous Mrs. Maisel. \u003c/em>\u003c/strong>The adventures of Midge Maisel have sometimes satisfied and sometimes not. But a stretch of the third season set in Miami was full of delights, including an opening sequence in the sixth episode that incorporated underwater filming, synchronized swimming and the hangover from a night out with Lenny Bruce. Great stuff.\u003c/p>\n\u003cp>24. \u003cstrong>The end of \u003c/strong>\u003cem>\u003cstrong>Again With This: BH\u003c/strong>\u003c/em>\u003cstrong>. \u003c/strong>Back in May 2015, Sarah Bunting and Tara Ariano—who were, full disclosure, my bosses at\u003cem> Television Without Pity \u003c/em>for years—began \u003ca href=\"https://www.againwiththis90210.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a podcast project\u003c/a> to recap each episode of \u003cem>Beverly Hills, 90210 \u003c/em>one at a time. That dumb show, it turns out, ran for 10 seasons, most of which were supersized, because it ran well into the summer. (There are seasons that have more than 30 episodes.) In December of this year, they finished. Not only was this a nutty exercise in completism, but taking the time to examine individual episodes late in the run of a show that had long since given up on itself offers a rare glimpse at what network television used to look like when it just wanted to run out the clock.\u003c/p>\n\u003cp>25. \u003cstrong>\u003cem>The Inventor: Out for Blood in Silicon Valley. \u003c/em>\u003c/strong>2019 was \u003ca href=\"https://www.npr.org/2019/04/30/718663783/elizabeth-holmes-and-theranos-in-pop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">The Year When We Talked A Lot About Theranos\u003c/a>, the company run by Elizabeth Holmes, who’s now awaiting a federal fraud trial. There are a lot of ways to learn about the story—the 2018 book \u003cem>Bad Blood \u003c/em>\u003ca href=\"https://www.npr.org/2018/06/23/622795416/reporter-john-carreyrou-on-the-bad-blood-of-theranos\" target=\"_blank\" rel=\"noopener noreferrer\">by John Carreyrou\u003c/a> is probably the best source document. But Alex Gibney’s 2019 HBO documentary is also a corker, for sure.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wtDaP18OGfw\u003c/p>\n\u003cp>26.\u003cstrong> The moment in Mike Birbiglia’s \u003c/strong>\u003cstrong>\u003cem>The New One\u003c/em>\u003c/strong>\u003cstrong> that you’ll know when you see it. \u003c/strong>You don’t necessarily expect a one-man show to have a twist. But Birbiglia’s show about raising children and buying furniture, which is now available on Netflix, uses surprise better than any show like it that I’ve ever seen.\u003c/p>\n\u003cp>27.\u003cstrong>\u003cem> We Cast a Shadow\u003c/em>\u003c/strong>\u003cstrong>, by Maurice Carlos Ruffin\u003c/strong>. \u003ca href=\"https://www.npr.org/2019/01/30/689747338/in-we-cast-a-shadow-the-horrors-are-close-to-home\" target=\"_blank\" rel=\"noopener noreferrer\">A book about \u003c/a>race, class, parenting and the future, \u003cem>We Cast A Shadow \u003c/em>is the book about which I was proud to simply announce: “This book knocked me on my ass.”\u003c/p>\n\u003cp>28.\u003cstrong> Points of view in \u003c/strong>\u003cstrong>\u003cem>Fleishman Is in Trouble\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>\u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\" target=\"_blank\" rel=\"noopener noreferrer\">Taffy Brodesser-Akner’s divorce novel\u003c/a> is incisive on the ideas of family and relationships, to be sure. But what impressed me most was how pointed I found its implicit critiques of the modern American literary novel—as focused as it often is on sad men and their sad stories and their sad struggles, with no room for anyone else to speak.\u003c/p>\n\u003cp>29. \u003cstrong>The audiobook presentation of \u003c/strong>\u003cstrong>\u003cem>The Beastie Boys Book. \u003c/em>\u003c/strong>I allow myself one cheat per year, in which I can include something that didn’t technically come out in the year at issue, but that I consumed during the year. This time around, it’s the wonderful audiobook of \u003cem>The Beastie Boys Book\u003c/em>. As someone who never really reacted much to \u003ca href=\"https://www.npr.org/2018/10/29/661647527/rap-buddhism-and-broken-radiators-the-beastie-boys-have-a-story-for-everything\" target=\"_blank\" rel=\"noopener noreferrer\">the group at the center\u003c/a> of the book, I didn’t expect to be so mesmerized by it. But it’s inventively presented, very well written and performed by a large and impressive cast.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QpsAi0rF968\u003c/p>\n\u003cp>30. \u003ca href=\"https://www.bookforum.com/print/2601/bret-easton-ellis-rages-against-the-decline-of-american-culture-20825\" target=\"_blank\" rel=\"noopener noreferrer\">This piece about Bret Easton Ellis\u003c/a>.\u003c/p>\n\u003cp>31. \u003ca href=\"https://twitter.com/marysdesk/status/1110975466192715777\" target=\"_blank\" rel=\"noopener noreferrer\">This clip of Nina Totenberg\u003c/a>.\u003c/p>\n\u003cp>32. \u003cstrong>The Jonathan Coulton album \u003c/strong>\u003cstrong>\u003cem>Some Guys\u003c/em>\u003c/strong> \u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_kf7ikrMyLQjQmmYoahDU3d71luPzQU8XU\" target=\"_blank\" rel=\"noopener noreferrer\">recreates defiantly uncool ’70s music\u003c/a> like “How Deep Is Your Love” and “Easy” with an unironic love that brings it beautifully to life. Sometimes you just have to love with your whole heart, and you find that fidelity is the best kind of reinvention.\u003c/p>\n\u003cp>33. There is \u003cstrong>a chapter in John Hodgman’s \u003c/strong>\u003cstrong>\u003cem>Medallion Status \u003c/em>\u003c/strong>called “Nude Rider,” and it contains not only very interesting information about appearing naked on film, but also a discussion of what it’s like to be told that you look very much like a monstrous historical figure. It is well worth your time.\u003c/p>\n\u003cp>34. The Internet can be a good place for good dogs. We all need the reminders that they bring, and in \u003cstrong>Winky\u003c/strong>‘s case, it was that you have time, and sometimes you just have to do things on your own schedule.\u003c/p>\n\u003cp>https://twitter.com/WKCDOGS/status/1094642149541535745\u003c/p>\n\u003cp>35. \u003cstrong>Trevor Noah\u003c/strong> took on one of the hardest jobs one could possibly take on when he assumed the host chair at \u003cem>The Daily Show\u003c/em>. And while opinions vary on how the show has been in his era, he’s a smart and thoughtful guy who thrives on teasing out nuance in a variety of situations, as he did in \u003ca href=\"https://twitter.com/lindaholmes/status/1094209365970743296\" target=\"_blank\" rel=\"noopener noreferrer\">a very good response to an audience question\u003c/a> about Liam Neeson discussing his old revenge fantasies. Particularly for an off-the-cuff answer to such an explosive question, I think he knocked it out of the park. More discussions like this, please.\u003c/p>\n\u003cp>36. Very often, when celebrities drink for the benefit of cameras, they play up how drunk they are. But when \u003cstrong>Seth Meyers went day drinking with Rihanna\u003c/strong>, \u003ca href=\"https://www.youtube.com/watch?v=X3n5Pk8fkLg\" target=\"_blank\" rel=\"noopener noreferrer\">he got legitimately smashed\u003c/a>. Just \u003cem>smashed\u003c/em>. The combination of his precipitous decline with her wonderful, infectious, cackling laugh made it one of my favorite silly things of the year.\u003c/p>\n\u003cp>37. \u003cstrong>Sam Shepard’s \u003c/strong>\u003cstrong>\u003cem>True West \u003c/em>\u003c/strong>was revived this year on Broadway, and the lead performances from Ethan Hawke and Paul Dano brought out the differences, and not just the similarities, between the classic theatrical brothers. In particular, Dano’s particular spin on the spinning out of the quieter Austin was tragic and painful and very funny all at the same time, and I could have watched him make toast for many, many hours.\u003c/p>\n\u003cp>38. \u003ca href=\"https://twitter.com/MLBGIFs/status/1118370837789323266\" target=\"_blank\" rel=\"noopener noreferrer\">This baseball GIF\u003c/a>.\u003c/p>\n\u003cp>39. \u003cstrong>The Buzzfeed vertical \u003c/strong>\u003cem>\u003cstrong>Cocoa Butter\u003c/strong>\u003c/em> has found great success with a series of videos in which black tasters try each other’s home cooking. My favorite is called \u003ca href=\"https://twitter.com/cocoabutterbf/status/1127257411608354817\" target=\"_blank\" rel=\"noopener noreferrer\">Black Moms Try Other Black Moms’ Soul Food\u003c/a>. There is such joy and such delicious and mischievous suspense as you wait to find out what will happen when everybody tastes the food of whoever is being the most shady about everybody else’s cooking! It’s a fabulous series, inventive and funny and satisfying.\u003c/p>\n\u003cp>https://twitter.com/cocoabutterbf/status/1127257411608354817\u003c/p>\n\u003cp>40. Look, you don’t need me to tell you how much of an impact \u003cstrong>“Old Town Road” and Lil Nas X\u003c/strong> made this year. But for me, one of the most delightful aspects of that story was how the song was boosted by its appeal to kids, never more clear than in the video of Lil Nas X \u003ca href=\"https://twitter.com/Complex/status/1133796630942113793?s=09\" target=\"_blank\" rel=\"noopener noreferrer\">visiting an elementary school\u003c/a> where the kids absolutely lost their minds together. Joy, unbound.\u003c/p>\n\u003cp>41. Am I allowed to talk about an NPR project? Sure I am. You’ve heard a lot of true crime podcasts, perhaps, and you’ve heard a lot of history podcasts. But I particularly loved \u003cstrong>\u003cem>White Lies\u003c/em>\u003c/strong>, which \u003ca href=\"https://www.npr.org/podcasts/510343/white-lies\" target=\"_blank\" rel=\"noopener noreferrer\">delved into the murder of James Reeb\u003c/a> in 1965 while he was in Selma, Ala. participating in civil rights activism. Hosts Chip Brantley and Andrew Beck Grace masterfully mixed history and education in the traditional senses with the kind of investigation that can make true crime so interesting. And they showed great care in putting the murder of Reeb—a visiting white minister—in the context of other violence at the time, including killings of black citizens whose cases never received nearly the notoriety this one did.\u003c/p>\n\u003cp>42. When I started \u003ca href=\"https://www.npr.org/2019/07/15/741146427/we-all-watch-in-our-own-way-a-critic-tracks-the-tv-revolution\">TV critic Emily Nussbaum\u003c/a>‘s book \u003cstrong>\u003cem>I Like To Watch\u003c/em>\u003c/strong>, I would have said I didn’t want to read any more examinations of how to treat artists whose ugly behavior had come into focus, particularly as the #MeToo movement grew. I would have said I was full up, in particular, on Louis C.K. discourse. But Nussbaum has always been a writer of exceptional sharpness when it comes to navigating the complexities of her own reactions. The chapter in the book, right in the middle, that examines these questions at length is essential and wise, one of the best meditations I have read on what fans of these artists—and the many others similarly situated—should do now.\u003c/p>\n\u003cp>43. I’m pretty confident \u003ca href=\"https://www.lrb.co.uk/the-paper/v41/n19/patricia-lockwood/malfunctioning-sex-robot\" target=\"_blank\" rel=\"noopener noreferrer\">the most enjoyable piece of culture commentary\u003c/a> I read all year was called “\u003cstrong>Malfunctioning Sex Robot\u003c/strong>.”\u003c/p>\n\u003cp>44. In spite of the fact that I already shouted out the wonderful way he weaponized horses to hilarious effect, I’m going to throw a further mention to \u003cstrong>Keanu Reeves\u003c/strong>, who not only did \u003cem>John Wick 3\u003c/em>, plus a funny turn in \u003cem>Toy Story 4\u003c/em>, but was also tremendous fun playing a version of himself in the Ali Wong/Randall Park romantic comedy \u003cem>Always Be My Maybe\u003c/em>. As deadly serious as he is in the \u003cem>John Wick \u003c/em>series, that’s how goofy he is in \u003cem>Always Be My Maybe\u003c/em>, and \u003ca href=\"https://www.npr.org/2019/05/31/728311649/love-finds-ali-wong-and-randall-park-in-always-be-my-maybe\" target=\"_blank\" rel=\"noopener noreferrer\">what a pleasure it was to watch\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ex403ii_Bhs\u003c/p>\n\u003cp>45. \u003cstrong>The book\u003c/strong> \u003cstrong>\u003cem>Say Nothing: A True Story of Murder and Memory in Northern Ireland \u003c/em>\u003c/strong>takes on the very tough task of unraveling a specific event within the context of a hugely complicated, incredibly sensitive historical conflict—series of conflicts, really—with painful implications for many, many people. Patrick Radden Keefe accomplishes the goal admirably, making the book both a riveting story and a primer for anyone who hasn’t studied Northern Ireland.\u003c/p>\n\u003cp>46. I feel like the podcast \u003cstrong>\u003cem>Reply All \u003c/em>\u003c/strong>winds up on this list every year, but I make no apologies, because it truly is one of my most reliable sources of podcast enjoyment. This year, I think my favorite was \u003ca href=\"https://gimletmedia.com/shows/reply-all/n8hw3d\" target=\"_blank\" rel=\"noopener noreferrer\">“30-50 Feral Hogs,”\u003c/a> an episode devoted to finding the story behind what had quickly become a running public joke. This show is what genuine curiosity sounds like to me, and I’m always so grateful.\u003c/p>\n\u003cp>47. Add me to the many voices praising this year’s new edition of \u003cstrong>\u003cem>The Joy Of Cooking\u003c/em>\u003c/strong>. It’s a big, varied, lovingly and accessibly written book that will take you through the basics while also seeming thoroughly modern.\u003c/p>\n\u003cp>48. I have rarely been as frustrated by the vanishing of a wonderful network comedy as I was by the end of ABC’s \u003cstrong>\u003cem>Speechless\u003c/em>\u003c/strong>. But to its credit, the show managed to end in a place that offered hope and a path forward to the lovable DiMeo family. I consider it one of the big losses of 2019, but it still gave me a lot of highlights.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QHW3G6mRvqw\u003c/p>\n\u003cp>49. There are many pleasures in Greta Gerwig’s \u003cstrong>\u003cem>Little Women\u003c/em>\u003c/strong>, but one that got me right in the heart was seeing \u003ca href=\"https://www.npr.org/2019/12/24/790812857/saoirse-ronan-playing-jo-march-in-little-women-was-a-confidence-boost\" target=\"_blank\" rel=\"noopener noreferrer\">Saoirse Ronan\u003c/a> and Timothée Chalamet work together again. It used to be that screen couples often acted together again and again; here’s one vote for persuading them to bring that tradition back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>50. One of my favorite developments of the year in streaming was the arrival of \u003cstrong>\u003cem>Billy on the Street\u003c/em>\u003c/strong> at Netflix. Is it a new show? \u003ca href=\"https://www.npr.org/2016/12/12/505245220/billy-eichner-makes-a-career-out-of-love-hating-celebrity-culture\" target=\"_blank\" rel=\"noopener noreferrer\">It is not.\u003c/a> But now, you can watch it as it was meant to be seen: In exactly the dosages you need.\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=50+Wonderful+Things+From+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "From J. Lo to Keanu, baseball GIFs to Phoebe Waller-Bridge's masterpiece, here are 50 great cultural moments—from TV, movies, theater, books, podcasts and more—from the year that was.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Standard caveats (really standard—same as \u003ca href=\"https://www.npr.org/2018/12/27/679839731/50-wonderful-things-from-2018\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a> and \u003ca href=\"https://www.npr.org/2017/12/27/570931638/50-wonderful-things-from-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the year before\u003c/a>): I don’t watch everything. I am behind on many things. That’s just the way the world is. So if something you loved isn’t here, it is not a rebuke.\u003c/p>\n\u003cp>And: These are cultural, mostly pop-cultural, things. These are not the best things in the world. Like yours, my actual list of wonderful things from the year, if I wrote it in a journal instead of for work, would be a list of people and moments spent with them—of days when it was unexpectedly sunny and of times when things suddenly felt better. But whatever journey you’re on at any given moment, you can always use more good things. So here we go.\u003c/p>\n\u003cp>1. \u003cstrong>The \u003c/strong>\u003cstrong>\u003cem>Knives Out \u003c/em>\u003c/strong>\u003cstrong>sculpture. \u003c/strong>\u003ca href=\"https://www.npr.org/2019/11/27/782165138/knives-out-a-classic-comic-mystery-of-uncommon-sharpness\" target=\"_blank\" rel=\"noopener noreferrer\">We’ve talked about\u003c/a> the sweaters in Rian Johnson’s great whodunit, and about the performances, and about the … uh, commitment? … of Daniel Craig’s very silly accent. But let’s also appreciate the \u003ca href=\"https://www.npr.org/2019/11/26/782904344/get-a-clue-go-see-knives-out\" target=\"_blank\" rel=\"noopener noreferrer\">enormous sculpture\u003c/a> made of knives that frames the heads of every member of the family as they’re interviewed.\u003c/p>\n\u003cp>2. \u003cstrong>James Marsden jumping on the trampoline in \u003c/strong>\u003cstrong>\u003cem>Dead to Me\u003c/em>\u003c/strong>\u003cstrong>.\u003c/strong> James Marsden is one of those interesting actors who can do so many different things well that he’s easy to take for granted. It’s a mistake, though. Playing a slick, inspirational-speaking jerk, he wakes up, goes out on his balcony and executes a series of silly trampoline moves he says are meant to “get [his] lymph nodes going.”\u003c/p>\n\u003cp>3. \u003cstrong>John Mulaney’s plaid pants in the “Co-op” episode of \u003c/strong>\u003cstrong>\u003cem>Documentary Now\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>The comedian’s wardrobe choices have showed up on this list before, but they’ve never been quite so indelible as his weirdly magnetic ’70s get-up as \u003cem>Documentary Now\u003c/em>‘s \u003ca href=\"https://www.npr.org/2019/02/27/698126773/the-show-tunes-and-plaid-pants-of-the-documentary-now-sondheim-send-up\" target=\"_blank\" rel=\"noopener noreferrer\">version of Stephen Sondheim\u003c/a>.\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/7KMpuoSB8HA'\n title='//www.youtube.com/embed/7KMpuoSB8HA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>4. \u003cstrong>“This is a love story” in \u003c/strong>\u003cstrong>\u003cem>Fleabag\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>We were all so lucky to get two seasons of Phoebe Waller-Bridge’s masterpiece, and \u003ca href=\"https://www.youtube.com/watch?v=jPaEqk3kVjo\" target=\"_blank\" rel=\"noopener noreferrer\">the turn to camera to say\u003c/a> “this is a love story” set up the brilliant second season with intrigue, humor and Waller-Bridge’s inimitable kind of heart. The sequence of shots is so brilliant, and the entire episode so satisfying. We’ll be lucky to see its equal.\u003c/p>\n\u003cp>5.\u003cstrong> Aasif Mandvi in \u003c/strong>\u003cstrong>\u003cem>This Way Up. \u003c/em>\u003c/strong>Aisling Bea’s \u003ca href=\"https://www.npr.org/2019/08/21/752811433/this-way-up-deserves-a-spot-on-your-crowded-viewing-list\" target=\"_blank\" rel=\"noopener noreferrer\">series about a young Irish woman\u003c/a> fresh out of mental health treatment offered a lot of simple pleasures. But one was seeing Aasif Mandvi, who was very funny on \u003cem>The Daily Show\u003c/em> and plays an awful lot of doctors because Hollywood is Hollywood, play the boyfriend of the character played by Sharon Horgan. A fine romantic lead, Mandvi got to show some chops that I personally hadn’t seen very much before, and it was thrilling.\u003c/p>\n\u003cp>6. \u003cstrong>Natasha Lyonne killing it in \u003c/strong>\u003cstrong>\u003cem>Russian Doll\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>Natasha Lyonne is a force, and this performance (and her work in \u003ca href=\"https://www.npr.org/2019/02/01/690276468/natasha-lyonne-anchors-the-riveting-russian-doll\" target=\"_blank\" rel=\"noopener noreferrer\">creating the show\u003c/a>) is a force. May everyone find such a perfect place to be at the peak of their powers.\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/YHcKoAMGGvY'\n title='//www.youtube.com/embed/YHcKoAMGGvY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>7. \u003cstrong>J. Smith-Cameron in \u003c/strong>\u003cstrong>\u003cem>Succession\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>There is so much to admire about \u003ca href=\"https://www.npr.org/2019/08/12/750189331/succession-back-to-the-pit-of-vipers-for-another-season-of-discontent\" target=\"_blank\" rel=\"noopener noreferrer\">HBO’s rich-jerks drama\u003c/a>, but one of the real stars of Season 2 was J. Smith-Cameron as Gerri, one of the Roy family’s faithful lieutenants. Once mostly a figure in meetings hovering over paperwork, Gerri ended Season 2 with a sharper sense of humor, a more distinct role in the family, a star turn at the Roy Family [Figurative] Murder Breakfast and a sexual relationship-ish that’s both offbeat and sweet.\u003c/p>\n\u003cp>8.\u003cstrong> The big resolution in \u003c/strong>\u003cstrong>\u003cem>Unbelievable\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>It wouldn’t be fair to say much about the photo that loads late in \u003ca href=\"https://www.npr.org/2019/10/01/766049015/unbelievable-is-a-searing-drama-about-violence-and-justice\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix’s fact-based series\u003c/a> about an unsolved rape case, but making a plot turn feel so simultaneously satisfying and wrenching is very difficult. And while the series largely belongs to performances from Kaitlyn Dever, Merritt Wever and Toni Collette, you’d be hard-pressed to find a better wordless 30 seconds in all of 2020 than the ones Eric Lange, playing a detective, delivers early in the last episode when this scene hits.\u003c/p>\n\u003cp>9. \u003cstrong>The manipulation of time in \u003c/strong>\u003cstrong>\u003cem>Watchmen\u003c/em>\u003c/strong>\u003cstrong> episode 6. \u003c/strong>The first—and maybe the only—season of HBO’s \u003cem>Watchmen \u003c/em>was excellent throughout, but it reached a new high in the sixth episode, as interwoven past and present stories created connections that were surprising, but seemed somehow inevitable.\u003c/p>\n\u003cp>10.\u003cstrong> Billy Crudup in \u003c/strong>\u003cstrong>\u003cem>The Morning Show\u003c/em>\u003c/strong>\u003cstrong>.\u003c/strong> I’m among those who believe that Apple TV+’s first big series, about the aftermath of a sexual harassment scandal on a network morning show, got a rougher reception than it deserved—partly because it takes a couple of episodes to find its feet and focus. But even many of those who remained unimpressed by it found kind words for the snake-like, inscrutable, toothy and toothsome performance by Billy Crudup as a network executive who could do good only when it meant doing well.\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/Cf7N_j6Uvkg'\n title='//www.youtube.com/embed/Cf7N_j6Uvkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>11. \u003cstrong>The turn in \u003c/strong>\u003cstrong>\u003cem>Parasite\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>I was very lucky to see Bong Joon-ho’s fabulous, complex film at the Toronto International Film Festival without knowing almost anything about it. I didn’t even really know what \u003cem>kind \u003c/em>of movie it was, and that was as it should be.\u003c/p>\n\u003cp>12.\u003cstrong> Jeremy Bearimy, baby. \u003c/strong>At the end of the third season of NBC’s \u003cem>The Good Place\u003c/em>, the conscientious, anxious, deeply moral Chidi (William Jackson Harper) and his partner-in-crime Eleanor (Kristen Bell) are forced to part company. After being reminded that theirs is a story that spans many lifetimes, Chidi uses what was once a silly, jokey phrase about the structure of time to make a profoundly romantic declaration, telling Eleanor that they will “chill out in the dot of the i forever.” That this means nothing if you haven’t \u003ca href=\"https://www.npr.org/2019/09/26/764229236/the-good-place-starts-its-final-approach\" target=\"_blank\" rel=\"noopener noreferrer\">watched the show\u003c/a>, and everything if you have, is what makes it so distinct and moving.\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/RFm9ClqlGuo'\n title='//www.youtube.com/embed/RFm9ClqlGuo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>13.\u003cstrong> Jennifer Lopez’s dance in \u003c/strong>\u003cstrong>\u003cem>Hustlers\u003c/em>\u003c/strong>\u003cstrong>, and the accompanying video. \u003c/strong>I don’t disagree with the many people who have said J. Lo should be in the running for awards for her performance in Lorene Scafaria’s crime drama. But that doesn’t mean I don’t also appreciate the athleticism of Lopez’s first dance on the pole, as well as the \u003ca href=\"https://www.youtube.com/watch?v=pRhOWrk5_NM\" target=\"_blank\" rel=\"noopener noreferrer\">behind-the-scenes look\u003c/a> at her training that she shared.\u003c/p>\n\u003cp>14.\u003cstrong> Every time Christian Siriano said “You’re killing me” on \u003c/strong>\u003cstrong>\u003cem>Project Runway\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>A great example of \u003ca href=\"https://www.npr.org/2019/06/14/732423982/project-runway-proves-change-can-be-healthy\" target=\"_blank\" rel=\"noopener noreferrer\">how to reset\u003c/a> a competitive reality show, Siriano was the perfect new mentor, and the way he freely expressed his frustration with the designers was one of his secret weapons. (See also: “You’re putting a zipper right on the boob?”)\u003c/p>\n\u003cp>15. \u003cstrong>\u003cem>Oklahoma! \u003c/em>\u003c/strong>It’s not that \u003cem>Oklahoma! \u003c/em>hasn’t always been a dark musical—it has. But the Broadway revival I got to see this spring brought out new layers of darkness, new kinds of bleakness. The finale—which I will not describe—is one of the most startling, provocative stage moments I’ve ever seen, particularly working from such a well-known text. (Bonus: Soraya McDonald’s \u003ca href=\"https://theundefeated.com/features/the-unbearable-whiteness-of-oklahoma-on-broadway/\" target=\"_blank\" rel=\"noopener noreferrer\">excellent piece\u003c/a> at \u003cem>The Undefeated\u003c/em> about the production.)\u003c/p>\n\u003cp>16. \u003cstrong>\u003cem>What The Constitution Means to Me. \u003c/em>\u003c/strong>Heidi Schreck shook up the \u003ca href=\"https://www.npr.org/2019/03/30/707858702/staging-a-debate-over-what-the-constitution-means-to-me\" target=\"_blank\" rel=\"noopener noreferrer\">one-woman show\u003c/a> with her combination of speech, debate, dramatic monologue and call to arms. The piece is so smart and thoughtful that it’s easy to forget, when describing it, that it’s also funny and entertaining—enlivened by a late development that had the audience I was part of enthralled.\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/W3GV1K2nctM'\n title='//www.youtube.com/embed/W3GV1K2nctM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>17. \u003cstrong>The horse fight in \u003c/strong>\u003cstrong>\u003cem>John Wick: Chapter 3—Parabellum\u003c/em>\u003c/strong>. The biggest problem with any John Wick movie, I now believe, is that it can’t be all Keanu Reeves fighting bad guys using horses and library books.\u003c/p>\n\u003cp>18. \u003cstrong>The way \u003c/strong>\u003cstrong>\u003cem>Crazy Ex-Girlfriend\u003c/em>\u003c/strong>\u003cstrong> landed the plane. \u003c/strong>It’s so hard to end a show as ambitious as \u003cem>Crazy Ex-Girlfriend\u003c/em>—particularly when it set itself up as, in part, a romantic-comedy spoof and then demonstrated that a romantic-comedy ending would be an utter betrayal of its first principles. The final episode showed respect to Rebecca’s desire to be loved; her growth as a person; the musical talent that’s been under our noses the entire time; and the fact that no matter how much she works to improve herself, White Josh will never, ever like her. Extra points for the way that, as the show wound down, co-creator and star Rachel Bloom \u003ca href=\"https://twitter.com/lindaholmes/status/1105976011487879169\" target=\"_blank\" rel=\"noopener noreferrer\">sold it like double the rent was due at all times\u003c/a>.\u003c/p>\n\u003cp>19.\u003cstrong> The unreal, unsettling doppelgangers in \u003c/strong>\u003cstrong>\u003cem>Us\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>Doppelgangers are such a staple of horror that to make them really, genuinely scary, you have to develop their look and style in a very particular way—\u003ca href=\"https://www.npr.org/2019/03/22/705875221/jordan-peele-looked-into-the-mirror-and-saw-the-evil-inside-us\" target=\"_blank\" rel=\"noopener noreferrer\">as Jordan Peele did\u003c/a> in \u003cem>Us\u003c/em>. Led by Lupita Nyong’o as Red, the family of copies that shows up in their red jumpsuits, with their scissors and obviously ill intentions, use their stillness as a weapon, settling for “creepy” until it’s time to be worse than that.\u003c/p>\n\u003cp>20. \u003cstrong>The “Anna Ishii-Peters” episode of \u003c/strong>\u003cstrong>\u003cem>PEN15\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>I’m not sure why stories in which teenagers bond with each other’s families are so consistently moving, but “Anna Ishii-Peters” follows in the tradition of \u003cem>My So-Called Life\u003c/em> and its “Other People’s Mothers” episode to great effect. \u003cem>PEN15 \u003c/em>is a lovely, thoughtful, \u003ca href=\"https://www.npr.org/2019/02/11/691694798/looking-at-middle-school-through-grown-up-glasses-in-pen15\" target=\"_blank\" rel=\"noopener noreferrer\">big-hearted look at adolescence\u003c/a>—in addition to being a raunchy, candid document of the kind of body horror that only happens in middle school.\u003c/p>\n\u003cp>21. \u003cstrong>The third season of the podcast \u003c/strong>\u003cem>\u003cstrong>Slow Burn\u003c/strong>\u003c/em>\u003cstrong>.\u003c/strong> New host \u003ca href=\"https://www.npr.org/2019/11/07/776908450/slow-burn-season-3-turns-its-investigative-eye-to-the-murders-of-biggie-and-tupa\" target=\"_blank\" rel=\"noopener noreferrer\">Joel Anderson takes listeners through\u003c/a> two of the most famous (officially) unsolved murders of the 20th century: those of rappers Tupac Shakur and Biggie Smalls. Finding the line between overexplaining and underexplaining, the series (in the manner of all good true crime) moves beyond its specific subjects to talk about how rap was developing in the 1990s, and how it was changed by the deaths of these two very young men.\u003c/p>\n\u003cp>22. \u003cem>\u003cstrong>Bon Appétit\u003c/strong>\u003c/em>\u003cstrong> videos! \u003c/strong>Few instructional YouTube channels are as beloved and useful as the one from \u003cem>Bon Appétit\u003c/em>, which has almost five million subscribers. It contains plenty of straight-up how-to pieces, but continues to innovate with series like Reverse Engineering, a monthly show in which deputy food editor Chris Morocco tries to recreate dishes he’s allowed to taste and touch but not see. \u003ca href=\"https://www.youtube.com/channel/UCbpMy0Fg74eXXkvxJrtEn3w\" target=\"_blank\" rel=\"noopener noreferrer\">The whole channel\u003c/a> is a pleasure from start to finish, and its passionate following is well-earned.\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/rE4KHYrWEXY'\n title='//www.youtube.com/embed/rE4KHYrWEXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>23. \u003cstrong>The synchronized swimming in \u003c/strong>\u003cstrong>\u003cem>The Marvelous Mrs. Maisel. \u003c/em>\u003c/strong>The adventures of Midge Maisel have sometimes satisfied and sometimes not. But a stretch of the third season set in Miami was full of delights, including an opening sequence in the sixth episode that incorporated underwater filming, synchronized swimming and the hangover from a night out with Lenny Bruce. Great stuff.\u003c/p>\n\u003cp>24. \u003cstrong>The end of \u003c/strong>\u003cem>\u003cstrong>Again With This: BH\u003c/strong>\u003c/em>\u003cstrong>. \u003c/strong>Back in May 2015, Sarah Bunting and Tara Ariano—who were, full disclosure, my bosses at\u003cem> Television Without Pity \u003c/em>for years—began \u003ca href=\"https://www.againwiththis90210.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a podcast project\u003c/a> to recap each episode of \u003cem>Beverly Hills, 90210 \u003c/em>one at a time. That dumb show, it turns out, ran for 10 seasons, most of which were supersized, because it ran well into the summer. (There are seasons that have more than 30 episodes.) In December of this year, they finished. Not only was this a nutty exercise in completism, but taking the time to examine individual episodes late in the run of a show that had long since given up on itself offers a rare glimpse at what network television used to look like when it just wanted to run out the clock.\u003c/p>\n\u003cp>25. \u003cstrong>\u003cem>The Inventor: Out for Blood in Silicon Valley. \u003c/em>\u003c/strong>2019 was \u003ca href=\"https://www.npr.org/2019/04/30/718663783/elizabeth-holmes-and-theranos-in-pop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">The Year When We Talked A Lot About Theranos\u003c/a>, the company run by Elizabeth Holmes, who’s now awaiting a federal fraud trial. There are a lot of ways to learn about the story—the 2018 book \u003cem>Bad Blood \u003c/em>\u003ca href=\"https://www.npr.org/2018/06/23/622795416/reporter-john-carreyrou-on-the-bad-blood-of-theranos\" target=\"_blank\" rel=\"noopener noreferrer\">by John Carreyrou\u003c/a> is probably the best source document. But Alex Gibney’s 2019 HBO documentary is also a corker, for sure.\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/wtDaP18OGfw'\n title='//www.youtube.com/embed/wtDaP18OGfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>26.\u003cstrong> The moment in Mike Birbiglia’s \u003c/strong>\u003cstrong>\u003cem>The New One\u003c/em>\u003c/strong>\u003cstrong> that you’ll know when you see it. \u003c/strong>You don’t necessarily expect a one-man show to have a twist. But Birbiglia’s show about raising children and buying furniture, which is now available on Netflix, uses surprise better than any show like it that I’ve ever seen.\u003c/p>\n\u003cp>27.\u003cstrong>\u003cem> We Cast a Shadow\u003c/em>\u003c/strong>\u003cstrong>, by Maurice Carlos Ruffin\u003c/strong>. \u003ca href=\"https://www.npr.org/2019/01/30/689747338/in-we-cast-a-shadow-the-horrors-are-close-to-home\" target=\"_blank\" rel=\"noopener noreferrer\">A book about \u003c/a>race, class, parenting and the future, \u003cem>We Cast A Shadow \u003c/em>is the book about which I was proud to simply announce: “This book knocked me on my ass.”\u003c/p>\n\u003cp>28.\u003cstrong> Points of view in \u003c/strong>\u003cstrong>\u003cem>Fleishman Is in Trouble\u003c/em>\u003c/strong>\u003cstrong>. \u003c/strong>\u003ca href=\"https://www.npr.org/2019/06/15/732097604/fleishman-is-in-trouble-a-debut-about-divorce-dating-and-disappearance\" target=\"_blank\" rel=\"noopener noreferrer\">Taffy Brodesser-Akner’s divorce novel\u003c/a> is incisive on the ideas of family and relationships, to be sure. But what impressed me most was how pointed I found its implicit critiques of the modern American literary novel—as focused as it often is on sad men and their sad stories and their sad struggles, with no room for anyone else to speak.\u003c/p>\n\u003cp>29. \u003cstrong>The audiobook presentation of \u003c/strong>\u003cstrong>\u003cem>The Beastie Boys Book. \u003c/em>\u003c/strong>I allow myself one cheat per year, in which I can include something that didn’t technically come out in the year at issue, but that I consumed during the year. This time around, it’s the wonderful audiobook of \u003cem>The Beastie Boys Book\u003c/em>. As someone who never really reacted much to \u003ca href=\"https://www.npr.org/2018/10/29/661647527/rap-buddhism-and-broken-radiators-the-beastie-boys-have-a-story-for-everything\" target=\"_blank\" rel=\"noopener noreferrer\">the group at the center\u003c/a> of the book, I didn’t expect to be so mesmerized by it. But it’s inventively presented, very well written and performed by a large and impressive cast.\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/QpsAi0rF968'\n title='//www.youtube.com/embed/QpsAi0rF968'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>30. \u003ca href=\"https://www.bookforum.com/print/2601/bret-easton-ellis-rages-against-the-decline-of-american-culture-20825\" target=\"_blank\" rel=\"noopener noreferrer\">This piece about Bret Easton Ellis\u003c/a>.\u003c/p>\n\u003cp>31. \u003ca href=\"https://twitter.com/marysdesk/status/1110975466192715777\" target=\"_blank\" rel=\"noopener noreferrer\">This clip of Nina Totenberg\u003c/a>.\u003c/p>\n\u003cp>32. \u003cstrong>The Jonathan Coulton album \u003c/strong>\u003cstrong>\u003cem>Some Guys\u003c/em>\u003c/strong> \u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_kf7ikrMyLQjQmmYoahDU3d71luPzQU8XU\" target=\"_blank\" rel=\"noopener noreferrer\">recreates defiantly uncool ’70s music\u003c/a> like “How Deep Is Your Love” and “Easy” with an unironic love that brings it beautifully to life. Sometimes you just have to love with your whole heart, and you find that fidelity is the best kind of reinvention.\u003c/p>\n\u003cp>33. There is \u003cstrong>a chapter in John Hodgman’s \u003c/strong>\u003cstrong>\u003cem>Medallion Status \u003c/em>\u003c/strong>called “Nude Rider,” and it contains not only very interesting information about appearing naked on film, but also a discussion of what it’s like to be told that you look very much like a monstrous historical figure. It is well worth your time.\u003c/p>\n\u003cp>34. The Internet can be a good place for good dogs. We all need the reminders that they bring, and in \u003cstrong>Winky\u003c/strong>‘s case, it was that you have time, and sometimes you just have to do things on your own schedule.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>35. \u003cstrong>Trevor Noah\u003c/strong> took on one of the hardest jobs one could possibly take on when he assumed the host chair at \u003cem>The Daily Show\u003c/em>. And while opinions vary on how the show has been in his era, he’s a smart and thoughtful guy who thrives on teasing out nuance in a variety of situations, as he did in \u003ca href=\"https://twitter.com/lindaholmes/status/1094209365970743296\" target=\"_blank\" rel=\"noopener noreferrer\">a very good response to an audience question\u003c/a> about Liam Neeson discussing his old revenge fantasies. Particularly for an off-the-cuff answer to such an explosive question, I think he knocked it out of the park. More discussions like this, please.\u003c/p>\n\u003cp>36. Very often, when celebrities drink for the benefit of cameras, they play up how drunk they are. But when \u003cstrong>Seth Meyers went day drinking with Rihanna\u003c/strong>, \u003ca href=\"https://www.youtube.com/watch?v=X3n5Pk8fkLg\" target=\"_blank\" rel=\"noopener noreferrer\">he got legitimately smashed\u003c/a>. Just \u003cem>smashed\u003c/em>. The combination of his precipitous decline with her wonderful, infectious, cackling laugh made it one of my favorite silly things of the year.\u003c/p>\n\u003cp>37. \u003cstrong>Sam Shepard’s \u003c/strong>\u003cstrong>\u003cem>True West \u003c/em>\u003c/strong>was revived this year on Broadway, and the lead performances from Ethan Hawke and Paul Dano brought out the differences, and not just the similarities, between the classic theatrical brothers. In particular, Dano’s particular spin on the spinning out of the quieter Austin was tragic and painful and very funny all at the same time, and I could have watched him make toast for many, many hours.\u003c/p>\n\u003cp>38. \u003ca href=\"https://twitter.com/MLBGIFs/status/1118370837789323266\" target=\"_blank\" rel=\"noopener noreferrer\">This baseball GIF\u003c/a>.\u003c/p>\n\u003cp>39. \u003cstrong>The Buzzfeed vertical \u003c/strong>\u003cem>\u003cstrong>Cocoa Butter\u003c/strong>\u003c/em> has found great success with a series of videos in which black tasters try each other’s home cooking. My favorite is called \u003ca href=\"https://twitter.com/cocoabutterbf/status/1127257411608354817\" target=\"_blank\" rel=\"noopener noreferrer\">Black Moms Try Other Black Moms’ Soul Food\u003c/a>. There is such joy and such delicious and mischievous suspense as you wait to find out what will happen when everybody tastes the food of whoever is being the most shady about everybody else’s cooking! It’s a fabulous series, inventive and funny and satisfying.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>40. Look, you don’t need me to tell you how much of an impact \u003cstrong>“Old Town Road” and Lil Nas X\u003c/strong> made this year. But for me, one of the most delightful aspects of that story was how the song was boosted by its appeal to kids, never more clear than in the video of Lil Nas X \u003ca href=\"https://twitter.com/Complex/status/1133796630942113793?s=09\" target=\"_blank\" rel=\"noopener noreferrer\">visiting an elementary school\u003c/a> where the kids absolutely lost their minds together. Joy, unbound.\u003c/p>\n\u003cp>41. Am I allowed to talk about an NPR project? Sure I am. You’ve heard a lot of true crime podcasts, perhaps, and you’ve heard a lot of history podcasts. But I particularly loved \u003cstrong>\u003cem>White Lies\u003c/em>\u003c/strong>, which \u003ca href=\"https://www.npr.org/podcasts/510343/white-lies\" target=\"_blank\" rel=\"noopener noreferrer\">delved into the murder of James Reeb\u003c/a> in 1965 while he was in Selma, Ala. participating in civil rights activism. Hosts Chip Brantley and Andrew Beck Grace masterfully mixed history and education in the traditional senses with the kind of investigation that can make true crime so interesting. And they showed great care in putting the murder of Reeb—a visiting white minister—in the context of other violence at the time, including killings of black citizens whose cases never received nearly the notoriety this one did.\u003c/p>\n\u003cp>42. When I started \u003ca href=\"https://www.npr.org/2019/07/15/741146427/we-all-watch-in-our-own-way-a-critic-tracks-the-tv-revolution\">TV critic Emily Nussbaum\u003c/a>‘s book \u003cstrong>\u003cem>I Like To Watch\u003c/em>\u003c/strong>, I would have said I didn’t want to read any more examinations of how to treat artists whose ugly behavior had come into focus, particularly as the #MeToo movement grew. I would have said I was full up, in particular, on Louis C.K. discourse. But Nussbaum has always been a writer of exceptional sharpness when it comes to navigating the complexities of her own reactions. The chapter in the book, right in the middle, that examines these questions at length is essential and wise, one of the best meditations I have read on what fans of these artists—and the many others similarly situated—should do now.\u003c/p>\n\u003cp>43. I’m pretty confident \u003ca href=\"https://www.lrb.co.uk/the-paper/v41/n19/patricia-lockwood/malfunctioning-sex-robot\" target=\"_blank\" rel=\"noopener noreferrer\">the most enjoyable piece of culture commentary\u003c/a> I read all year was called “\u003cstrong>Malfunctioning Sex Robot\u003c/strong>.”\u003c/p>\n\u003cp>44. In spite of the fact that I already shouted out the wonderful way he weaponized horses to hilarious effect, I’m going to throw a further mention to \u003cstrong>Keanu Reeves\u003c/strong>, who not only did \u003cem>John Wick 3\u003c/em>, plus a funny turn in \u003cem>Toy Story 4\u003c/em>, but was also tremendous fun playing a version of himself in the Ali Wong/Randall Park romantic comedy \u003cem>Always Be My Maybe\u003c/em>. As deadly serious as he is in the \u003cem>John Wick \u003c/em>series, that’s how goofy he is in \u003cem>Always Be My Maybe\u003c/em>, and \u003ca href=\"https://www.npr.org/2019/05/31/728311649/love-finds-ali-wong-and-randall-park-in-always-be-my-maybe\" target=\"_blank\" rel=\"noopener noreferrer\">what a pleasure it was to watch\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/Ex403ii_Bhs'\n title='//www.youtube.com/embed/Ex403ii_Bhs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>45. \u003cstrong>The book\u003c/strong> \u003cstrong>\u003cem>Say Nothing: A True Story of Murder and Memory in Northern Ireland \u003c/em>\u003c/strong>takes on the very tough task of unraveling a specific event within the context of a hugely complicated, incredibly sensitive historical conflict—series of conflicts, really—with painful implications for many, many people. Patrick Radden Keefe accomplishes the goal admirably, making the book both a riveting story and a primer for anyone who hasn’t studied Northern Ireland.\u003c/p>\n\u003cp>46. I feel like the podcast \u003cstrong>\u003cem>Reply All \u003c/em>\u003c/strong>winds up on this list every year, but I make no apologies, because it truly is one of my most reliable sources of podcast enjoyment. This year, I think my favorite was \u003ca href=\"https://gimletmedia.com/shows/reply-all/n8hw3d\" target=\"_blank\" rel=\"noopener noreferrer\">“30-50 Feral Hogs,”\u003c/a> an episode devoted to finding the story behind what had quickly become a running public joke. This show is what genuine curiosity sounds like to me, and I’m always so grateful.\u003c/p>\n\u003cp>47. Add me to the many voices praising this year’s new edition of \u003cstrong>\u003cem>The Joy Of Cooking\u003c/em>\u003c/strong>. It’s a big, varied, lovingly and accessibly written book that will take you through the basics while also seeming thoroughly modern.\u003c/p>\n\u003cp>48. I have rarely been as frustrated by the vanishing of a wonderful network comedy as I was by the end of ABC’s \u003cstrong>\u003cem>Speechless\u003c/em>\u003c/strong>. But to its credit, the show managed to end in a place that offered hope and a path forward to the lovable DiMeo family. I consider it one of the big losses of 2019, but it still gave me a lot of highlights.\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/QHW3G6mRvqw'\n title='//www.youtube.com/embed/QHW3G6mRvqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>49. There are many pleasures in Greta Gerwig’s \u003cstrong>\u003cem>Little Women\u003c/em>\u003c/strong>, but one that got me right in the heart was seeing \u003ca href=\"https://www.npr.org/2019/12/24/790812857/saoirse-ronan-playing-jo-march-in-little-women-was-a-confidence-boost\" target=\"_blank\" rel=\"noopener noreferrer\">Saoirse Ronan\u003c/a> and Timothée Chalamet work together again. It used to be that screen couples often acted together again and again; here’s one vote for persuading them to bring that tradition back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>50. One of my favorite developments of the year in streaming was the arrival of \u003cstrong>\u003cem>Billy on the Street\u003c/em>\u003c/strong> at Netflix. Is it a new show? \u003ca href=\"https://www.npr.org/2016/12/12/505245220/billy-eichner-makes-a-career-out-of-love-hating-celebrity-culture\" target=\"_blank\" rel=\"noopener noreferrer\">It is not.\u003c/a> But now, you can watch it as it was meant to be seen: In exactly the dosages you need.\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=50+Wonderful+Things+From+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ilana Glazer is ready for you to get to know the real Ilana.\u003c/p>\n\u003cp>She’s different, she’ll have you know, than Ilana Wexler, her free-wheeling alter-ego on \u003cem>Broad City\u003c/em>, the comedy Web-turned-TV series she created alongside her co-star, Abbi Jacobson.\u003c/p>\n\u003cp>For one, she jokes in her new stand-up special, unlike the fake Ilana, the real Ilana is mature enough to take her vitamins before she hits the bowl of weed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JrbsQRpM9Ok\u003c/p>\n\u003cp>Jokes aside, Glazer is still figuring out who the real Ilana is, after closing a decade-long chapter on the \u003cem>Broad City \u003c/em>world with the series finale earlier this year. As in the final episode, the inseparable duo of Glazer and Jacobson, must go through the growing pains of striking out on their own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Thinking of myself as an individual entity when it comes to my work … it’s just been hard,” she said in an interview with\u003cem> All Things Considered\u003c/em>. “You know, it was my whole twenties.”\u003c/p>\n\u003cp>Glazer’s working out her real-life solo act in part on stage in an hour-long special, \u003cem>The Planet Is Burning\u003c/em>, set to hit Amazon Prime next month. In it, we see the 32-year-old wrestle with adult-y things like her marriage—and her discomfort with the unfamiliar assignments of “wife” and “husband.”\u003c/p>\n\u003cp>Like her \u003cem>Broad City\u003c/em> character, Glazer still dances around, slips in and out of voices and impressions, and sings. But beneath that jubilance is a seriousness rarely captured on screen.\u003c/p>\n\u003cp>While her 20-something character laughed her way through constant shenanigans, she and Jacobson were working hard behind the scenes. “I do feel a little bit like I missed out on mistake-making,” Glazer said. “\u003cem>Broad City\u003c/em> was this context for our mistakes, where we got to put them in a box and then leave them there. And now I don’t really have that box.”\u003c/p>\n\u003cp>Over the past decade, Glazer said she’s also realized that she boxed up some feelings while buckling down on the work.\u003c/p>\n\u003cp>“I’ve been so grateful and ‘Thank you so much for this opportunity,’ for so long,” she said. “Also, in \u003cem>Broad City\u003c/em>, I played the light character and Abbi played the darker character.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=avzXGjdBLkA\u003c/p>\n\u003cp>Lately, she said, she’s embracing that darker side.\u003c/p>\n\u003cp>“I’m angrier than I’ve been allowing myself to see,” she said. “I have this fire in me that I was not seeing was part of my light.”\u003c/p>\n\u003cp>That fire lit under her appears to drive her political activism efforts. She helped start \u003ca href=\"https://generatorcollective.com/\">Generator Collective\u003c/a>, a storytelling project that encourages Americans to share their own stories about how public policies affect them personally.\u003c/p>\n\u003cp>The group’s goal, she said, is to “lower the barrier of entry to talking about politics.”\u003c/p>\n\u003cp>Glazer’s new material might be another attempt at lowering that barrier with humor to talk about the current political moment.\u003c/p>\n\u003cp>In \u003cem>The Planet Is Burning\u003c/em>, between her twerking and stage-strutting, the comedian touches on the rise of white nationalism through a stolen-haircut joke, and diagnoses the lack of climate change action as the “ultimate \u003ca href=\"https://www.urbandictionary.com/define.php?term=FOMO\">FOMO\u003c/a>.”\u003c/p>\n\u003cp>In watching herself in the footage from her special, she said, she sees someone who is “more me than Ilana Wexler was.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think people think because of Ilana Wexler and \u003cem>Broad City\u003c/em>, I’m like this happier, more \u003cem>up \u003c/em>person,” she said. “And I am, but I’m kind of an optimistic nihilist. ‘Cause like while we’re on the planet, why not have fun? But—it’s literally burning.”\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=Ilana+Glazer+Strikes+Out+On+Her+Own+In+New+Stand-Up+Special&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ilana Glazer is ready for you to get to know the real Ilana.\u003c/p>\n\u003cp>She’s different, she’ll have you know, than Ilana Wexler, her free-wheeling alter-ego on \u003cem>Broad City\u003c/em>, the comedy Web-turned-TV series she created alongside her co-star, Abbi Jacobson.\u003c/p>\n\u003cp>For one, she jokes in her new stand-up special, unlike the fake Ilana, the real Ilana is mature enough to take her vitamins before she hits the bowl of weed.\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/JrbsQRpM9Ok'\n title='//www.youtube.com/embed/JrbsQRpM9Ok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jokes aside, Glazer is still figuring out who the real Ilana is, after closing a decade-long chapter on the \u003cem>Broad City \u003c/em>world with the series finale earlier this year. As in the final episode, the inseparable duo of Glazer and Jacobson, must go through the growing pains of striking out on their own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Thinking of myself as an individual entity when it comes to my work … it’s just been hard,” she said in an interview with\u003cem> All Things Considered\u003c/em>. “You know, it was my whole twenties.”\u003c/p>\n\u003cp>Glazer’s working out her real-life solo act in part on stage in an hour-long special, \u003cem>The Planet Is Burning\u003c/em>, set to hit Amazon Prime next month. In it, we see the 32-year-old wrestle with adult-y things like her marriage—and her discomfort with the unfamiliar assignments of “wife” and “husband.”\u003c/p>\n\u003cp>Like her \u003cem>Broad City\u003c/em> character, Glazer still dances around, slips in and out of voices and impressions, and sings. But beneath that jubilance is a seriousness rarely captured on screen.\u003c/p>\n\u003cp>While her 20-something character laughed her way through constant shenanigans, she and Jacobson were working hard behind the scenes. “I do feel a little bit like I missed out on mistake-making,” Glazer said. “\u003cem>Broad City\u003c/em> was this context for our mistakes, where we got to put them in a box and then leave them there. And now I don’t really have that box.”\u003c/p>\n\u003cp>Over the past decade, Glazer said she’s also realized that she boxed up some feelings while buckling down on the work.\u003c/p>\n\u003cp>“I’ve been so grateful and ‘Thank you so much for this opportunity,’ for so long,” she said. “Also, in \u003cem>Broad City\u003c/em>, I played the light character and Abbi played the darker character.”\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/avzXGjdBLkA'\n title='//www.youtube.com/embed/avzXGjdBLkA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lately, she said, she’s embracing that darker side.\u003c/p>\n\u003cp>“I’m angrier than I’ve been allowing myself to see,” she said. “I have this fire in me that I was not seeing was part of my light.”\u003c/p>\n\u003cp>That fire lit under her appears to drive her political activism efforts. She helped start \u003ca href=\"https://generatorcollective.com/\">Generator Collective\u003c/a>, a storytelling project that encourages Americans to share their own stories about how public policies affect them personally.\u003c/p>\n\u003cp>The group’s goal, she said, is to “lower the barrier of entry to talking about politics.”\u003c/p>\n\u003cp>Glazer’s new material might be another attempt at lowering that barrier with humor to talk about the current political moment.\u003c/p>\n\u003cp>In \u003cem>The Planet Is Burning\u003c/em>, between her twerking and stage-strutting, the comedian touches on the rise of white nationalism through a stolen-haircut joke, and diagnoses the lack of climate change action as the “ultimate \u003ca href=\"https://www.urbandictionary.com/define.php?term=FOMO\">FOMO\u003c/a>.”\u003c/p>\n\u003cp>In watching herself in the footage from her special, she said, she sees someone who is “more me than Ilana Wexler was.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think people think because of Ilana Wexler and \u003cem>Broad City\u003c/em>, I’m like this happier, more \u003cem>up \u003c/em>person,” she said. “And I am, but I’m kind of an optimistic nihilist. ‘Cause like while we’re on the planet, why not have fun? But—it’s literally burning.”\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=Ilana+Glazer+Strikes+Out+On+Her+Own+In+New+Stand-Up+Special&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4206142\">Neil Innes\u003c/a>, whose gift for wry and funny songwriting led to work with \u003ca href=\"https://www.npr.org/tags/126953390/monty-python\">Monty Python\u003c/a>, The Bonzo Dog Doo-Dah Band and The Rutles, died Sunday, December 29. His death was confirmed by his agent, Nigel Morton, who said in a statement that Innes died “quickly, without warning,” of natural causes. He was 75.\u003c/p>\n\u003cp>In a statement, Innes’ family wrote:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>It is with deep sorrow and great sadness that we have to announce the death of Neil James Innes on 29\u003c/em>\u003cem>\u003csup>th\u003c/sup>\u003c/em>\u003cem> December 2019.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We have lost a beautiful kind, gentle soul whose music and songs touched the heart of everyone and whose intellect and search for truth inspired us all.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Innes wrote several original songs for Monty Python’s sketch-comedy TV show, \u003cem>Monty Python’s Flying Circus\u003c/em>, as well as 1975’s classic movie, \u003cem>Monty Python and the Holy Grail\u003c/em>, in which he also appeared as an actor. Innes’ years as a supporting player with Monty Python led to a long-running stint as co-leader of The Rutles, a fictional late-’70s \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">Beatles\u003c/a> pastiche that featured Monty Python’s Eric Idle as the \u003ca href=\"https://www.npr.org/artists/15158238/paul-mccartney\">Paul McCartney\u003c/a> stand-in, Dirk McQuickly, and Innes as the \u003ca href=\"https://www.npr.org/artists/15405854/john-lennon\">John Lennon\u003c/a> stand-in, Ron Nasty.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8qf8y7v0WIE\u003c/p>\n\u003cp>The Rutles ultimately became a “real” band, appearing on \u003cem>Saturday Night Live\u003c/em> and recording a mockumentary film called \u003ca href=\"https://www.imdb.com/title/tt0077147/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All You Need Is Cash\u003c/em>\u003c/a> in 1978. Assorted reunions, tours, retrospectives and compilations have followed in the decades since.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a way, The Rutles’ long history of affectionate Beatles mimicry amounted to Innes’ musical life coming full circle: The Bonzo Dog Doo-Dah Band had, after all, appeared in the Beatles’ 1967 film \u003cem>Magical Mystery Tour\u003c/em> (wherein it performed its song “Death Cab for Cutie,” which would later give \u003ca href=\"https://www.npr.org/artists/15163859/death-cab-for-cutie\">a different well-known band\u003c/a> its name). Working under a pseudonym, McCartney himself produced The Bonzo Dog Doo-Dah Band’s biggest hit, 1968’s “\u003ca href=\"https://www.youtube.com/watch?v=xVr2hbE6aW0\">I’m the Urban Spaceman\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=woqgI7loyo4&feature=emb_logo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In recent years, Innes continued to tour and perform—in 2011, he even popped up at NPR’s Tiny Desk, where he performed two Bonzo Dog Doo-Dah Band songs (“Democracy” and “I’m the Urban Spaceman”), as well as The Rutles’ “I Must Be in Love.”\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=Neil+Innes%2C+Monty+Python+Collaborator+And+Rutles+Member%2C+Dead+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4206142\">Neil Innes\u003c/a>, whose gift for wry and funny songwriting led to work with \u003ca href=\"https://www.npr.org/tags/126953390/monty-python\">Monty Python\u003c/a>, The Bonzo Dog Doo-Dah Band and The Rutles, died Sunday, December 29. His death was confirmed by his agent, Nigel Morton, who said in a statement that Innes died “quickly, without warning,” of natural causes. He was 75.\u003c/p>\n\u003cp>In a statement, Innes’ family wrote:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>It is with deep sorrow and great sadness that we have to announce the death of Neil James Innes on 29\u003c/em>\u003cem>\u003csup>th\u003c/sup>\u003c/em>\u003cem> December 2019.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We have lost a beautiful kind, gentle soul whose music and songs touched the heart of everyone and whose intellect and search for truth inspired us all.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Innes wrote several original songs for Monty Python’s sketch-comedy TV show, \u003cem>Monty Python’s Flying Circus\u003c/em>, as well as 1975’s classic movie, \u003cem>Monty Python and the Holy Grail\u003c/em>, in which he also appeared as an actor. Innes’ years as a supporting player with Monty Python led to a long-running stint as co-leader of The Rutles, a fictional late-’70s \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">Beatles\u003c/a> pastiche that featured Monty Python’s Eric Idle as the \u003ca href=\"https://www.npr.org/artists/15158238/paul-mccartney\">Paul McCartney\u003c/a> stand-in, Dirk McQuickly, and Innes as the \u003ca href=\"https://www.npr.org/artists/15405854/john-lennon\">John Lennon\u003c/a> stand-in, Ron Nasty.\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/8qf8y7v0WIE'\n title='//www.youtube.com/embed/8qf8y7v0WIE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Rutles ultimately became a “real” band, appearing on \u003cem>Saturday Night Live\u003c/em> and recording a mockumentary film called \u003ca href=\"https://www.imdb.com/title/tt0077147/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All You Need Is Cash\u003c/em>\u003c/a> in 1978. Assorted reunions, tours, retrospectives and compilations have followed in the decades since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a way, The Rutles’ long history of affectionate Beatles mimicry amounted to Innes’ musical life coming full circle: The Bonzo Dog Doo-Dah Band had, after all, appeared in the Beatles’ 1967 film \u003cem>Magical Mystery Tour\u003c/em> (wherein it performed its song “Death Cab for Cutie,” which would later give \u003ca href=\"https://www.npr.org/artists/15163859/death-cab-for-cutie\">a different well-known band\u003c/a> its name). Working under a pseudonym, McCartney himself produced The Bonzo Dog Doo-Dah Band’s biggest hit, 1968’s “\u003ca href=\"https://www.youtube.com/watch?v=xVr2hbE6aW0\">I’m the Urban Spaceman\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/woqgI7loyo4'\n title='//www.youtube.com/embed/woqgI7loyo4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>In recent years, Innes continued to tour and perform—in 2011, he even popped up at NPR’s Tiny Desk, where he performed two Bonzo Dog Doo-Dah Band songs (“Democracy” and “I’m the Urban Spaceman”), as well as The Rutles’ “I Must Be in Love.”\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=Neil+Innes%2C+Monty+Python+Collaborator+And+Rutles+Member%2C+Dead+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Confession: I’ve turned into a last-minute holiday shopper.\u003c/p>\n\u003cp>It wasn’t always this way, I swear, but almost a decade of parenting has taught me that what a kid likes in June is most definitely not what a kid will like in December (\u003cem>Star Wars\u003c/em> excepted, of course), so I can either waste money and save time, or wait until the last minute and waste slightly less money. Whether it’s toys or books, it’s always the same, so I wait. I wait until the “may not arrive until after Christmas” warnings start coming, and then I panic, do a quick survey of what my kids are obsessed with RIGHT THIS SECOND, pull out the checkbook and hope for the best.\u003c/p>\n\u003cp>I know I can count on anything in Tui Sutherland’s \u003cem>Wings of Fire \u003c/em>series for my son, and Amy Krouse Rosenthal’s latest utensil drama, \u003cem>Chopsticks\u003c/em>, for my youngest, but my middle baby was a doozy this year.\u003c/p>\n\u003cp>I’m holding a little black book in my hand. It’s hardcover with an imprinted gold title on the front and the spine. It can’t be more than 6 by 4 inches, and the text on its 313 pages (not counting the index) is tiny and dense. I found my 7-year-old reading this book a few weeks ago, and she hasn’t put it down since. It’s not exactly a children’s book.\u003c/p>\n\u003cp>She’s reading \u003cem>From the Deep Woods to Civilization \u003c/em>by Charles Alexander Eastman, the Santee Dakota writer and physician.\u003c/p>\n\u003cp>I mean, she’s all about it. One of her most prized possessions is a bag my Monacan grandmother made from a turtle shell. This year she made — almost completely by herself, mind you — a \u003ca href=\"https://cooking.nytimes.com/recipes/1016956-three-sisters-stew\">Three Sisters stew\u003c/a> to take to her Thanksgiving party at school, she desperately wants my father to take his beaded breastplate out of its glass case (that’s not going to happen) and she is more than willing to go toe to toe if someone makes a crack about how long her brother’s hair is.\u003c/p>\n\u003cp>She’s tough and proud and interested, but Charles Alexander Eastman? I wasn’t prepared for her to read his works until at least third grade (ha!).\u003c/p>\n\u003cp>But surprisingly, if taken slowly and thoughtfully, \u003cem>From the Deep Woods\u003c/em> is not the worst book in the world for children, and I am thrilled my little girl is showing such interest in her heritage. I am also thrilled that her interest came so close to the holidays — it made picking a present easy.\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Juanita Giles']‘The family in \u003cem>\u003cstrong>Fry Bread\u003c/strong>\u003c/em> eats it just the way my family does: Sweet with honey or preserves, savory with meat and tomatoes, and they eat it with thanks and happiness.’[/pullquote]\u003c/p>\n\u003cp>In addition to the Three Sisters stew she took to school for Thanksgiving, my daughter also had me bring in fry bread. I ALWAYS bring in fry bread, and bless their hearts, those little children go crazy for it. “She made the bread; she made the bread!!!” The second grade was practically swarming, and I felt super bad for whichever parent brought in candy corn because it was knocked to the floor in the ensuing melee to get to the fry bread. (My daughter asked in a whisper, “You DID make extra for supper, didn’t you?” Yes, honey, I did.)\u003c/p>\n\u003cp>So \u003cem>Fry Bread: A Native American Family Story\u003c/em> was waiting for her under the tree this year.\u003c/p>\n\u003cp>I don’t know if Kevin Noble Maillard actually intended for a 7-year-old to drop dough into a cast iron skillet full of hot oil, but I can tell you that’s exactly what happened in my house on Christmas afternoon after my daughter opened \u003cem>Fry Bread\u003c/em>. For my little girl, Maillard hasn’t written a book to expand the diversity of her bookshelf or explain a culture about which she may know little to nothing — Maillard has written a book about HER life and HER family, not to mention a book about one of her all-time favorite foods (which she has been begging me to let her make by herself, but eh … “fry bread is sound … sizzling oil popping” so, we’ll just have to see about that.)\u003c/p>\n\u003cp>My kids are often told they don’t look “Indian enough,” but illustrator Juana Martinez-Neal doesn’t brook any such nonsense. The Native American family in \u003cem>Fry Bread \u003c/em>is just like our own family (OK, a tad more well-behaved): There is blond hair, cornrows, red hair and yes, straight, black hair (such is the legacy of First Contact). My kids love seeing themselves included, and I love sharing that moment with them.\u003c/p>\n\u003cp>[aside tag='native-american, book-review, the-great-american-read' label='More Stories You'll Like']\u003c/p>\n\u003cp>As happy as my kids are with this book, make no mistake, \u003cem>Fry Bread\u003c/em> isn’t merely a feel-good story about a picturesque Native American family cooking together with joyful abandon and minimal mess. Fry bread is not the least divisive of foods: Born of mortal necessity, fry bread might seem the last food Native Americans would choose to celebrate (and many people choose not to). My children know fry bread isn’t “traditional,” and they know why. To his credit, Maillard doesn’t shy away from tackling that issue. “Fry bread is history … the long walk, the stolen land … with unknown food we made new recipes from what we had.”\u003c/p>\n\u003cp>Also to Maillard’s credit, he doesn’t leave it there. Fry bread IS worth celebrating. That diverse Native American family that means so much to my kids? Fry bread is instrumental to its very existence. The 19th-century boyhood of Charles Eastman is gone: The wild rice, the bison, the venison, the fish, the ducks, the huckleberries — all gone. But Maillard takes the food of necessity and places it directly on the table of plenty. The family in \u003cem>Fry Bread\u003c/em> eats it just the way my family does: Sweet with honey or preserves, savory with meat and tomatoes, and they eat it with thanks and happiness.\u003c/p>\n\u003cp>So yes, \u003cem>Fry Bread: A Native American Family Story\u003c/em> is the perfect gift for my little girl, for all my children. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Confession: I’ve turned into a last-minute holiday shopper.\u003c/p>\n\u003cp>It wasn’t always this way, I swear, but almost a decade of parenting has taught me that what a kid likes in June is most definitely not what a kid will like in December (\u003cem>Star Wars\u003c/em> excepted, of course), so I can either waste money and save time, or wait until the last minute and waste slightly less money. Whether it’s toys or books, it’s always the same, so I wait. I wait until the “may not arrive until after Christmas” warnings start coming, and then I panic, do a quick survey of what my kids are obsessed with RIGHT THIS SECOND, pull out the checkbook and hope for the best.\u003c/p>\n\u003cp>I know I can count on anything in Tui Sutherland’s \u003cem>Wings of Fire \u003c/em>series for my son, and Amy Krouse Rosenthal’s latest utensil drama, \u003cem>Chopsticks\u003c/em>, for my youngest, but my middle baby was a doozy this year.\u003c/p>\n\u003cp>I’m holding a little black book in my hand. It’s hardcover with an imprinted gold title on the front and the spine. It can’t be more than 6 by 4 inches, and the text on its 313 pages (not counting the index) is tiny and dense. I found my 7-year-old reading this book a few weeks ago, and she hasn’t put it down since. It’s not exactly a children’s book.\u003c/p>\n\u003cp>She’s reading \u003cem>From the Deep Woods to Civilization \u003c/em>by Charles Alexander Eastman, the Santee Dakota writer and physician.\u003c/p>\n\u003cp>I mean, she’s all about it. One of her most prized possessions is a bag my Monacan grandmother made from a turtle shell. This year she made — almost completely by herself, mind you — a \u003ca href=\"https://cooking.nytimes.com/recipes/1016956-three-sisters-stew\">Three Sisters stew\u003c/a> to take to her Thanksgiving party at school, she desperately wants my father to take his beaded breastplate out of its glass case (that’s not going to happen) and she is more than willing to go toe to toe if someone makes a crack about how long her brother’s hair is.\u003c/p>\n\u003cp>She’s tough and proud and interested, but Charles Alexander Eastman? I wasn’t prepared for her to read his works until at least third grade (ha!).\u003c/p>\n\u003cp>But surprisingly, if taken slowly and thoughtfully, \u003cem>From the Deep Woods\u003c/em> is not the worst book in the world for children, and I am thrilled my little girl is showing such interest in her heritage. I am also thrilled that her interest came so close to the holidays — it made picking a present easy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to the Three Sisters stew she took to school for Thanksgiving, my daughter also had me bring in fry bread. I ALWAYS bring in fry bread, and bless their hearts, those little children go crazy for it. “She made the bread; she made the bread!!!” The second grade was practically swarming, and I felt super bad for whichever parent brought in candy corn because it was knocked to the floor in the ensuing melee to get to the fry bread. (My daughter asked in a whisper, “You DID make extra for supper, didn’t you?” Yes, honey, I did.)\u003c/p>\n\u003cp>So \u003cem>Fry Bread: A Native American Family Story\u003c/em> was waiting for her under the tree this year.\u003c/p>\n\u003cp>I don’t know if Kevin Noble Maillard actually intended for a 7-year-old to drop dough into a cast iron skillet full of hot oil, but I can tell you that’s exactly what happened in my house on Christmas afternoon after my daughter opened \u003cem>Fry Bread\u003c/em>. For my little girl, Maillard hasn’t written a book to expand the diversity of her bookshelf or explain a culture about which she may know little to nothing — Maillard has written a book about HER life and HER family, not to mention a book about one of her all-time favorite foods (which she has been begging me to let her make by herself, but eh … “fry bread is sound … sizzling oil popping” so, we’ll just have to see about that.)\u003c/p>\n\u003cp>My kids are often told they don’t look “Indian enough,” but illustrator Juana Martinez-Neal doesn’t brook any such nonsense. The Native American family in \u003cem>Fry Bread \u003c/em>is just like our own family (OK, a tad more well-behaved): There is blond hair, cornrows, red hair and yes, straight, black hair (such is the legacy of First Contact). My kids love seeing themselves included, and I love sharing that moment with them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As happy as my kids are with this book, make no mistake, \u003cem>Fry Bread\u003c/em> isn’t merely a feel-good story about a picturesque Native American family cooking together with joyful abandon and minimal mess. Fry bread is not the least divisive of foods: Born of mortal necessity, fry bread might seem the last food Native Americans would choose to celebrate (and many people choose not to). My children know fry bread isn’t “traditional,” and they know why. To his credit, Maillard doesn’t shy away from tackling that issue. “Fry bread is history … the long walk, the stolen land … with unknown food we made new recipes from what we had.”\u003c/p>\n\u003cp>Also to Maillard’s credit, he doesn’t leave it there. Fry bread IS worth celebrating. That diverse Native American family that means so much to my kids? Fry bread is instrumental to its very existence. The 19th-century boyhood of Charles Eastman is gone: The wild rice, the bison, the venison, the fish, the ducks, the huckleberries — all gone. But Maillard takes the food of necessity and places it directly on the table of plenty. The family in \u003cem>Fry Bread\u003c/em> eats it just the way my family does: Sweet with honey or preserves, savory with meat and tomatoes, and they eat it with thanks and happiness.\u003c/p>\n\u003cp>So yes, \u003cem>Fry Bread: A Native American Family Story\u003c/em> is the perfect gift for my little girl, for all my children. Long after the Legos or dolls are set aside and forgotten, \u003cem>Fry Bread\u003c/em> will be brought down from the cookbook shelf (yes, Maillard includes his own recipe!), thumbed through with floury hands searching for the words “Monacan Indian Nation” inside the cover, and splattered with oil as it sits by my old cast iron skillet. I hope Kevin Maillard will excuse me for wrapping up a splatter screen along with the book.\u003c/p>\n\u003cp>\u003cem>Juanita Giles is the founder and executive director of the Virginia Children’s Book Festival. She lives on a farm in Southern Virginia with her family.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>From the moment Andrew Lloyd Webber decided to set the T.S. Eliot poetry collection \u003cem>Old Possum’s Book of Practical Cats\u003c/em> to music, \u003cem>Cats\u003c/em> has felt like an escalating series of dares, or a Bialystock & Bloom scheme that accidentally became one of the biggest sensations in Broadway history. It did not seem likely that a plotless revue where cats either introduce themselves or introduce other cats would ignite public interest. Or that Grizabella’s ascendence to the Heaviside Layer would last longer than the acid trip that summoned it to life. Or that a single song, “Memory,” would be so transcendent that it could carry a production for decades.\u003c/p>\n\u003cp>For nearly 40 years, however, there was widespread consensus that \u003cem>Cats\u003c/em> could never be made into a movie. There’s no story to be told, the action is confined to a junkyard backdrop, and the sight of performers thundering around in cat costumes and make-up is the type of conceit that’s readily accepted on stage, but not as suitable to screen. And yet now, through the magic of digital technology, audiences can witness a surly, bewhiskered Ray Winstone manning a barge as Captain Growltiger or the Ian McKellen saying “Meow, meow” with the gravitas expected of a Shakespearean actor.\u003c/p>\n\u003cp>https://youtu.be/gNTDoOmc1OQ\u003c/p>\n\u003cp>It’s hard to know how to react to \u003cem>Cats\u003c/em>, other than gape in slack-jawed amazement that the dare has continued for so long. The two trailers released in advance of the film have been a cultural phenomenon in themselves, a meme-friendly trip to the uncatty valley, but there’s never any point in its 110-minute running time where it seems less strange or disconcerting. In the true \u003cem>Cats\u003c/em> tradition, the idea should have been scuttled in the testing phase, when the skin-tight melding of faces and bodies with “digital fur technology” looked glitchy and unsettling, like one of the ghosts from a Japanese horror movie. And yet director Tom Hooper and the studio pressed on, under the not-unreasonable logic that audiences will embrace such abstractions readily, as they had on Broadway and the West End.\u003c/p>\n\u003cp>Hooper and his co-screenwriter, Lee Hall (\u003cem>Billy Elliot)\u003c/em>, have done what they can to ease the transition. There’s more narrative tissue connecting one set-piece to the next, and an expanded role for Victoria, a discarded kitten, to be the consistent perspective that ties the whole odyssey together. Played by the renowned ballerina Francesca Hayward, whose face reflects the right amount of wide-eyed curiosity and wonder, Victoria falls in with the Jellicle cats that haunt the streets and abandoned spaces of nocturnal London. The cats gather every year for the Jellicle Ball, and the furry matriarch Old Deuteronomy (Judi Dench) will make the “Jellicle Choice,” in which one cat will selected for rebirth on the Heaviside Layer. (A warning: Do not making a drinking game out of the word “Jellicle.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And with that, various cats show off their personalities, like a disturbingly itchy Rebel Wilson as Jennyanydots, a large tabby cat who leads a spirited number with kitchen mice and cockroaches, or Jason Derulo as Rum Tum Tugger, who’s all about showing off his swaggering self-confidence. Lurking in the shadows is the non-singing mischief-maker Macavity (Idris Elba), “the Napoleon of Crime,” whose plan to win the Jellicle Ball involves disappearing all the other contenders and chaining them to a barge in the middle of the Thames. Meanwhile, the mangy and ostracized former glamour-queen Grizabella (Jennifer Hudson) reminiscences through tears.\u003c/p>\n\u003cp>There’s not enough story, even in this plottier version, to sustain the swings from whimsy to pathos, but it’s the comedy in \u003cem>Cats\u003c/em> that lands flattest, relying heavily on Wilson and James Corden, as alleycat gourmand Bustopher Jones, to pull faces and do pratfalls. The too-muchness of Hudson’s rendering of “Memory” recalls the staging of “I Dreamed a Dream” in Hooper’s botched \u003cem>Les Misérables\u003c/em> adaptation from 2012, which he shot heavily in wide-angle close-ups. Hooper still hacks up the choreography in \u003cem>Cats\u003c/em>, but he does get enough distance from McKellen’s Gus the Theatre Cat to allow the actor to deliver a soulful final curtain call.\u003c/p>\n\u003cp>Despite such small moments of dignity and grace, the fundamental wrongness of a screen version of \u003cem>Cats\u003c/em> never dissipates. Whenever it feels like Stockholm syndrome might kick in, an actor will lick his paws to groom his face or the excitable tails that extend from the cats’ very human behinds will stand in semi-erotic attention. But if the show’s history is any indication, a big enough swath of the population will not feel as skittish.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the moment Andrew Lloyd Webber decided to set the T.S. Eliot poetry collection \u003cem>Old Possum’s Book of Practical Cats\u003c/em> to music, \u003cem>Cats\u003c/em> has felt like an escalating series of dares, or a Bialystock & Bloom scheme that accidentally became one of the biggest sensations in Broadway history. It did not seem likely that a plotless revue where cats either introduce themselves or introduce other cats would ignite public interest. Or that Grizabella’s ascendence to the Heaviside Layer would last longer than the acid trip that summoned it to life. Or that a single song, “Memory,” would be so transcendent that it could carry a production for decades.\u003c/p>\n\u003cp>For nearly 40 years, however, there was widespread consensus that \u003cem>Cats\u003c/em> could never be made into a movie. There’s no story to be told, the action is confined to a junkyard backdrop, and the sight of performers thundering around in cat costumes and make-up is the type of conceit that’s readily accepted on stage, but not as suitable to screen. And yet now, through the magic of digital technology, audiences can witness a surly, bewhiskered Ray Winstone manning a barge as Captain Growltiger or the Ian McKellen saying “Meow, meow” with the gravitas expected of a Shakespearean actor.\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/gNTDoOmc1OQ'\n title='//www.youtube.com/embed/gNTDoOmc1OQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s hard to know how to react to \u003cem>Cats\u003c/em>, other than gape in slack-jawed amazement that the dare has continued for so long. The two trailers released in advance of the film have been a cultural phenomenon in themselves, a meme-friendly trip to the uncatty valley, but there’s never any point in its 110-minute running time where it seems less strange or disconcerting. In the true \u003cem>Cats\u003c/em> tradition, the idea should have been scuttled in the testing phase, when the skin-tight melding of faces and bodies with “digital fur technology” looked glitchy and unsettling, like one of the ghosts from a Japanese horror movie. And yet director Tom Hooper and the studio pressed on, under the not-unreasonable logic that audiences will embrace such abstractions readily, as they had on Broadway and the West End.\u003c/p>\n\u003cp>Hooper and his co-screenwriter, Lee Hall (\u003cem>Billy Elliot)\u003c/em>, have done what they can to ease the transition. There’s more narrative tissue connecting one set-piece to the next, and an expanded role for Victoria, a discarded kitten, to be the consistent perspective that ties the whole odyssey together. Played by the renowned ballerina Francesca Hayward, whose face reflects the right amount of wide-eyed curiosity and wonder, Victoria falls in with the Jellicle cats that haunt the streets and abandoned spaces of nocturnal London. The cats gather every year for the Jellicle Ball, and the furry matriarch Old Deuteronomy (Judi Dench) will make the “Jellicle Choice,” in which one cat will selected for rebirth on the Heaviside Layer. (A warning: Do not making a drinking game out of the word “Jellicle.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And with that, various cats show off their personalities, like a disturbingly itchy Rebel Wilson as Jennyanydots, a large tabby cat who leads a spirited number with kitchen mice and cockroaches, or Jason Derulo as Rum Tum Tugger, who’s all about showing off his swaggering self-confidence. Lurking in the shadows is the non-singing mischief-maker Macavity (Idris Elba), “the Napoleon of Crime,” whose plan to win the Jellicle Ball involves disappearing all the other contenders and chaining them to a barge in the middle of the Thames. Meanwhile, the mangy and ostracized former glamour-queen Grizabella (Jennifer Hudson) reminiscences through tears.\u003c/p>\n\u003cp>There’s not enough story, even in this plottier version, to sustain the swings from whimsy to pathos, but it’s the comedy in \u003cem>Cats\u003c/em> that lands flattest, relying heavily on Wilson and James Corden, as alleycat gourmand Bustopher Jones, to pull faces and do pratfalls. The too-muchness of Hudson’s rendering of “Memory” recalls the staging of “I Dreamed a Dream” in Hooper’s botched \u003cem>Les Misérables\u003c/em> adaptation from 2012, which he shot heavily in wide-angle close-ups. Hooper still hacks up the choreography in \u003cem>Cats\u003c/em>, but he does get enough distance from McKellen’s Gus the Theatre Cat to allow the actor to deliver a soulful final curtain call.\u003c/p>\n\u003cp>Despite such small moments of dignity and grace, the fundamental wrongness of a screen version of \u003cem>Cats\u003c/em> never dissipates. Whenever it feels like Stockholm syndrome might kick in, an actor will lick his paws to groom his face or the excitable tails that extend from the cats’ very human behinds will stand in semi-erotic attention. But if the show’s history is any indication, a big enough swath of the population will not feel as skittish.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>NPR’s movie critic and \u003cem>Pop Culture Happy Hour \u003c/em>hosts picked 20 of their favorite films of the year.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>1917\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YqNYrYUiMfg\u003c/p>\n\u003cp>Working with stories his grandfather told him, \u003cem>Skyfall\u003c/em> director Sam Mendes has crafted a World War I battlefield saga about British soldiers tasked with getting an urgent message to the front. About 1,600 lives are at stake, so there’s urgency aplenty. And with Oscar-winning \u003ca href=\"https://www.npr.org/2019/09/13/760642044/cinematographer-roger-deakins-films-are-artistic-yet-unpretentious\">cinematographer Roger Deakins\u003c/a> on hand, it was bound to have epic sweep. Mendes and Deakins employ all the usual war-movie tricks, with one extra: They’ve told the story in real time, contriving to make the film—from trench explosions to airplane crashes to waterfall slaloming—look like a single continuous shot. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Atlantics\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u6b4PgKq2dE\u003c/p>\n\u003cp>Mati Diop’s Cannes award-winning debut feature is a genre exercise in which genres morph at will, with Senegalese history twisting together with magical realism in a narrative pretzel. What begins as a labor-dispute drama becomes, by turns, a romance, a police procedural, a comedy and, finally, a haunting ghost story grounded in woman power, class resistance and the tragedy of mass migration. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Avengers: Endgame\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TcMBFSGVi1c\u003c/p>\n\u003cp>Say what you will—you can’t deny that the final chapter of a decade of big-budget Marvel superhero storytelling didn’t feel like the culmination it was. And for all the talk of Thanos, \u003cem>Endgame\u003c/em> was never about the villain. Nor was it about\u003ca href=\"https://www.npr.org/2018/04/30/607093337/ok-lets-talk-about-the-ending-of-avengers-infinity-war\"> the Snapture\u003c/a>, which we can all now agree was pretty goofy, as heroic dilemmas go. No, it was about this roster of heroes we’ve come to know, each vibrating at his or her (but mostly his) respective frequency, converging one final time. The result was sad, and thrilling (“On your left!”) and—most importantly—satisfying. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Booksmart\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Uhd3lo_IWJc\u003c/p>\n\u003cp>Beanie Feldstein is a force of nature as a high school overachiever who, on the eve of her graduation, begins to wonder if she needed to work so hard. Kaitlyn Dever, who had a fantastic 2019 between this and the Netflix series \u003cem>Unbelievable,\u003c/em> is her best pal. The two have a chemistry that’s both intimate and fraught, just like real best friends, and the tensions between them feel earned and important. Billie Lourd turns in a scene-stealing turn as a girl who just keeps showing up everywhere, and the movie builds to one of the most satisfying conclusions a comedy provides this year. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Cave\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TaZkwBWuN2A\u003c/p>\n\u003cp>Director Feras Fayyad (\u003cem>Last Men in Aleppo\u003c/em>) has built his riveting documentary around Amani Ballour, a heroic female doctor operating a hospital in tunnels under the city of Ghouta during Syria’s civil war. Her struggle to save lives is complicated by all the usual horrors of war—bombing, starvation, insufficient medical supplies—and a few others exclusive to this conflict: the Syrian government’s use of chemical weapons on its own people and sexism that leads the people benefiting from the doctor’s work to disparage her for working. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Farewell\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kgJT_9IGqsA\u003c/p>\n\u003cp>Writer-director Lulu Wang’s film is based on the radio piece she did for \u003cem>This American Life,\u003c/em> which was based on her own life: Her beloved grandmother back in China was dying, but her family refused to tell this news to the elderly woman. In the film, Billi (Awkwafina) flies to China to be with Nai Nai (Zhao Shuzhen), reluctantly going along with the lie. \u003cem>The Farewell\u003c/em> is the kind of film in which characters spout broad characterizations about the cultural differences between East and West—pronouncements that \u003cem>should\u003c/em> seem ham-fisted, and land with a thud. But Wang’s direction is so intimate and sharply observed, and the performances so natural and unforced, that this warm and gentle film earns every emotion it wrings from you. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Fast Color\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tySUZIiXObc\u003c/p>\n\u003cp>Marvel movies have been around so long that it’s easy to forget that their big-budget effects, A-list stars and sweeping scope represent just one approach to superhero storytelling. There have been several stripped-down, character-based takes on the genre before (\u003cem>Chronicle,\u003c/em> \u003cem>Super\u003c/em>), but\u003cem> Fast Color \u003c/em>exudes a confidence—and a skill for clever, unshowy world-building—that even the most bloated blockbuster would envy. Julia Hart’s visually gorgeous film about a young black woman with destructive powers (a compelling, grounded Gugu Mbatha-Raw) embraces the metaphor at the heart of the superhero idea and proceeds to unpack it in a host of fun and surprising ways. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gloria Bell\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YCwCdQK2Qss\u003c/p>\n\u003cp>Back in late February, as I was grunting my way through a set of barbell squats, my egregiously heterosexual personal trainer asked me if there were any movies coming out soon that he would like to see. I remember thinking to myself: “In the magnificent \u003cem>Gloria Bell,\u003c/em> Julianne Moore plays a well-meaning but basic woman who channels the transformative, redemptive power of disco music and wrap dresses; she ultimately realizes every gay man’s dream of getting rescued from a humiliating experience by the loving embrace of Holland Taylor. The film’s entire emotional arc takes place in close-up, across the porcelain plains of Moore’s perfect face.” I told him he’d like \u003cem>The Beach Bum\u003c/em>. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Hustlers\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LUG2U-IxPx0\u003c/p>\n\u003cp>All hail Jennifer Lopez, who opened a fur coat and welcomed both Constance Wu and an entire moviegoing audience eager to see Lopez in another solid movie role. As Ramona, an experienced stripper who leads a team of scammers, she’s merciless and athletic, drawing the eye as only a movie star can. The story has a surprising heart, and Keke Palmer is particularly funny and likeable as a member of the team. It’s a good time and a good showcase for a number of performances. And that fur coat is already iconic. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>I Lost My Body\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iblGg3Rpub8\u003c/p>\n\u003cp>The first three minutes of this animated French puzzler—in which a severed hand escapes a dissection lab and embarks on a peril-filled odyssey to seek its body—contains more imaginative oomph than all of \u003cem>Frozen II\u003c/em>. And the film gets only quirkier from that bizarre beginning, bobbing and weaving through a romance between a hapless pizza delivery guy and a high-rise-dwelling hipster to contemplate profound questions about fate—and what the future holds. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Irishman\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WHXxVmeGQUc\u003c/p>\n\u003cp>For the first two of the film’s luxuriously rich 3 1/2 hours, Martin Scorsese’s epic offers the sort of raucous, splattery, mob-movie spectacle he has so often trafficked in, with a digitally de-aged Robert De Niro as the titular hit man and Al Pacino as Teamsters boss Jimmy Hoffa. Then the screenplay nudges the actors in sadder directions, and the story gets more invested in loss. For while \u003cem>The Irishman\u003c/em> is, like many mob movies, about violence and betrayal, it’s the work of a filmmaker who has earned the right to sum up this genre. So it’s also about regrets, remorse, reckonings; it’s an elegy. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Knives Out\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xi-1NchUqMA\u003c/p>\n\u003cp>What a delight to see a film so attentive to detail, so finely and fondly crafted, and so beautifully cast—one that has no higher goal than to entertain. Rian Johnson’s comedic whodunit gives delicious moments to every member of its all-star cast, and it spotlights Ana de Armas, who plays it mostly straight in a film full of hams and stands out anyway. Like or lump Daniel Craig’s goofy Southern accent, you have to admit this family really knows how to fight. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Lighthouse\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=42_UHhpq530\u003c/p>\n\u003cp>Two men—a crusty old salt (Willem Dafoe) and a taciturn young landlubber (Robert Pattinson)—begin a monthlong shift as keepers of a lonely lighthouse. Things proceed to go gorgeously, grotesquely and full-tilt bananapants awry. From its opening frame, a gray ship emerging from a gray mist (the film is shot in stunning black-and-white), Robert Eggers’ film careens from the hilarious to the horrific, from the gritty to the surreal. Dafoe is wonderful, but—surprisingly, perhaps—it’s Pattinson who takes the bigger swing. He goes big, and it pays off hugely. And so, \u003cem>so\u003c/em> goofily. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Little Women\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AST2-4db4ic\u003c/p>\n\u003cp>Greta Gerwig finds a perfect \u003cem>Lady Bird\u003c/em> follow-up in the story of the March sisters. Faithful to the tone of the book and most of the particulars, Gerwig nevertheless changes the structure and the emphasis in ways that make the tale feel more satisfying and complete. Amy is more than a brat; Beth is more than a saint. Gerwig invests in all the characters, and she emphasizes how Jo (Saoirse Ronan) is a writer not only of passion but also of commerce. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marriage Story\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BHi-a1n8t7M\u003c/p>\n\u003cp>Director Noah Baumbach gets excellent work from Adam Driver and Scarlett Johansson as a divorcing couple watching their split become more and more acrimonious. As their lawyers, Laura Dern, Ray Liotta and Alan Alda do very good supporting work, and a late piano-bar scene—one of several 2019 salutes to the power of Stephen Sondheim—layers theater history atop the film in an intriguing way. Arguments have brewed over whose side to be on (and whose side the film is on), but more than anything, it’s on the side of divorce being a demoralizing, painful experience even for people who hope it won’t be. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Midsommar\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1Vnghdsjmd0\u003c/p>\n\u003cp>A young woman (Florence Pugh) reeling from a family tragedy finds herself in a remote Swedish commune under the flat light of a merciless midnight sun. The horrors that proceed to emerge in Ari Aster’s haunting film aren’t cloaked in shadow, and the matter-of-fact clarity with which they occur makes them all the more disturbing. The truly malevolent, unseen forces that drive \u003cem>Midsommar\u003c/em> aren’t supernatural but too unsettlingly human: grief, guilt and our need for community, whatever the emotional cost. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Once Upon a Time … in Hollywood\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ELeMaP8EPAA\u003c/p>\n\u003cp>The title’s a tipoff: Quentin Tarantino’s love letter to Hollywood takes place inside a fable of Southern California that’s sun blasted by day and neon lit by night. It’s a place and a time rife with a history that, in Tarantino’s hands, gets massaged until it goes a bit feathery at the edges. Fading action star Rick Dalton (an anxious, needy Leonardo DiCaprio) and his faithful stand-in, Cliff Booth (Brad Pitt, who here somehow manages to embody a humble swagger), navigate the transition from film to television, from Old Hollywood to New, and from button-down order to Manson Family chaos. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Pain and Glory\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mVGOsrb1H6E\u003c/p>\n\u003cp>Pedro Almodóvar’s quasi-autobiographical opus finds a film director (Antonio Banderas) looking back on the breakage in his life—his health, his family, his loves and, centrally, the decades-long silence between him and an actor he helped put on the map. If you know that in real life, Banderas and Almodóvar had barely spoken since their early films together, that plotline will resonate. But the parallel wouldn’t matter if the film weren’t ravishing on its own. \u003cem>Pain and Glory \u003c/em>revels in art, passion and the origins of desire; it’s Almodóvar’s most affecting, accomplished and personal work in years. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Parasite\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5xH0HfJHsaY\u003c/p>\n\u003cp>Here’s a tale of two Korean families: the wealthy Parks, who live in a designer house on a hill, and the scrappy, working-class Kims, who inhabit a grungy basement apartment across town. When the Parks employ the Kims in their home, the stage is set for writer-director Bong Joon-ho’s caustic social satire. Initially, it plays as a comedy of manners in which the haves aren’t hateful, just insensitive. By the last reel, the film becomes a metaphor for class war, and that comedy of manners has curdled into a furious snarl of rage. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Us\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1tzFRIQfwXg\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Doppelgangers are an unsettling horror trope, but in Jordan Peele’s film, the red-suited, scissor-wielding doubles of a nice family on vacation are even creepier than usual. Lupita Nyong’o is brilliant as Red, the leader of the group of invaders, and she invents a spidery walk that is somehow almost human but very much not. Peele’s themes of what is seen and what is hidden come through loud and clear, and the ambiguous final moments are intriguing without seeming unfair. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. 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"excerpt": "\u003cem>Parasite, Knives Out, Avengers: Endgame, Little Women \u003c/em>and \u003cem>Marriage Story \u003c/em>are among the year-end list of 20 films that NPR critics loved the most.",
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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/u6b4PgKq2dE'\n title='//www.youtube.com/embed/u6b4PgKq2dE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mati Diop’s Cannes award-winning debut feature is a genre exercise in which genres morph at will, with Senegalese history twisting together with magical realism in a narrative pretzel. What begins as a labor-dispute drama becomes, by turns, a romance, a police procedural, a comedy and, finally, a haunting ghost story grounded in woman power, class resistance and the tragedy of mass migration. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Avengers: Endgame\u003c/strong>\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/TcMBFSGVi1c'\n title='//www.youtube.com/embed/TcMBFSGVi1c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Say what you will—you can’t deny that the final chapter of a decade of big-budget Marvel superhero storytelling didn’t feel like the culmination it was. And for all the talk of Thanos, \u003cem>Endgame\u003c/em> was never about the villain. Nor was it about\u003ca href=\"https://www.npr.org/2018/04/30/607093337/ok-lets-talk-about-the-ending-of-avengers-infinity-war\"> the Snapture\u003c/a>, which we can all now agree was pretty goofy, as heroic dilemmas go. No, it was about this roster of heroes we’ve come to know, each vibrating at his or her (but mostly his) respective frequency, converging one final time. The result was sad, and thrilling (“On your left!”) and—most importantly—satisfying. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Booksmart\u003c/strong>\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/Uhd3lo_IWJc'\n title='//www.youtube.com/embed/Uhd3lo_IWJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Beanie Feldstein is a force of nature as a high school overachiever who, on the eve of her graduation, begins to wonder if she needed to work so hard. Kaitlyn Dever, who had a fantastic 2019 between this and the Netflix series \u003cem>Unbelievable,\u003c/em> is her best pal. The two have a chemistry that’s both intimate and fraught, just like real best friends, and the tensions between them feel earned and important. Billie Lourd turns in a scene-stealing turn as a girl who just keeps showing up everywhere, and the movie builds to one of the most satisfying conclusions a comedy provides this year. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Cave\u003c/strong>\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/TaZkwBWuN2A'\n title='//www.youtube.com/embed/TaZkwBWuN2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Feras Fayyad (\u003cem>Last Men in Aleppo\u003c/em>) has built his riveting documentary around Amani Ballour, a heroic female doctor operating a hospital in tunnels under the city of Ghouta during Syria’s civil war. Her struggle to save lives is complicated by all the usual horrors of war—bombing, starvation, insufficient medical supplies—and a few others exclusive to this conflict: the Syrian government’s use of chemical weapons on its own people and sexism that leads the people benefiting from the doctor’s work to disparage her for working. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Farewell\u003c/strong>\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/kgJT_9IGqsA'\n title='//www.youtube.com/embed/kgJT_9IGqsA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Writer-director Lulu Wang’s film is based on the radio piece she did for \u003cem>This American Life,\u003c/em> which was based on her own life: Her beloved grandmother back in China was dying, but her family refused to tell this news to the elderly woman. In the film, Billi (Awkwafina) flies to China to be with Nai Nai (Zhao Shuzhen), reluctantly going along with the lie. \u003cem>The Farewell\u003c/em> is the kind of film in which characters spout broad characterizations about the cultural differences between East and West—pronouncements that \u003cem>should\u003c/em> seem ham-fisted, and land with a thud. But Wang’s direction is so intimate and sharply observed, and the performances so natural and unforced, that this warm and gentle film earns every emotion it wrings from you. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Fast Color\u003c/strong>\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/tySUZIiXObc'\n title='//www.youtube.com/embed/tySUZIiXObc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Marvel movies have been around so long that it’s easy to forget that their big-budget effects, A-list stars and sweeping scope represent just one approach to superhero storytelling. There have been several stripped-down, character-based takes on the genre before (\u003cem>Chronicle,\u003c/em> \u003cem>Super\u003c/em>), but\u003cem> Fast Color \u003c/em>exudes a confidence—and a skill for clever, unshowy world-building—that even the most bloated blockbuster would envy. Julia Hart’s visually gorgeous film about a young black woman with destructive powers (a compelling, grounded Gugu Mbatha-Raw) embraces the metaphor at the heart of the superhero idea and proceeds to unpack it in a host of fun and surprising ways. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gloria Bell\u003c/strong>\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/YCwCdQK2Qss'\n title='//www.youtube.com/embed/YCwCdQK2Qss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Back in late February, as I was grunting my way through a set of barbell squats, my egregiously heterosexual personal trainer asked me if there were any movies coming out soon that he would like to see. I remember thinking to myself: “In the magnificent \u003cem>Gloria Bell,\u003c/em> Julianne Moore plays a well-meaning but basic woman who channels the transformative, redemptive power of disco music and wrap dresses; she ultimately realizes every gay man’s dream of getting rescued from a humiliating experience by the loving embrace of Holland Taylor. The film’s entire emotional arc takes place in close-up, across the porcelain plains of Moore’s perfect face.” I told him he’d like \u003cem>The Beach Bum\u003c/em>. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Hustlers\u003c/strong>\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/LUG2U-IxPx0'\n title='//www.youtube.com/embed/LUG2U-IxPx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All hail Jennifer Lopez, who opened a fur coat and welcomed both Constance Wu and an entire moviegoing audience eager to see Lopez in another solid movie role. As Ramona, an experienced stripper who leads a team of scammers, she’s merciless and athletic, drawing the eye as only a movie star can. The story has a surprising heart, and Keke Palmer is particularly funny and likeable as a member of the team. It’s a good time and a good showcase for a number of performances. And that fur coat is already iconic. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>I Lost My Body\u003c/strong>\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/iblGg3Rpub8'\n title='//www.youtube.com/embed/iblGg3Rpub8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first three minutes of this animated French puzzler—in which a severed hand escapes a dissection lab and embarks on a peril-filled odyssey to seek its body—contains more imaginative oomph than all of \u003cem>Frozen II\u003c/em>. And the film gets only quirkier from that bizarre beginning, bobbing and weaving through a romance between a hapless pizza delivery guy and a high-rise-dwelling hipster to contemplate profound questions about fate—and what the future holds. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Irishman\u003c/strong>\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/WHXxVmeGQUc'\n title='//www.youtube.com/embed/WHXxVmeGQUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For the first two of the film’s luxuriously rich 3 1/2 hours, Martin Scorsese’s epic offers the sort of raucous, splattery, mob-movie spectacle he has so often trafficked in, with a digitally de-aged Robert De Niro as the titular hit man and Al Pacino as Teamsters boss Jimmy Hoffa. Then the screenplay nudges the actors in sadder directions, and the story gets more invested in loss. For while \u003cem>The Irishman\u003c/em> is, like many mob movies, about violence and betrayal, it’s the work of a filmmaker who has earned the right to sum up this genre. So it’s also about regrets, remorse, reckonings; it’s an elegy. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Knives Out\u003c/strong>\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/xi-1NchUqMA'\n title='//www.youtube.com/embed/xi-1NchUqMA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What a delight to see a film so attentive to detail, so finely and fondly crafted, and so beautifully cast—one that has no higher goal than to entertain. Rian Johnson’s comedic whodunit gives delicious moments to every member of its all-star cast, and it spotlights Ana de Armas, who plays it mostly straight in a film full of hams and stands out anyway. Like or lump Daniel Craig’s goofy Southern accent, you have to admit this family really knows how to fight. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Lighthouse\u003c/strong>\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/42_UHhpq530'\n title='//www.youtube.com/embed/42_UHhpq530'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Two men—a crusty old salt (Willem Dafoe) and a taciturn young landlubber (Robert Pattinson)—begin a monthlong shift as keepers of a lonely lighthouse. Things proceed to go gorgeously, grotesquely and full-tilt bananapants awry. From its opening frame, a gray ship emerging from a gray mist (the film is shot in stunning black-and-white), Robert Eggers’ film careens from the hilarious to the horrific, from the gritty to the surreal. Dafoe is wonderful, but—surprisingly, perhaps—it’s Pattinson who takes the bigger swing. He goes big, and it pays off hugely. And so, \u003cem>so\u003c/em> goofily. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Little Women\u003c/strong>\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/AST2-4db4ic'\n title='//www.youtube.com/embed/AST2-4db4ic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Greta Gerwig finds a perfect \u003cem>Lady Bird\u003c/em> follow-up in the story of the March sisters. Faithful to the tone of the book and most of the particulars, Gerwig nevertheless changes the structure and the emphasis in ways that make the tale feel more satisfying and complete. Amy is more than a brat; Beth is more than a saint. Gerwig invests in all the characters, and she emphasizes how Jo (Saoirse Ronan) is a writer not only of passion but also of commerce. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marriage Story\u003c/strong>\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/BHi-a1n8t7M'\n title='//www.youtube.com/embed/BHi-a1n8t7M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Noah Baumbach gets excellent work from Adam Driver and Scarlett Johansson as a divorcing couple watching their split become more and more acrimonious. As their lawyers, Laura Dern, Ray Liotta and Alan Alda do very good supporting work, and a late piano-bar scene—one of several 2019 salutes to the power of Stephen Sondheim—layers theater history atop the film in an intriguing way. Arguments have brewed over whose side to be on (and whose side the film is on), but more than anything, it’s on the side of divorce being a demoralizing, painful experience even for people who hope it won’t be. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Midsommar\u003c/strong>\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/1Vnghdsjmd0'\n title='//www.youtube.com/embed/1Vnghdsjmd0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A young woman (Florence Pugh) reeling from a family tragedy finds herself in a remote Swedish commune under the flat light of a merciless midnight sun. The horrors that proceed to emerge in Ari Aster’s haunting film aren’t cloaked in shadow, and the matter-of-fact clarity with which they occur makes them all the more disturbing. The truly malevolent, unseen forces that drive \u003cem>Midsommar\u003c/em> aren’t supernatural but too unsettlingly human: grief, guilt and our need for community, whatever the emotional cost. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Once Upon a Time … in Hollywood\u003c/strong>\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/ELeMaP8EPAA'\n title='//www.youtube.com/embed/ELeMaP8EPAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The title’s a tipoff: Quentin Tarantino’s love letter to Hollywood takes place inside a fable of Southern California that’s sun blasted by day and neon lit by night. It’s a place and a time rife with a history that, in Tarantino’s hands, gets massaged until it goes a bit feathery at the edges. Fading action star Rick Dalton (an anxious, needy Leonardo DiCaprio) and his faithful stand-in, Cliff Booth (Brad Pitt, who here somehow manages to embody a humble swagger), navigate the transition from film to television, from Old Hollywood to New, and from button-down order to Manson Family chaos. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Pain and Glory\u003c/strong>\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/mVGOsrb1H6E'\n title='//www.youtube.com/embed/mVGOsrb1H6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Pedro Almodóvar’s quasi-autobiographical opus finds a film director (Antonio Banderas) looking back on the breakage in his life—his health, his family, his loves and, centrally, the decades-long silence between him and an actor he helped put on the map. If you know that in real life, Banderas and Almodóvar had barely spoken since their early films together, that plotline will resonate. But the parallel wouldn’t matter if the film weren’t ravishing on its own. \u003cem>Pain and Glory \u003c/em>revels in art, passion and the origins of desire; it’s Almodóvar’s most affecting, accomplished and personal work in years. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Parasite\u003c/strong>\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/5xH0HfJHsaY'\n title='//www.youtube.com/embed/5xH0HfJHsaY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s a tale of two Korean families: the wealthy Parks, who live in a designer house on a hill, and the scrappy, working-class Kims, who inhabit a grungy basement apartment across town. When the Parks employ the Kims in their home, the stage is set for writer-director Bong Joon-ho’s caustic social satire. Initially, it plays as a comedy of manners in which the haves aren’t hateful, just insensitive. By the last reel, the film becomes a metaphor for class war, and that comedy of manners has curdled into a furious snarl of rage. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Us\u003c/strong>\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/1tzFRIQfwXg'\n title='//www.youtube.com/embed/1tzFRIQfwXg'\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>Doppelgangers are an unsettling horror trope, but in Jordan Peele’s film, the red-suited, scissor-wielding doubles of a nice family on vacation are even creepier than usual. Lupita Nyong’o is brilliant as Red, the leader of the group of invaders, and she invents a spidery walk that is somehow almost human but very much not. Peele’s themes of what is seen and what is hidden come through loud and clear, and the ambiguous final moments are intriguing without seeming unfair. — \u003cem>Linda Holmes\u003c/em>\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=NPR%27s+Favorite+Movies+Of+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "After 25 Years, Mariah Carey's 'All I Want For Christmas is You' is No. 1 at Last",
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"content": "\u003cp>It’s no longer uncommon for pop songs to experience a slow rise to the top of the pop charts. Just this year, \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a>‘s “Old Town Road” followed a long and \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">remix-strewn\u003c/a> path to 19 weeks at No. 1, while \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> experienced huge hits with songs originally released in 2017 (“Truth Hurts”) and 2016 (“Good As Hell”). But this is another level altogether: \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a>‘s holiday juggernaut “All I Want for Christmas Is You” \u003cem>just this week\u003c/em> topped the \u003cem>Billboard\u003c/em> Hot 100 for the first time in the song’s 25-year history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yXQViqx6GMY\u003c/p>\n\u003cp>Back in 2013, my colleague and pal \u003ca href=\"https://www.npr.org/people/706635917/chris-klimek\">Chris Klimek\u003c/a>—as thoroughgoing an expert on Christmas music as you’ll find—\u003ca href=\"https://slate.com/human-interest/2013/12/new-christmas-songs-from-kelly-clarkson-and-mary-j-blige-wont-become-holiday-classics-why.html\">wrote a piece for \u003cem>Slate\u003c/em>\u003c/a> in which he wondered why no new holiday songs had pierced the public consciousness since “All I Want for Christmas Is You.” (As he wrote at the time, “The holiday-song canon is closed.”) Now, at least for this particular week in December 2019, Carey’s classic doesn’t just represent the last word in holiday songs; it’s the last word in \u003cem>songs\u003c/em>, period.\u003c/p>\n\u003cp>The newfound chart dominance of “All I Want for Christmas”—it climbed as high as No. 3 last holiday season—can be chalked up to any number of factors, including nostalgia, the ever-growing influence of streaming services and the fact that “All I Want for Christmas” has aged remarkably well. It’s a deeply durable song; as if you need proof, consider 1) that it’s probably already stuck in your head and 2) Carey’s 2012 performance of the song with Jimmy Fallon, The Roots and an assortment of instruments found in any given elementary-school classroom.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sWEfszb9h8Q&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But you also can’t discount the sheer accumulated strength of Carey herself: with “All I Want for Christmas Is You,” the singer is just one No. 1 hit shy of the record—20—set by \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a>. When she had a mere 18 No. 1 hits, she was mired in a tie for second with some also-ran by the name of \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>.\u003c/p>\n\u003cp>Fortunately for Lil Nas X, the record \u003cem>he\u003c/em> set in 2019—those 19 consecutive weeks at No. 1—is almost certainly safe, given that interest in “All I Want for Christmas Is You” is likely to decline, however temporarily, in just a week and a half.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merry Christmas (Deluxe Anniversary Edition) \u003cem>is out now via \u003c/em>\u003ca href=\"https://mariahcarey.lnk.to/MerryChristmas25\">\u003cem>Legacy Recordings\u003c/em>\u003c/a>\u003cem>.\u003c/em>\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=After+25+Years%2C+Mariah+Carey%27s+%27All+I+Want+For+Christmas+Is+You%27+Is+No.+1+At+Last&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Released in 1994, this modern Christmas classic tapped out at No. 3 last season. This year, the Queen of Christmas claims her No. 1 crown. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But you also can’t discount the sheer accumulated strength of Carey herself: with “All I Want for Christmas Is You,” the singer is just one No. 1 hit shy of the record—20—set by \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a>. When she had a mere 18 No. 1 hits, she was mired in a tie for second with some also-ran by the name of \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>.\u003c/p>\n\u003cp>Fortunately for Lil Nas X, the record \u003cem>he\u003c/em> set in 2019—those 19 consecutive weeks at No. 1—is almost certainly safe, given that interest in “All I Want for Christmas Is You” is likely to decline, however temporarily, in just a week and a half.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merry Christmas (Deluxe Anniversary Edition) \u003cem>is out now via \u003c/em>\u003ca href=\"https://mariahcarey.lnk.to/MerryChristmas25\">\u003cem>Legacy Recordings\u003c/em>\u003c/a>\u003cem>.\u003c/em>\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=After+25+Years%2C+Mariah+Carey%27s+%27All+I+Want+For+Christmas+Is+You%27+Is+No.+1+At+Last&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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