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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>During the Top 5 question and answer segment, Tunzi stated that individuals, government leaders and corporations should all be taking action toward protecting the planet, noting that it’s time adults listen to young children who have taken part in climate strikes and protests.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Since sixth grade, I’ve been learning that the climate is deteriorating and the planet is dying, and it is up to us to keep our planet safe,” she said.\u003c/p>\n\u003cp>When asked what she thinks is the most important thing young girls should be taught today, Tunzi responded: “I think the most important thing … is leadership.”\u003c/p>\n\u003cp>“It’s something that has been lacking in young women and girls for a very long time, not because we don’t want to but because of what society has labeled women to be,” she added. “I think we are the most powerful beings in the world and that we should be given every opportunity. And that is what we should be teaching these young girls—to take up space.”\u003c/p>\n\u003cp>Her response was retweeted by Oprah Winfrey, who agreed with the sentiment and extended an invitation for Tunzi to visit the Oprah Winfrey Leadership Academy for Girls.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Additionally, a clip of Tunzi addressing gender-based violence during the Miss South Africa competition began making the rounds on Twitter as people congratulated her on her new title.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the video, a presenter asked what reason South African women have to keep smiling despite facing challenges like emotional, physical and economic abuse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have absolutely no reason to keep smiling because South African women are dying everyday and mostly people are doing nothing about it,” Tunzi replied. “I think it’s time that we stop asking women what to do and start asking perpetrators to do better, to be better, to start treating women the way that they deserve to be treated.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Miss+Universe+2019+Is+Young%2C+Gifted+And+An+Outspoken+Believer+In+%27Black+Girl+Magic%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Parker Looks Up,' a 2-Year-Old Shares a Moment with Michelle Obama",
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"content": "\u003cp>In the spring of 2018, 2-year-old Parker Curry visited the National Portrait Gallery in Washington, D.C., with her mom, her sister and her best friend. They saw a lot of artwork that day—but it was \u003ca href=\"https://www.npr.org/2018/02/13/585299081/obama-portraits-unveiled-at-national-portrait-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Sherald’s portrait of first lady Michelle Obama\u003c/a> that made Parker stop in her tracks and look up in awe.\u003c/p>\n\u003cp>“The portrait of the first lady Michelle Obama loomed before me,” Parker recalls. Now 4, Parker says the painting made her feel inspired. Also, she adds, Michelle Obama is now \u003cem>her friend.\u003c/em>\u003c/p>\n\u003cp>That’s because Parker became \u003ca href=\"https://www.washingtonpost.com/local/a-moment-of-awe-photo-of-little-girl-staring-at-michelle-obama-portrait-goes-viral/2018/03/04/4e5a4548-1ff2-11e8-94da-ebf9d112159c_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">a viral sensation\u003c/a> when a fellow museum-goer took a picture of her standing there, spellbound. Less than a week later, \u003ca href=\"https://www.instagram.com/p/Bf_WsiYAiZu/?utm_source=ig_embed&utm_medium=loading\" target=\"_blank\" rel=\"noopener noreferrer\">Parker got to meet\u003c/a>—and dance—with Obama.\u003c/p>\n\u003cp>The experience has inspired a picture book—\u003cem>Parker Looks Up\u003c/em>—written by Parker and her mom, Jessica Curry Morton, and illustrated by Brittany Jackson.\u003c/p>\n\u003cp>“It’s fun working with my mommy!” Parker says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s fun working with you, too,” Curry Morton replies.\u003c/p>\n\u003cp>In \u003cem>Parker Looks Up\u003c/em>, Jackson depicted a number of the Portrait Gallery’s famous paintings. She says it was a challenge to translate these artworks into a book for kids.\u003c/p>\n\u003cp>“Naturally I want to do everything justice and show respect to Amy Sherald …” Jackson says. “I just drew it in my style which is just a little bit cartoonized or more playful.”\u003c/p>\n\u003cp>Jackson depicts Parker’s journey through the museum in vivid colors. And there was one other technique she used to add “a little extra character” to the book.\u003c/p>\n\u003cp>“Whenever Parker is spellbound, or she sees something that is inspiring to her, you see these sparkles, and these little confetti pieces,” Jackson says. Attentive readers will notice that the pieces of confetti match the colors from Michelle Obama’s dress.\u003c/p>\n\u003cp>These illustrations “make the story,” Curry Morton says. She remembers watching 2-year-old Parker looking up at Sherald’s portrait of Obama and says Jackson’s images bring “the magic of that moment back to life again.”\u003c/p>\n\u003cp>Jackson is familiar with that stop-in-your-tracks, spellbound feeling.\u003c/p>\n\u003cp>“I know what it feels like to be young and to see something that inspires you,” she says. “That’s part of the reason why I got into doing illustrations is because I was awestruck by other artists’ work.”\u003c/p>\n\u003cp>“When I look at that picture today I smile and get teary eyed,” Curry Morton says. “Because it’s a moment that will hopefully inspire children and people for many, many generations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Barrie Hardymon edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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+%27Parker+Looks+Up%2C%27+A+2-Year-Old+Shares+A+Moment+With+Michelle+Obama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the spring of 2018, 2-year-old Parker Curry visited the National Portrait Gallery in Washington, D.C., with her mom, her sister and her best friend. They saw a lot of artwork that day—but it was \u003ca href=\"https://www.npr.org/2018/02/13/585299081/obama-portraits-unveiled-at-national-portrait-gallery\" target=\"_blank\" rel=\"noopener noreferrer\">Amy Sherald’s portrait of first lady Michelle Obama\u003c/a> that made Parker stop in her tracks and look up in awe.\u003c/p>\n\u003cp>“The portrait of the first lady Michelle Obama loomed before me,” Parker recalls. Now 4, Parker says the painting made her feel inspired. Also, she adds, Michelle Obama is now \u003cem>her friend.\u003c/em>\u003c/p>\n\u003cp>That’s because Parker became \u003ca href=\"https://www.washingtonpost.com/local/a-moment-of-awe-photo-of-little-girl-staring-at-michelle-obama-portrait-goes-viral/2018/03/04/4e5a4548-1ff2-11e8-94da-ebf9d112159c_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">a viral sensation\u003c/a> when a fellow museum-goer took a picture of her standing there, spellbound. Less than a week later, \u003ca href=\"https://www.instagram.com/p/Bf_WsiYAiZu/?utm_source=ig_embed&utm_medium=loading\" target=\"_blank\" rel=\"noopener noreferrer\">Parker got to meet\u003c/a>—and dance—with Obama.\u003c/p>\n\u003cp>The experience has inspired a picture book—\u003cem>Parker Looks Up\u003c/em>—written by Parker and her mom, Jessica Curry Morton, and illustrated by Brittany Jackson.\u003c/p>\n\u003cp>“It’s fun working with my mommy!” Parker says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s fun working with you, too,” Curry Morton replies.\u003c/p>\n\u003cp>In \u003cem>Parker Looks Up\u003c/em>, Jackson depicted a number of the Portrait Gallery’s famous paintings. She says it was a challenge to translate these artworks into a book for kids.\u003c/p>\n\u003cp>“Naturally I want to do everything justice and show respect to Amy Sherald …” Jackson says. “I just drew it in my style which is just a little bit cartoonized or more playful.”\u003c/p>\n\u003cp>Jackson depicts Parker’s journey through the museum in vivid colors. And there was one other technique she used to add “a little extra character” to the book.\u003c/p>\n\u003cp>“Whenever Parker is spellbound, or she sees something that is inspiring to her, you see these sparkles, and these little confetti pieces,” Jackson says. Attentive readers will notice that the pieces of confetti match the colors from Michelle Obama’s dress.\u003c/p>\n\u003cp>These illustrations “make the story,” Curry Morton says. She remembers watching 2-year-old Parker looking up at Sherald’s portrait of Obama and says Jackson’s images bring “the magic of that moment back to life again.”\u003c/p>\n\u003cp>Jackson is familiar with that stop-in-your-tracks, spellbound feeling.\u003c/p>\n\u003cp>“I know what it feels like to be young and to see something that inspires you,” she says. “That’s part of the reason why I got into doing illustrations is because I was awestruck by other artists’ work.”\u003c/p>\n\u003cp>“When I look at that picture today I smile and get teary eyed,” Curry Morton says. “Because it’s a moment that will hopefully inspire children and people for many, many generations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Barrie Hardymon edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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+%27Parker+Looks+Up%2C%27+A+2-Year-Old+Shares+A+Moment+With+Michelle+Obama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "This Year's Golden Globe Nominations are Even More Ridiculous Than Usual",
"headTitle": "This Year’s Golden Globe Nominations are Even More Ridiculous Than Usual | KQED",
"content": "\u003cp>The rapid ascent of Netflix as a creator of film and television continued Monday morning as the streaming service placed four films in the Golden Globes’ 10 best motion picture contenders in comedy and drama. But the Hollywood Foreign Press Association rewarded established directors like Quentin Tarantino, too, while continuing its legendarily wacky devotion to some of its favorite celebrities.\u003c/p>\n\u003cp>As wise observers will remind you every year, the Golden Globes are, in a word, weird. Handed out by only about 90 members of the HFPA, they only \u003cem>kind of \u003c/em>track with other awards, and they’re much less useful as Oscar predictors than things like the Screen Actors Guild or Producers Guild of America—awards handed out by subgroups of Oscar voters. The Globes also have a reputation for rewarding the very most A-list people possible, a habit that coincidentally (?) helps populate the ceremony with stars. Still, the Globes can nudge some projects toward a higher profile, and for good or for ill, it’s one of the flashier (and drunker) ceremonies of the season.\u003c/p>\n\u003cp>But \u003cem>even for the Globes\u003c/em>, this was a set of nominations that can be most generously described as “whimsical.” The HFPA’s tendency to lend television nominations to what you might call the superfamous—people so established that \u003cem>even now\u003c/em>, they are asked why they might dabble in television—may be at its height. (There are more categories than we can possibly get to; you’ll see what we mean when you \u003ca href=\"https://www.goldenglobes.com/articles/nominations-77th-golden-globes-have-been-announced\">review the entire list\u003c/a>.)\u003c/p>\n\u003cp>As for Netflix, only three years ago it was pushing its first real scripted awards contender, \u003cem>Beasts Of No Nation\u003c/em>, starring Idris Elba. Now, with \u003cem>Dolemite Is My Name\u003c/em>, \u003cem>The Two Popes\u003c/em>, \u003cem>Marriage Story \u003c/em>and \u003cem>The Irishman\u003c/em>, it’s presenting four of the leading candidates of the season in multiple categories. Netflix had more than twice as many nominations \u003cem>in the motion picture categories \u003c/em>as Sony Pictures, the second-place distributor. All four films had theatrical openings, but only for a few weeks and only in certain places. All four seem sure to find their primary audiences—even prior to the Globes and the Oscars—on Netflix, in subscriber homes. All four seem like Oscar contenders.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BHi-a1n8t7M\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Marriage Story\u003c/em>, written and directed by Noah Baumbach, stars Adam Driver and Scarlett Johansson as divorcing parents of a young son. \u003cem>The Irishman \u003c/em>is Martin Scorsese’s three-and-a-half-hour mob drama in which Robert De Niro, Al Pacino and Joe Pesci lead a sprawling cast through a story that spans years. \u003cem>The Two Popes \u003c/em>is a fictionalized account of a meeting between Pope Benedict and future Pope Francis. And \u003cem>Dolemite Is My Name \u003c/em>stars Eddie Murphy in the true story of Rudy Ray Moore, whose Dolemite character became a sensation in the 1970s.\u003c/p>\n\u003cp>Nominated in the outstanding drama category alongside \u003cem>Marriage Story\u003c/em>, \u003cem>The Two Popes \u003c/em>and \u003cem>The Irishman \u003c/em>is \u003cem>Joker\u003c/em>, the Scorsese-inspired but Todd Phillips-directed film about a sad clown. And that category is rounded out by \u003cem>1917\u003c/em>, Sam Mendes’ war drama shot to resemble a single unbroken take. One perhaps surprising absence in that category and some others is \u003cem>Uncut Gems\u003c/em>, starring Adam Sandler as a desperate jeweler trying to get through a particularly bad day. Directed by the Safdie brothers, it’s been racking up wins and nominations from groups including the National Board of Review, the Independent Spirit Awards and the Gotham Awards. It didn’t show up on the Globes’ radar.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gLZk03rXpVc\u003c/p>\n\u003cp>On the comedy/musical side, \u003cem>Dolemite \u003c/em>is joined by Tarantino’s \u003cem>Once Upon A Time … In Hollywood,\u003c/em> a truth-adjacent tale of an actor and a stuntman (Leonardo DiCaprio and Brad Pitt) who cross paths with history in Los Angeles in 1969. Representing musicals is \u003cem>Rocketman\u003c/em>, the Elton John biopic; representing “it’s a comedy, but about Hitler” is Taika Waititi’s \u003cem>Jojo Rabbit;\u003c/em> and representing comedies not based on actual history is Rian Johnson’s \u003cem>Knives Out\u003c/em>.\u003c/p>\n\u003cp>Nominated TV dramas included \u003cem>Big Little Lies\u003c/em>, \u003cem>The Crown\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>The Morning Show\u003c/em> and \u003cem>Succession\u003c/em>. The miss on HBO’s \u003cem>Watchmen \u003c/em>is glaring, and in the dramatic acting category, the miss of Regina King as that show’s lead is equally regrettable, particularly since Jennifer Aniston and Reese Witherspoon were both nominated for \u003cem>The Morning Show\u003c/em>, which asks far less of both of them than \u003cem>Watchmen \u003c/em>does of King. Despite its middling reviews, \u003cem>The Morning Show \u003c/em>is perhaps the biggest Golden Globes bait ever assembled, with the superfamous Aniston, Witherspoon and Steve Carell all involved, and it’s amusing but not surprising that the show’s best performance—Billy Crudup as a slippery but transfixing television executive—was skipped.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eA7D4_qU9jo\u003c/p>\n\u003cp>The nominated TV comedies are \u003cem>Barry\u003c/em>, \u003cem>Fleabag\u003c/em>, \u003cem>The Kominsky Method\u003c/em>, \u003cem>The Marvelous Mrs. Maisel \u003c/em>and \u003cem>The Politician\u003c/em>—with the surprise being \u003cem>The Politician\u003c/em>, a Ryan Murphy Netflix project that, it should be noted, has a superfamous cast member in Gwyneth Paltrow.\u003c/p>\n\u003cp>But perhaps no superfamous person seems more directly responsible for a nomination than George Clooney. Clooney’s supporting performance in, and position as an executive producer and director for, Hulu’s mostly overlooked miniseries adaptation of \u003cem>Catch-22 \u003c/em>seems like the only possible reason the show was nominated in the limited series category. That smarts in particular because the category—and the nominations in their entirety—snubbed Ava DuVernay’s \u003cem>When They See Us\u003c/em>, a project packed with deservedly lauded performances.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xi-1NchUqMA\u003c/p>\n\u003cp>The best use to which the Globes’ sense of whimsy has been put in the past has been the periodic boosting of new talent, and it’s not that it didn’t happen at all this year. It was lovely to see comedy/musical acting nominations for Ana de Armas in \u003cem>Knives Out\u003c/em>, Awkwafina in \u003cem>The Farewell \u003c/em>and Beanie Feldstein in \u003cem>Booksmart \u003c/em>(along with Cate Blanchett in \u003cem>Where’d You Go, Bernadette\u003c/em> [really!] and Emma Thompson in \u003cem>Late Night\u003c/em>). All three are exciting and interesting actors with massive upside, and de Armas would have been easy to overlook in \u003cem>Knives Out\u003c/em>‘s huge cast.\u003c/p>\n\u003cp>And what a treat—albeit not really a surprise—to see Jennifer Lopez justly nominated for her supporting performance in \u003cem>Hustlers\u003c/em>. It seemed at one time like Lopez might not ever have a role as good as the one she had in \u003cem>Out of Sight\u003c/em>. But here she was again, demonstrating that in the right role, she is like no one else.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iOpl44ewgYk\u003c/p>\n\u003cp>But there are no female directors nominated this year, and no female screenwriters either. Little of this Netflix juice—so often lauded as a chance for people who can’t find homes elsewhere to shine—inured to the benefit of women. Who are the big names in streaming, quoth the Globes? A lot of them are the same names who have been kicking around in Hollywood for a long time—Scorsese, Baumbach, Clooney. Powerhouse women in streaming, for the moment, are onscreen: Aniston, Witherspoon, Johansson. Not that theatrical releases were better: There was no nomination for Greta Gerwig for her directing or writing of the fabulous \u003cem>Little Women \u003c/em>adaptation that’s soon to arrive, although Saoirse Ronan was nominated for playing Jo March and Alexandre Desplat for his score.\u003c/p>\n\u003cp>Artists of color are mostly left out as well. While Bong Joon-Ho’s \u003cem>Parasite \u003c/em>was recognized in the foreign film, directing and screenplay categories, all five motion picture dramas are stories of white protagonists, told largely by white storytellers. Across movies and television, across 70 acting nominations, there are three black nominees: Billy Porter for the TV series \u003cem>Pose\u003c/em>, Cynthia Erivo for playing Harriet Tubman in \u003cem>Harriet\u003c/em>, and Eddie Murphy for \u003cem>Dolemite\u003c/em>. That makes omissions like the work of artists like DuVernay and King all the more jarring.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s good not to get all wound up about the Golden Globe nominations, because they’re always somewhat ridiculous. But this year, they do seem a little extra ridiculous.\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Golden+Globe+Nominations%3A+Netflix+Cleans+Up+As+Famous+Faces+Rule&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Golden Globe nominations are always odd, but this year they may be even odder than usual, particularly on the TV side. But it must be said: The Globes love a star, and now they love Netflix.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The rapid ascent of Netflix as a creator of film and television continued Monday morning as the streaming service placed four films in the Golden Globes’ 10 best motion picture contenders in comedy and drama. But the Hollywood Foreign Press Association rewarded established directors like Quentin Tarantino, too, while continuing its legendarily wacky devotion to some of its favorite celebrities.\u003c/p>\n\u003cp>As wise observers will remind you every year, the Golden Globes are, in a word, weird. Handed out by only about 90 members of the HFPA, they only \u003cem>kind of \u003c/em>track with other awards, and they’re much less useful as Oscar predictors than things like the Screen Actors Guild or Producers Guild of America—awards handed out by subgroups of Oscar voters. The Globes also have a reputation for rewarding the very most A-list people possible, a habit that coincidentally (?) helps populate the ceremony with stars. Still, the Globes can nudge some projects toward a higher profile, and for good or for ill, it’s one of the flashier (and drunker) ceremonies of the season.\u003c/p>\n\u003cp>But \u003cem>even for the Globes\u003c/em>, this was a set of nominations that can be most generously described as “whimsical.” The HFPA’s tendency to lend television nominations to what you might call the superfamous—people so established that \u003cem>even now\u003c/em>, they are asked why they might dabble in television—may be at its height. (There are more categories than we can possibly get to; you’ll see what we mean when you \u003ca href=\"https://www.goldenglobes.com/articles/nominations-77th-golden-globes-have-been-announced\">review the entire list\u003c/a>.)\u003c/p>\n\u003cp>As for Netflix, only three years ago it was pushing its first real scripted awards contender, \u003cem>Beasts Of No Nation\u003c/em>, starring Idris Elba. Now, with \u003cem>Dolemite Is My Name\u003c/em>, \u003cem>The Two Popes\u003c/em>, \u003cem>Marriage Story \u003c/em>and \u003cem>The Irishman\u003c/em>, it’s presenting four of the leading candidates of the season in multiple categories. Netflix had more than twice as many nominations \u003cem>in the motion picture categories \u003c/em>as Sony Pictures, the second-place distributor. All four films had theatrical openings, but only for a few weeks and only in certain places. All four seem sure to find their primary audiences—even prior to the Globes and the Oscars—on Netflix, in subscriber homes. All four seem like Oscar contenders.\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Marriage Story\u003c/em>, written and directed by Noah Baumbach, stars Adam Driver and Scarlett Johansson as divorcing parents of a young son. \u003cem>The Irishman \u003c/em>is Martin Scorsese’s three-and-a-half-hour mob drama in which Robert De Niro, Al Pacino and Joe Pesci lead a sprawling cast through a story that spans years. \u003cem>The Two Popes \u003c/em>is a fictionalized account of a meeting between Pope Benedict and future Pope Francis. And \u003cem>Dolemite Is My Name \u003c/em>stars Eddie Murphy in the true story of Rudy Ray Moore, whose Dolemite character became a sensation in the 1970s.\u003c/p>\n\u003cp>Nominated in the outstanding drama category alongside \u003cem>Marriage Story\u003c/em>, \u003cem>The Two Popes \u003c/em>and \u003cem>The Irishman \u003c/em>is \u003cem>Joker\u003c/em>, the Scorsese-inspired but Todd Phillips-directed film about a sad clown. And that category is rounded out by \u003cem>1917\u003c/em>, Sam Mendes’ war drama shot to resemble a single unbroken take. One perhaps surprising absence in that category and some others is \u003cem>Uncut Gems\u003c/em>, starring Adam Sandler as a desperate jeweler trying to get through a particularly bad day. Directed by the Safdie brothers, it’s been racking up wins and nominations from groups including the National Board of Review, the Independent Spirit Awards and the Gotham Awards. It didn’t show up on the Globes’ radar.\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/gLZk03rXpVc'\n title='//www.youtube.com/embed/gLZk03rXpVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the comedy/musical side, \u003cem>Dolemite \u003c/em>is joined by Tarantino’s \u003cem>Once Upon A Time … In Hollywood,\u003c/em> a truth-adjacent tale of an actor and a stuntman (Leonardo DiCaprio and Brad Pitt) who cross paths with history in Los Angeles in 1969. Representing musicals is \u003cem>Rocketman\u003c/em>, the Elton John biopic; representing “it’s a comedy, but about Hitler” is Taika Waititi’s \u003cem>Jojo Rabbit;\u003c/em> and representing comedies not based on actual history is Rian Johnson’s \u003cem>Knives Out\u003c/em>.\u003c/p>\n\u003cp>Nominated TV dramas included \u003cem>Big Little Lies\u003c/em>, \u003cem>The Crown\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>The Morning Show\u003c/em> and \u003cem>Succession\u003c/em>. The miss on HBO’s \u003cem>Watchmen \u003c/em>is glaring, and in the dramatic acting category, the miss of Regina King as that show’s lead is equally regrettable, particularly since Jennifer Aniston and Reese Witherspoon were both nominated for \u003cem>The Morning Show\u003c/em>, which asks far less of both of them than \u003cem>Watchmen \u003c/em>does of King. Despite its middling reviews, \u003cem>The Morning Show \u003c/em>is perhaps the biggest Golden Globes bait ever assembled, with the superfamous Aniston, Witherspoon and Steve Carell all involved, and it’s amusing but not surprising that the show’s best performance—Billy Crudup as a slippery but transfixing television executive—was skipped.\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/eA7D4_qU9jo'\n title='//www.youtube.com/embed/eA7D4_qU9jo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The nominated TV comedies are \u003cem>Barry\u003c/em>, \u003cem>Fleabag\u003c/em>, \u003cem>The Kominsky Method\u003c/em>, \u003cem>The Marvelous Mrs. Maisel \u003c/em>and \u003cem>The Politician\u003c/em>—with the surprise being \u003cem>The Politician\u003c/em>, a Ryan Murphy Netflix project that, it should be noted, has a superfamous cast member in Gwyneth Paltrow.\u003c/p>\n\u003cp>But perhaps no superfamous person seems more directly responsible for a nomination than George Clooney. Clooney’s supporting performance in, and position as an executive producer and director for, Hulu’s mostly overlooked miniseries adaptation of \u003cem>Catch-22 \u003c/em>seems like the only possible reason the show was nominated in the limited series category. That smarts in particular because the category—and the nominations in their entirety—snubbed Ava DuVernay’s \u003cem>When They See Us\u003c/em>, a project packed with deservedly lauded performances.\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>The best use to which the Globes’ sense of whimsy has been put in the past has been the periodic boosting of new talent, and it’s not that it didn’t happen at all this year. It was lovely to see comedy/musical acting nominations for Ana de Armas in \u003cem>Knives Out\u003c/em>, Awkwafina in \u003cem>The Farewell \u003c/em>and Beanie Feldstein in \u003cem>Booksmart \u003c/em>(along with Cate Blanchett in \u003cem>Where’d You Go, Bernadette\u003c/em> [really!] and Emma Thompson in \u003cem>Late Night\u003c/em>). All three are exciting and interesting actors with massive upside, and de Armas would have been easy to overlook in \u003cem>Knives Out\u003c/em>‘s huge cast.\u003c/p>\n\u003cp>And what a treat—albeit not really a surprise—to see Jennifer Lopez justly nominated for her supporting performance in \u003cem>Hustlers\u003c/em>. It seemed at one time like Lopez might not ever have a role as good as the one she had in \u003cem>Out of Sight\u003c/em>. But here she was again, demonstrating that in the right role, she is like no one else.\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/iOpl44ewgYk'\n title='//www.youtube.com/embed/iOpl44ewgYk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But there are no female directors nominated this year, and no female screenwriters either. Little of this Netflix juice—so often lauded as a chance for people who can’t find homes elsewhere to shine—inured to the benefit of women. Who are the big names in streaming, quoth the Globes? A lot of them are the same names who have been kicking around in Hollywood for a long time—Scorsese, Baumbach, Clooney. Powerhouse women in streaming, for the moment, are onscreen: Aniston, Witherspoon, Johansson. Not that theatrical releases were better: There was no nomination for Greta Gerwig for her directing or writing of the fabulous \u003cem>Little Women \u003c/em>adaptation that’s soon to arrive, although Saoirse Ronan was nominated for playing Jo March and Alexandre Desplat for his score.\u003c/p>\n\u003cp>Artists of color are mostly left out as well. While Bong Joon-Ho’s \u003cem>Parasite \u003c/em>was recognized in the foreign film, directing and screenplay categories, all five motion picture dramas are stories of white protagonists, told largely by white storytellers. Across movies and television, across 70 acting nominations, there are three black nominees: Billy Porter for the TV series \u003cem>Pose\u003c/em>, Cynthia Erivo for playing Harriet Tubman in \u003cem>Harriet\u003c/em>, and Eddie Murphy for \u003cem>Dolemite\u003c/em>. That makes omissions like the work of artists like DuVernay and King all the more jarring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s good not to get all wound up about the Golden Globe nominations, because they’re always somewhat ridiculous. But this year, they do seem a little extra ridiculous.\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Golden+Globe+Nominations%3A+Netflix+Cleans+Up+As+Famous+Faces+Rule&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Greta Thunberg did not sail across the Atlantic Ocean\u003ca href=\"https://news.un.org/en/story/2019/08/1045161\"> for two weeks\u003c/a> to become a lead singer. But, just days after the 16-year-old proselytizer\u003ca href=\"https://www.npr.org/2019/09/23/763452863/transcript-greta-thunbergs-speech-at-the-u-n-climate-action-summit\"> censured\u003c/a> a room of world leaders many times her age for their shared “fairy tales of eternal economic growth,” the internet made her one, anyway.\u003c/p>\n\u003cp>The most impassioned moments of Thunberg’s September sermon at the United Nations quickly sprouted musical memes. In New York, a drummer \u003ca href=\"https://www.rollingstone.com/culture/culture-news/greta-thunberg-swedish-death-metal-892000/\">growled\u003c/a> her words above relentless Swedish death metal, a nod to her homeland that doubled as a fundraising blunderbuss for Greenpeace. Two producers turned the speech into bombastic electronica, with roaring choirs and stomping boots\u003ca href=\"https://www.youtube.com/watch?v=5GOoajKDIME\"> set to scenes\u003c/a> of forests burning and children marching. And another\u003ca href=\"https://www.youtube.com/watch?v=ABIbH-LtpFs\"> mashed\u003c/a> the day’s \u003cem>cri de cœur\u003c/em>—”Right here, right now is where we draw the line.”—with the Fatboy Slim hit “Right Here, Right Now.” Just days later, Slim himself slipped it into a live set, \u003ca href=\"https://www.youtube.com/watch?v=bWvFcR7UtAI\">sending \u003c/a>his audience into a tizzy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zpWftLOWXLY\u003c/p>\n\u003cp>Environmentalism in music is nothing new, of course. A full quarter-century before James Hansen \u003ca href=\"https://www.nytimes.com/1988/06/24/us/global-warming-has-begun-expert-tells-senate.html\">told Congress\u003c/a> that humans were changing their climate, Peter La Farge, an indigenous songwriter from the Southwest, repeatedly warned of environmental devastation on 1963’s\u003ca href=\"https://folkways.si.edu/peter-la-farge/as-long-as-the-grass-shall-grow-sings-of-the-indians/american-folk-american-indian/music/album/smithsonian\"> \u003cem>As Long as the Grass Shall\u003c/em> \u003cem>Grow\u003c/em>\u003c/a>, a remarkable album of Native American laments about the various plagues of pioneers. From Joni Mitchell \u003ca href=\"https://www.youtube.com/watch?v=94bdMSCdw20\">singing\u003c/a> of the birds, bees and DDT to Neil Young\u003ca href=\"https://www.youtube.com/watch?v=33N8M6tQ4e0\"> rhapsodizing\u003c/a> of “Mother Earth / and her healing ways” in 1990 (or\u003ca href=\"https://www.youtube.com/watch?v=LaaJCJvFP9M\"> grousing\u003c/a> about “old white guys trying to kill mother nature” in 2019), the stars of the ’60s and ’70s have often stepped into a\u003ca href=\"https://www.nrdc.org/stories/story-silent-spring\"> post-\u003cem>Silent Spring\u003c/em>\u003c/a> fray.\u003c/p>\n\u003cp>It’s never stopped, really: Depeche Mode\u003ca href=\"https://www.youtube.com/watch?v=VwS5WexDVHI\"> sang\u003c/a> of forests dying and streams putrefying in 1983, presciently alluding to climate-science deniers. One of Dave Matthews’ earliest songs, “\u003ca href=\"https://www.youtube.com/watch?v=sdLj0c9iaEA\">One Sweet World\u003c/a>,” inspired a Ben & Jerry’s flavor that has raised tens of thousands of dollars for an\u003ca href=\"http://saveourenvironment.org/\"> environmental coalition\u003c/a>. There are\u003ca href=\"https://www.youtube.com/watch?v=I3skR9wQL8s\"> entire milieus\u003c/a> of metal and punk devoted to socioecological unsustainability, realms where\u003ca href=\"https://www.youtube.com/watch?v=8uiADLX1ZXc\"> nuclear weapons\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=3QjXtrQKf88\"> animal agriculture\u003c/a> share culpability. On her second album, Miley Cyrus wrote a\u003ca href=\"https://www.youtube.com/watch?v=YNEZp8BWGEU\"> rock song\u003c/a> about “going green,” while Anohni sardonically\u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\"> longed\u003c/a> for it all to burn—”dogs crying for water… fish go belly-up in the sea”—above demonic horns and militant drums on “4 Degrees.” Mos Def has\u003ca href=\"https://www.youtube.com/watch?v=2N5Bk8FMw9Y\"> rapped\u003c/a> about the money-hungry ruining the water supply. And even Smash Mouth tried to alarm us about the corroding ozone layer and melting ice shelf during “All Star,” that song from\u003ca href=\"https://www.youtube.com/watch?v=Uo2SNtFofWI\"> \u003cem>Shrek\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thunberg’s unlikely ascendance as a source of inspiring samples highlights something that’s missing: a song that helps us sort through our globally mounting anxiety about climate change and our role in our own potential doom, an actual anthem that propels people towards action. Despite its news-cycle ubiquity and increasing threat of globe-altering impacts, songs touching on climate change have rarely crossed the threshold of the mainstream, existing instead as a distant flicker on the radar of our collective awareness. “Big Yellow Taxi,” perhaps as close as we’ve gotten to a unifying environmental ode, turns 50 next year; it’s been so ubiquitous for so long it feels as pat as an advertising jingle.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=94bdMSCdw20\u003c/p>\n\u003cp>In the last few years, however, global warming and the intense feelings it fosters have begun to creep subtly into lyrics where you may overlook them, a quiet corollary to a movement \u003ca href=\"https://pitchfork.com/thepitch/how-experimental-musicians-are-soundtracking-the-end-of-the-world/\">spider-webbing\u003c/a> through electronic music. Songwriters are increasingly treating climate unease like the very air we breathe or the technology we use—a part of life with which we must reckon and reconcile, like love or lust or loss.\u003c/p>\n\u003cp>These new tunes aren’t protest songs as we think of them, and they don’t shoehorn motivational slogans into their choruses; they are reflections of a reality lived under the specter of global collapse, the evidence of our personal adjustments to an anxiously indeterminate present and future. And their writers, unlike Thunberg, aren’t looking to proselytize to world leaders or to synthesize scientific research into an empowering single—they’re not the experts, after all. They’re just people offering others a way to sort through what’s happening, even to mourn what’s already been lost. It’s the difference between a command and a confession, a lecture and a conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“We’re afraid of darkness. We’re afraid of endings. We’re afraid of death,”\u003c/strong> says Tamara Lindeman, a Canadian singer whose work as The Weather Station has started \u003ca href=\"https://theweatherstation.bandcamp.com/track/the-most-dangerous-thing-about-you\">to integrate\u003c/a> snippets of impending disaster into her songs. Her next album, due in 2020, commits to the subject. “To look at something so profoundly devastating is so scary, but it’s powerful if you can allow yourself to feel those feelings. You can stop hiding from it. Having that experience through art is healthy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mcPDgWMkEiM\u003c/p>\n\u003cp>Some of these newer songs confront global warming like a mammoth sparring partner, squaring up to the subject wielding rhetoric like fists. Andrew Bird’s “\u003ca href=\"https://www.youtube.com/watch?v=Pv68Kivrl5g\">Manifest\u003c/a>” sounds as breezy as a Sunday stroll through the Laurel Canyon, with licks of whistling and gliding strings. But in the first verse, he renounces the United States’ westward sprawl, condemning a country of unfaithful stewards. He gazes at the ocean with anxiety and ponders the way we burn ancient organisms—the fossils in our fossil fuels—just to drive to the grocery store. During 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=X_UKDPR7k_E\">Generation Why\u003c/a>,” Weyes Blood offers her fearful vision like she’s reading the evening news: “It’s not the past that scares me / Now what a great future this is gonna be.” She spells out “YOLO” during the hook, her mind caught in the evermore-tight vice between modern indulgence and future existence.\u003c/p>\n\u003cp>Others, though, are almost subliminal in their climate change invocations. Justin Vernon hides his worry in plain sight during Bon Iver’s “\u003ca href=\"https://www.youtube.com/watch?v=oIzFg4eEvbQ\">Holyfields\u003c/a>.” With his clutched falsetto, he renders “The dawn is rising / the land ain’t rising” almost as an aside, as if the circumstances of\u003ca href=\"https://www.washingtonpost.com/lifestyle/kidspost/high-tides-flood-venice-for-third-time-in-one-week/2019/11/18/ad73a1f8-0701-11ea-ac12-3325d49eacaa_story.html\"> modern Venice\u003c/a> and\u003ca href=\"https://www.nytimes.com/interactive/2019/10/29/climate/coastal-cities-underwater.html\"> future\u003c/a> Mumbai, Bangkok and Miami are so obvious they’re best left coded. Lana Del Rey slips her own stark observations into the final verse of “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” calmly inserting a note about wildfires and eternal heat waves between lines about Kanye West’s blond hair and Hawaii’s bomb scare. On a song where “the culture is lit,” it’s a lyrical detail that’s easy to miss—just as it’s possible to overlook that, on the album’s \u003ca href=\"https://images.app.goo.gl/NyMxNWrxnBe1idkz5\">cover\u003c/a>, California is burning.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Blake Mills knows that coastline in flames well.\u003c/strong>\u003c/p>\n\u003cp>Born in Santa Monica and raised in Malibu, the songwriter and star producer, once\u003ca href=\"https://www.nytimes.com/2014/09/16/arts/music/blake-mills-releases-his-second-album-heigh-ho.html\"> called\u003c/a> “the last guitarist I heard that I thought was phenomenal” by Eric Clapton, is conditioned to months of perpetually balmy days, interrupted with occasional downpours as fall slides into winter. But a few years ago that rain was slow to come, and the landscape around Los Angeles felt like a tinderbox. When, at last, storms arrived, a friend joked to Mills that maybe it would be the last rain ever for Los Angeles. The storm’s petrichor, Mills remembers, smelled of nostalgia.\u003c/p>\n\u003cp>Mills sat down at his piano and began to ponder what that might mean. The result—a sobering, tender ballad called “Summer All Over”—teeters at the threshold of hope and despair. With his sigh caked on the keys like mud at the bottom of some drought-devastated lake, Mills tempers his quiet horror by “looking for laughter, looking for kindness,” for any human quality that aims to right our colossal wrongs. Mills captures that seesaw of feelings musically with a pervasive flicker of melodic dissonance. Electronics drift in the background, like smog hovering above a troubled valley.\u003c/p>\n\u003cp>“Writing about the season of summer inherently evokes a Beach Boys vibe, maybe because I’m in Los Angeles,” says Mills, who penned the song with Cass McCombs and hopes to release it on his third album. “But the implication of the warmest season happening all over the world at the same time is an ‘endless summer.’ ”\u003c/p>\n\u003cp>He notes the sad irony of a term that, less than 50 years ago, belonged to\u003ca href=\"https://open.spotify.com/album/05J8PFXdYKeYNb8YjqqJYr\"> a relatively carefree\u003c/a> Beach Boys collection. But “Summer All Over,” an enticing title that suggests burnished bodies on a California shoreline, is tragically beautiful, a warm hug from an old ghost. Rock and roll can’t be all good times on the bleeding edge of environmental ruin.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>While touring for the last several years,\u003c/strong> Kentucky songwriter Joan Shelley came to similar epiphanies along the California coast. Not long ago, she was driving north from Los Angeles to Seattle between shows, marveling at the scenery along California’s fabled Highway 1. She remembers the cliffs and the sunlight glittering on the Pacific, a fantasy come to life. That image is captured by “\u003ca href=\"https://joanshelley.bandcamp.com/track/stay-all-night\">Stay All Night\u003c/a>,” a seaside reflection from her quietly uneasy 2019 album,\u003ca href=\"https://joanshelley.bandcamp.com/album/like-the-river-loves-the-sea\"> \u003cem>Like the River Loves the Sea\u003c/em>\u003c/a>. She marvels at the vista but, in the final verse of her reverie, wonders how temporary it may be, hoping that “the waves don’t rise this high.” Actually, it was the opposite: On a recent return visit, that road was closed, nearby cliffs washed into the water by landslides.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=3&v=3u4Pe2YHH-Y&feature=emb_logo\u003c/p>\n\u003cp>During the album’s arresting centerpiece, “\u003ca href=\"https://www.youtube.com/watch?v=3u4Pe2YHH-Y\">The Fading\u003c/a>,” Shelley retreats to Kentucky, the place Mark Twain (\u003ca href=\"https://oregonscribbler.com/mark-twain-i-want-to-be-in-kentucky-when-the-end-of-the-world-comes-because-they-are-always-20-years-behind/\">allegedly\u003c/a>) joked he’d like to be when the world ended, because it’s always years behind everywhere else. Shelley keys on that idea as she reclines to witness the natural world overrun the order we’ve imposed upon it. “I cheered the flood / when the water hit the wall and won,” she lilts, her cotton-soft voice temporarily stiffening. It’s a love song at, and for, the end of time, an exercise in appreciating what you’ve had the chance to cherish, whether it’s a drink of gin or a gentle lover or a lovely day.\u003c/p>\n\u003cp>Sometimes, Shelley admits, she turns off the news, because the devastation is too much to hear. As a songwriter, then, it was paramount to create a new way of approaching that helplessness, of facing those truths. These songs don’t protest reality—they simply acknowledge it.\u003c/p>\n\u003cp>“With the small rooms I play for, I’m hoping to give people tools for feeling where we may want to be numb. There’s a grief that is hard to admit to,” she says. “But through art, people can express those low-humming anxieties in a way that isn’t so hard to face.”\u003c/p>\n\u003cp>The sweetly wizened voice trailing Shelley’s during “The Fading” belongs to fellow Kentucky native Will Oldham. She, in turn, adds harmonies across \u003cem>I Made a Place\u003c/em>, Oldham’s first record as Bonnie “Prince” Billy in eight years. Moments of intense worry and woe linger in the record’s quiet corners, absorbing the light of these seemingly incandescent songs. During the album’s jaunty first verse, a home burns, part of a personal conflagration that Oldham suggests is spreading. And during the hypnotic “Nothing Is Busted,” a wounded woman and an oblivious man capture the dynamic between our ecosystem and our social order, a relationship hamstrung by the need for new things to sell, buy and discard. “This particular assemblage of molecules and memories someday soon may just run out of gas,” Oldham sings in one song’s closing verse without pausing to take so much as a breath, as if racing against the apocalypse.\u003c/p>\n\u003cp>For most of \u003cem>I Made a Place\u003c/em>, Oldham dances around or with these end times. But during “This Is Far From Over,” an acoustic stunner near the album’s center, he faces them with softness and resolve. Presumably written for his newborn daughter, the song conjures a world where rising tides force her to take to the sea as an adult, a continental refugee who will do her best to persevere. It is a tragic lullaby, a preemptive apology for the mess she will inherit. Despite the title, Oldham is neither blithe nor disingenuous, using the last verse to confront the possibility that new kinds of life will thrive in humanity’s absence. “The whole world’s far from over,” he sings in the final line at the edge of his falsetto, just where his voice might crack into tears.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“Our kids are being handed a rotten deal, everyone’s children,”\u003c/strong> says The National’s Matt Berninger, father to a 10-year-old daughter, Isla. “The Industrial Revolution gave the Earth a gaping wound not that long ago in the grand scheme, and it’s bleeding out fast. But a tipping point is happening, I think, in understanding how rigged that system is.”\u003c/p>\n\u003cp>The National have rarely been an overtly political band—Berninger has instead spent two decades mapping the darkest and most dangerous corners of his psyche. He’s worried out loud about\u003ca href=\"https://www.youtube.com/watch?v=gPp-3QSXf1g\"> handing down\u003c/a> his worst habits to Isla, about\u003ca href=\"https://www.youtube.com/watch?v=gsZmE95t2Yw\"> taking love too hard\u003c/a> for his own health, and about\u003ca href=\"https://www.youtube.com/watch?v=MxL_xRM0Wug\"> losing himself\u003c/a> in the\u003ca href=\"https://www.youtube.com/watch?v=dCfWAVRR794\"> strange alchemy\u003c/a> of lust and blood and booze. But now the peril of climate change has entered that matrix of considerations, part of “the soup of everyone’s minds and hearts all the time,” as he puts it, alongside sex and drugs and comedy and general dread.\u003c/p>\n\u003cp>In December 2018, Berninger was at a wedding just north of Los Angeles when a song sketch from The National’s Aaron Dessner arrived. Berninger woke up one morning before sunset and, while wandering the streets, unspooled 17 verses to the loop, a sort of living chronicle of his consciousness. There were headline anxieties about the alt-right and immigration, opinions about R.E.M. and The Bible, an interest in the seemingly infinite minimalism of artist\u003ca href=\"http://www.artnet.com/artists/hanne-darboven/evolution-leibniz-a-bSB3naI0qNnejm9Es8cqXw2\"> Hanne Darboven\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Po61rjjdUPs\u003c/p>\n\u003cp>When he sent the epic to Dessner and filmmaker and producer Mike Mills, they trimmed his diarist sprawl and added an unexpected twist: the dire verses of “\u003ca href=\"https://www.youtube.com/watch?v=FvFrSG37idM\">Noble Experiment\u003c/a>,” a waltz for the end of humanity, released by indie-rock eccentrics Thinking Fellers Union 282 in 1994. During the finished version, “\u003ca href=\"https://open.spotify.com/track/50DAgICmMnWaUVXQiLGlLx\">Not in Kansas\u003c/a>” from this year’s \u003cem>I Am Easy to Find\u003c/em>, a small choir intones those doomed words—”Be a fish or a weed or a sparrow / For the Earth has grown tired and all of your time has expired”—between Berninger’s own verses.\u003c/p>\n\u003cp>The National effectively nest the end of the world inside a laundry list of mundane thoughts; it’s like finding your own death certificate in the day’s otherwise ordinary mail. The world teems with distractions, “Not in Kansas” implies, to keep us from the crisis at the door.\u003c/p>\n\u003cp>“I don’t know how any artist isn’t talking about all of this stuff—sexism, racism, global warming, corporate corruption. I can’t spend time on a song now unless it’s somehow \u003cem>aware\u003c/em> of that stuff,” Berninger says. “Art has the responsibility to try to enlighten, instead of \u003cem>just\u003c/em> entertain. Pop music is still afraid to get into it, but not everyone.”\u003c/p>\n\u003cp>Perhaps the closest that recent pop has come to the subject is “\u003ca href=\"https://www.youtube.com/watch?v=4W9VYY5QpLg\">PARAD(w/m)E\u003c/a>,” a slyly sparkling 2018 single from the North Carolina duo Sylvan Esso. The tune is ebullient, with a chorus that sounds like a mechanized schoolyard chant and verses that shimmer like sunshine on the distant desert horizon. It’s possible to hear and even sing along without ever reflecting on its apocalyptic scenes—the gasless gas stations, the flora-less forests, the reprieve-less heat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4W9VYY5QpLg\u003c/p>\n\u003cp>Singer Amelia Meath laughs ruefully about fans who show up to shows wearing homemade shirts reading “How’s that for manifesting our destiny,” having misinterpreted the song’s linchpin indictment as a self-help mantra fit for yogis. About halfway in, Nick Sanborn’s keyboards wobble from their glistening perch, slinking briefly into a morass beneath taunting handclaps. In the refrain, Meath’s proclamation of liberation—”We finally got free”—comes only after she reveals the cause: We’ve already ruined everything.\u003c/p>\n\u003cp>While “PARAD(w/m)E” never landed on \u003cem>Billboard\u003c/em>‘s charts, it suggests a clear framework for some future global-warming protest anthem, much like Billie Eilish’s subtly hypnotic “all the good girls go to hell”: lyrics so sharp listeners might not feel the knife, surrounded by music that celebrates whatever it is we’ve salvaged.\u003c/p>\n\u003cp>“No one likes the guy at the party who is just talking about horrible stuff all the time. But that’s me,” says Meath, smiling. She’s worked to weave such concerns into Sylvan Esso’s third LP, likely arriving in 2020, without being didactic. “That song is cloaked, very specifically, to be easy to swallow. That is the dream: Make the funnest music about the heaviest shit.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>In Iceland, mourners \u003c/strong>\u003ca href=\"https://www.usatoday.com/story/news/world/2019/08/19/okjokull-glacier-funeral-iceland-activists-establish-plaque/2049194001/\">\u003cstrong>hold\u003c/strong>\u003c/a>\u003cstrong> funerals for dead glaciers.\u003c/strong> In Washington state, a pioneering three-credit \u003ca href=\"https://www.uwb.edu/news/february-2018/environmental-grief\">course\u003c/a> called “Environmental Grief & Climate Anxiety: Coping in the Age of Consequences” teaches students how to sort through their despair and identify its sources. (The class subsequently became a\u003ca href=\"https://www.foxnews.com/us/global-warming-bringing-you-down-washington-state-offers-course-on-eco-anxiety-climate-grief.amp\"> Fox News punchline\u003c/a>.) And in magazines from\u003ca href=\"https://www.vogue.com/article/eco-anxiety-grief-mental-health-climate-change\"> \u003cem>Vogue\u003c/em>\u003c/a> to\u003ca href=\"https://www.vice.com/amp/en_uk/article/gy48d4/environmental-grief-climate-change-anxiety\"> \u003cem>Vice\u003c/em>\u003c/a>, recent articles about “eco-grief” signal the drift of these fears into the mainstream.\u003c/p>\n\u003cp>Songs about climate change are an inevitable, essential, and overdue component of that movement, a necessary response and tool for people “to process the truth and the existential dread,” as Berninger puts it. And while these songs have slowly started to accumulate during the last several years, it seems that we’re just at the edge of a new tide of them.\u003c/p>\n\u003cp>Next year, alongside new records from Sylvan Esso and The Weather Station, Grimes—a fringe pop star who has delighted in dancing at the edge of accessibility for a decade—will release\u003ca href=\"https://pitchfork.com/news/grimes-announces-new-album-miss-anthropocene/\"> \u003cem>Miss Anthropocene\u003c/em>\u003c/a>. “Each song will be a different embodiment of human extinction,” she has written. So far, its singles have mined the power dynamics of abusive relationships and the burden of despondency, topics that get to the nuance of the overarching issue.\u003c/p>\n\u003cp>In a presidential election year, when the United States is officially able \u003ca href=\"https://www.nytimes.com/2019/11/04/climate/trump-paris-agreement-climate.html\">to exit\u003c/a> the Paris Climate Agreement, Grimes likely won’t be alone, either in commiserating peers or coping listeners. The British singer-songwriter Bill Fay, now in his late 70s, touches on the topic for \u003ca href=\"https://pitchfork.com/news/bill-fay-announces-new-album-countless-branches-shares-new-song-listen/\">\u003cem>Countless Branches\u003c/em>\u003c/a>, due in January, while buzzy LA producer \u003ca href=\"http://shallou.com\">Shallou\u003c/a> cloaks concerns about environmental collapse in breakup imagery on an album due next summer.\u003c/p>\n\u003cp>None of these songwriters work under the illusion that these tunes, however poppy or plainspoken, will literally \u003cem>fix\u003c/em> anything, from reversing President Donald Trump’s confusing climate-change \u003ca href=\"https://time.com/5622374/donald-trump-climate-change-hoax-event/\">denial\u003c/a> to adjusting people’s disposable plastic habits. As working musicians, they have practical issues of their own to navigate, anyway, as the mechanisms of distribution for their work—be it a server churning through electricity or\u003ca href=\"https://www.google.com/amp/s/www.vice.com/amp/en_uk/article/9kz3y5/this-is-how-bad-your-vinyl-obsession-is-for-the-world\"> an LP made with petroleum\u003c/a> or a tour bus burning gas—inextricably entail a carbon footprint for now. Coldplay \u003ca href=\"https://news.yahoo.com/coldplay-postpones-future-global-tours-climate-change-fears-135905727.html\">won’t tour\u003c/a> behind their recent \u003cem>Everyday Life\u003c/em> until they can do so in a carbon-neutral way, a powerful stand from one of the world’s biggest bands but a strategy that’s not yet sustainable for small acts working merely for their living. It’s the essential friction of making and selling art that questions capitalist foundations.\u003c/p>\n\u003cp>But for now, these songs simply exist for the people who need them, their writers included. They’re not expressions of what they know or what they want you to do but only how they feel—and implicit permission slips for you to feel that way, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m not hoping to shine a light on something for anybody. Everything that needs to be said is being said really clearly,” says Mills, referring to scientists and policy experts who know and can articulate what he cannot. “But my song is about how we’re reacting to that information. And despair in music can help soak up the despair of the people listening.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Music+For+Our+Emergency&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greta Thunberg did not sail across the Atlantic Ocean\u003ca href=\"https://news.un.org/en/story/2019/08/1045161\"> for two weeks\u003c/a> to become a lead singer. But, just days after the 16-year-old proselytizer\u003ca href=\"https://www.npr.org/2019/09/23/763452863/transcript-greta-thunbergs-speech-at-the-u-n-climate-action-summit\"> censured\u003c/a> a room of world leaders many times her age for their shared “fairy tales of eternal economic growth,” the internet made her one, anyway.\u003c/p>\n\u003cp>The most impassioned moments of Thunberg’s September sermon at the United Nations quickly sprouted musical memes. In New York, a drummer \u003ca href=\"https://www.rollingstone.com/culture/culture-news/greta-thunberg-swedish-death-metal-892000/\">growled\u003c/a> her words above relentless Swedish death metal, a nod to her homeland that doubled as a fundraising blunderbuss for Greenpeace. Two producers turned the speech into bombastic electronica, with roaring choirs and stomping boots\u003ca href=\"https://www.youtube.com/watch?v=5GOoajKDIME\"> set to scenes\u003c/a> of forests burning and children marching. And another\u003ca href=\"https://www.youtube.com/watch?v=ABIbH-LtpFs\"> mashed\u003c/a> the day’s \u003cem>cri de cœur\u003c/em>—”Right here, right now is where we draw the line.”—with the Fatboy Slim hit “Right Here, Right Now.” Just days later, Slim himself slipped it into a live set, \u003ca href=\"https://www.youtube.com/watch?v=bWvFcR7UtAI\">sending \u003c/a>his audience into a tizzy.\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/zpWftLOWXLY'\n title='//www.youtube.com/embed/zpWftLOWXLY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Environmentalism in music is nothing new, of course. A full quarter-century before James Hansen \u003ca href=\"https://www.nytimes.com/1988/06/24/us/global-warming-has-begun-expert-tells-senate.html\">told Congress\u003c/a> that humans were changing their climate, Peter La Farge, an indigenous songwriter from the Southwest, repeatedly warned of environmental devastation on 1963’s\u003ca href=\"https://folkways.si.edu/peter-la-farge/as-long-as-the-grass-shall-grow-sings-of-the-indians/american-folk-american-indian/music/album/smithsonian\"> \u003cem>As Long as the Grass Shall\u003c/em> \u003cem>Grow\u003c/em>\u003c/a>, a remarkable album of Native American laments about the various plagues of pioneers. From Joni Mitchell \u003ca href=\"https://www.youtube.com/watch?v=94bdMSCdw20\">singing\u003c/a> of the birds, bees and DDT to Neil Young\u003ca href=\"https://www.youtube.com/watch?v=33N8M6tQ4e0\"> rhapsodizing\u003c/a> of “Mother Earth / and her healing ways” in 1990 (or\u003ca href=\"https://www.youtube.com/watch?v=LaaJCJvFP9M\"> grousing\u003c/a> about “old white guys trying to kill mother nature” in 2019), the stars of the ’60s and ’70s have often stepped into a\u003ca href=\"https://www.nrdc.org/stories/story-silent-spring\"> post-\u003cem>Silent Spring\u003c/em>\u003c/a> fray.\u003c/p>\n\u003cp>It’s never stopped, really: Depeche Mode\u003ca href=\"https://www.youtube.com/watch?v=VwS5WexDVHI\"> sang\u003c/a> of forests dying and streams putrefying in 1983, presciently alluding to climate-science deniers. One of Dave Matthews’ earliest songs, “\u003ca href=\"https://www.youtube.com/watch?v=sdLj0c9iaEA\">One Sweet World\u003c/a>,” inspired a Ben & Jerry’s flavor that has raised tens of thousands of dollars for an\u003ca href=\"http://saveourenvironment.org/\"> environmental coalition\u003c/a>. There are\u003ca href=\"https://www.youtube.com/watch?v=I3skR9wQL8s\"> entire milieus\u003c/a> of metal and punk devoted to socioecological unsustainability, realms where\u003ca href=\"https://www.youtube.com/watch?v=8uiADLX1ZXc\"> nuclear weapons\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=3QjXtrQKf88\"> animal agriculture\u003c/a> share culpability. On her second album, Miley Cyrus wrote a\u003ca href=\"https://www.youtube.com/watch?v=YNEZp8BWGEU\"> rock song\u003c/a> about “going green,” while Anohni sardonically\u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\"> longed\u003c/a> for it all to burn—”dogs crying for water… fish go belly-up in the sea”—above demonic horns and militant drums on “4 Degrees.” Mos Def has\u003ca href=\"https://www.youtube.com/watch?v=2N5Bk8FMw9Y\"> rapped\u003c/a> about the money-hungry ruining the water supply. And even Smash Mouth tried to alarm us about the corroding ozone layer and melting ice shelf during “All Star,” that song from\u003ca href=\"https://www.youtube.com/watch?v=Uo2SNtFofWI\"> \u003cem>Shrek\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thunberg’s unlikely ascendance as a source of inspiring samples highlights something that’s missing: a song that helps us sort through our globally mounting anxiety about climate change and our role in our own potential doom, an actual anthem that propels people towards action. Despite its news-cycle ubiquity and increasing threat of globe-altering impacts, songs touching on climate change have rarely crossed the threshold of the mainstream, existing instead as a distant flicker on the radar of our collective awareness. “Big Yellow Taxi,” perhaps as close as we’ve gotten to a unifying environmental ode, turns 50 next year; it’s been so ubiquitous for so long it feels as pat as an advertising jingle.\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/94bdMSCdw20'\n title='//www.youtube.com/embed/94bdMSCdw20'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the last few years, however, global warming and the intense feelings it fosters have begun to creep subtly into lyrics where you may overlook them, a quiet corollary to a movement \u003ca href=\"https://pitchfork.com/thepitch/how-experimental-musicians-are-soundtracking-the-end-of-the-world/\">spider-webbing\u003c/a> through electronic music. Songwriters are increasingly treating climate unease like the very air we breathe or the technology we use—a part of life with which we must reckon and reconcile, like love or lust or loss.\u003c/p>\n\u003cp>These new tunes aren’t protest songs as we think of them, and they don’t shoehorn motivational slogans into their choruses; they are reflections of a reality lived under the specter of global collapse, the evidence of our personal adjustments to an anxiously indeterminate present and future. And their writers, unlike Thunberg, aren’t looking to proselytize to world leaders or to synthesize scientific research into an empowering single—they’re not the experts, after all. They’re just people offering others a way to sort through what’s happening, even to mourn what’s already been lost. It’s the difference between a command and a confession, a lecture and a conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“We’re afraid of darkness. We’re afraid of endings. We’re afraid of death,”\u003c/strong> says Tamara Lindeman, a Canadian singer whose work as The Weather Station has started \u003ca href=\"https://theweatherstation.bandcamp.com/track/the-most-dangerous-thing-about-you\">to integrate\u003c/a> snippets of impending disaster into her songs. Her next album, due in 2020, commits to the subject. “To look at something so profoundly devastating is so scary, but it’s powerful if you can allow yourself to feel those feelings. You can stop hiding from it. Having that experience through art is healthy.”\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/mcPDgWMkEiM'\n title='//www.youtube.com/embed/mcPDgWMkEiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some of these newer songs confront global warming like a mammoth sparring partner, squaring up to the subject wielding rhetoric like fists. Andrew Bird’s “\u003ca href=\"https://www.youtube.com/watch?v=Pv68Kivrl5g\">Manifest\u003c/a>” sounds as breezy as a Sunday stroll through the Laurel Canyon, with licks of whistling and gliding strings. But in the first verse, he renounces the United States’ westward sprawl, condemning a country of unfaithful stewards. He gazes at the ocean with anxiety and ponders the way we burn ancient organisms—the fossils in our fossil fuels—just to drive to the grocery store. During 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=X_UKDPR7k_E\">Generation Why\u003c/a>,” Weyes Blood offers her fearful vision like she’s reading the evening news: “It’s not the past that scares me / Now what a great future this is gonna be.” She spells out “YOLO” during the hook, her mind caught in the evermore-tight vice between modern indulgence and future existence.\u003c/p>\n\u003cp>Others, though, are almost subliminal in their climate change invocations. Justin Vernon hides his worry in plain sight during Bon Iver’s “\u003ca href=\"https://www.youtube.com/watch?v=oIzFg4eEvbQ\">Holyfields\u003c/a>.” With his clutched falsetto, he renders “The dawn is rising / the land ain’t rising” almost as an aside, as if the circumstances of\u003ca href=\"https://www.washingtonpost.com/lifestyle/kidspost/high-tides-flood-venice-for-third-time-in-one-week/2019/11/18/ad73a1f8-0701-11ea-ac12-3325d49eacaa_story.html\"> modern Venice\u003c/a> and\u003ca href=\"https://www.nytimes.com/interactive/2019/10/29/climate/coastal-cities-underwater.html\"> future\u003c/a> Mumbai, Bangkok and Miami are so obvious they’re best left coded. Lana Del Rey slips her own stark observations into the final verse of “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” calmly inserting a note about wildfires and eternal heat waves between lines about Kanye West’s blond hair and Hawaii’s bomb scare. On a song where “the culture is lit,” it’s a lyrical detail that’s easy to miss—just as it’s possible to overlook that, on the album’s \u003ca href=\"https://images.app.goo.gl/NyMxNWrxnBe1idkz5\">cover\u003c/a>, California is burning.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Blake Mills knows that coastline in flames well.\u003c/strong>\u003c/p>\n\u003cp>Born in Santa Monica and raised in Malibu, the songwriter and star producer, once\u003ca href=\"https://www.nytimes.com/2014/09/16/arts/music/blake-mills-releases-his-second-album-heigh-ho.html\"> called\u003c/a> “the last guitarist I heard that I thought was phenomenal” by Eric Clapton, is conditioned to months of perpetually balmy days, interrupted with occasional downpours as fall slides into winter. But a few years ago that rain was slow to come, and the landscape around Los Angeles felt like a tinderbox. When, at last, storms arrived, a friend joked to Mills that maybe it would be the last rain ever for Los Angeles. The storm’s petrichor, Mills remembers, smelled of nostalgia.\u003c/p>\n\u003cp>Mills sat down at his piano and began to ponder what that might mean. The result—a sobering, tender ballad called “Summer All Over”—teeters at the threshold of hope and despair. With his sigh caked on the keys like mud at the bottom of some drought-devastated lake, Mills tempers his quiet horror by “looking for laughter, looking for kindness,” for any human quality that aims to right our colossal wrongs. Mills captures that seesaw of feelings musically with a pervasive flicker of melodic dissonance. Electronics drift in the background, like smog hovering above a troubled valley.\u003c/p>\n\u003cp>“Writing about the season of summer inherently evokes a Beach Boys vibe, maybe because I’m in Los Angeles,” says Mills, who penned the song with Cass McCombs and hopes to release it on his third album. “But the implication of the warmest season happening all over the world at the same time is an ‘endless summer.’ ”\u003c/p>\n\u003cp>He notes the sad irony of a term that, less than 50 years ago, belonged to\u003ca href=\"https://open.spotify.com/album/05J8PFXdYKeYNb8YjqqJYr\"> a relatively carefree\u003c/a> Beach Boys collection. But “Summer All Over,” an enticing title that suggests burnished bodies on a California shoreline, is tragically beautiful, a warm hug from an old ghost. Rock and roll can’t be all good times on the bleeding edge of environmental ruin.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>While touring for the last several years,\u003c/strong> Kentucky songwriter Joan Shelley came to similar epiphanies along the California coast. Not long ago, she was driving north from Los Angeles to Seattle between shows, marveling at the scenery along California’s fabled Highway 1. She remembers the cliffs and the sunlight glittering on the Pacific, a fantasy come to life. That image is captured by “\u003ca href=\"https://joanshelley.bandcamp.com/track/stay-all-night\">Stay All Night\u003c/a>,” a seaside reflection from her quietly uneasy 2019 album,\u003ca href=\"https://joanshelley.bandcamp.com/album/like-the-river-loves-the-sea\"> \u003cem>Like the River Loves the Sea\u003c/em>\u003c/a>. She marvels at the vista but, in the final verse of her reverie, wonders how temporary it may be, hoping that “the waves don’t rise this high.” Actually, it was the opposite: On a recent return visit, that road was closed, nearby cliffs washed into the water by landslides.\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/3u4Pe2YHH-Y'\n title='//www.youtube.com/embed/3u4Pe2YHH-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During the album’s arresting centerpiece, “\u003ca href=\"https://www.youtube.com/watch?v=3u4Pe2YHH-Y\">The Fading\u003c/a>,” Shelley retreats to Kentucky, the place Mark Twain (\u003ca href=\"https://oregonscribbler.com/mark-twain-i-want-to-be-in-kentucky-when-the-end-of-the-world-comes-because-they-are-always-20-years-behind/\">allegedly\u003c/a>) joked he’d like to be when the world ended, because it’s always years behind everywhere else. Shelley keys on that idea as she reclines to witness the natural world overrun the order we’ve imposed upon it. “I cheered the flood / when the water hit the wall and won,” she lilts, her cotton-soft voice temporarily stiffening. It’s a love song at, and for, the end of time, an exercise in appreciating what you’ve had the chance to cherish, whether it’s a drink of gin or a gentle lover or a lovely day.\u003c/p>\n\u003cp>Sometimes, Shelley admits, she turns off the news, because the devastation is too much to hear. As a songwriter, then, it was paramount to create a new way of approaching that helplessness, of facing those truths. These songs don’t protest reality—they simply acknowledge it.\u003c/p>\n\u003cp>“With the small rooms I play for, I’m hoping to give people tools for feeling where we may want to be numb. There’s a grief that is hard to admit to,” she says. “But through art, people can express those low-humming anxieties in a way that isn’t so hard to face.”\u003c/p>\n\u003cp>The sweetly wizened voice trailing Shelley’s during “The Fading” belongs to fellow Kentucky native Will Oldham. She, in turn, adds harmonies across \u003cem>I Made a Place\u003c/em>, Oldham’s first record as Bonnie “Prince” Billy in eight years. Moments of intense worry and woe linger in the record’s quiet corners, absorbing the light of these seemingly incandescent songs. During the album’s jaunty first verse, a home burns, part of a personal conflagration that Oldham suggests is spreading. And during the hypnotic “Nothing Is Busted,” a wounded woman and an oblivious man capture the dynamic between our ecosystem and our social order, a relationship hamstrung by the need for new things to sell, buy and discard. “This particular assemblage of molecules and memories someday soon may just run out of gas,” Oldham sings in one song’s closing verse without pausing to take so much as a breath, as if racing against the apocalypse.\u003c/p>\n\u003cp>For most of \u003cem>I Made a Place\u003c/em>, Oldham dances around or with these end times. But during “This Is Far From Over,” an acoustic stunner near the album’s center, he faces them with softness and resolve. Presumably written for his newborn daughter, the song conjures a world where rising tides force her to take to the sea as an adult, a continental refugee who will do her best to persevere. It is a tragic lullaby, a preemptive apology for the mess she will inherit. Despite the title, Oldham is neither blithe nor disingenuous, using the last verse to confront the possibility that new kinds of life will thrive in humanity’s absence. “The whole world’s far from over,” he sings in the final line at the edge of his falsetto, just where his voice might crack into tears.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“Our kids are being handed a rotten deal, everyone’s children,”\u003c/strong> says The National’s Matt Berninger, father to a 10-year-old daughter, Isla. “The Industrial Revolution gave the Earth a gaping wound not that long ago in the grand scheme, and it’s bleeding out fast. But a tipping point is happening, I think, in understanding how rigged that system is.”\u003c/p>\n\u003cp>The National have rarely been an overtly political band—Berninger has instead spent two decades mapping the darkest and most dangerous corners of his psyche. He’s worried out loud about\u003ca href=\"https://www.youtube.com/watch?v=gPp-3QSXf1g\"> handing down\u003c/a> his worst habits to Isla, about\u003ca href=\"https://www.youtube.com/watch?v=gsZmE95t2Yw\"> taking love too hard\u003c/a> for his own health, and about\u003ca href=\"https://www.youtube.com/watch?v=MxL_xRM0Wug\"> losing himself\u003c/a> in the\u003ca href=\"https://www.youtube.com/watch?v=dCfWAVRR794\"> strange alchemy\u003c/a> of lust and blood and booze. But now the peril of climate change has entered that matrix of considerations, part of “the soup of everyone’s minds and hearts all the time,” as he puts it, alongside sex and drugs and comedy and general dread.\u003c/p>\n\u003cp>In December 2018, Berninger was at a wedding just north of Los Angeles when a song sketch from The National’s Aaron Dessner arrived. Berninger woke up one morning before sunset and, while wandering the streets, unspooled 17 verses to the loop, a sort of living chronicle of his consciousness. There were headline anxieties about the alt-right and immigration, opinions about R.E.M. and The Bible, an interest in the seemingly infinite minimalism of artist\u003ca href=\"http://www.artnet.com/artists/hanne-darboven/evolution-leibniz-a-bSB3naI0qNnejm9Es8cqXw2\"> Hanne Darboven\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/Po61rjjdUPs'\n title='//www.youtube.com/embed/Po61rjjdUPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When he sent the epic to Dessner and filmmaker and producer Mike Mills, they trimmed his diarist sprawl and added an unexpected twist: the dire verses of “\u003ca href=\"https://www.youtube.com/watch?v=FvFrSG37idM\">Noble Experiment\u003c/a>,” a waltz for the end of humanity, released by indie-rock eccentrics Thinking Fellers Union 282 in 1994. During the finished version, “\u003ca href=\"https://open.spotify.com/track/50DAgICmMnWaUVXQiLGlLx\">Not in Kansas\u003c/a>” from this year’s \u003cem>I Am Easy to Find\u003c/em>, a small choir intones those doomed words—”Be a fish or a weed or a sparrow / For the Earth has grown tired and all of your time has expired”—between Berninger’s own verses.\u003c/p>\n\u003cp>The National effectively nest the end of the world inside a laundry list of mundane thoughts; it’s like finding your own death certificate in the day’s otherwise ordinary mail. The world teems with distractions, “Not in Kansas” implies, to keep us from the crisis at the door.\u003c/p>\n\u003cp>“I don’t know how any artist isn’t talking about all of this stuff—sexism, racism, global warming, corporate corruption. I can’t spend time on a song now unless it’s somehow \u003cem>aware\u003c/em> of that stuff,” Berninger says. “Art has the responsibility to try to enlighten, instead of \u003cem>just\u003c/em> entertain. Pop music is still afraid to get into it, but not everyone.”\u003c/p>\n\u003cp>Perhaps the closest that recent pop has come to the subject is “\u003ca href=\"https://www.youtube.com/watch?v=4W9VYY5QpLg\">PARAD(w/m)E\u003c/a>,” a slyly sparkling 2018 single from the North Carolina duo Sylvan Esso. The tune is ebullient, with a chorus that sounds like a mechanized schoolyard chant and verses that shimmer like sunshine on the distant desert horizon. It’s possible to hear and even sing along without ever reflecting on its apocalyptic scenes—the gasless gas stations, the flora-less forests, the reprieve-less heat.\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/4W9VYY5QpLg'\n title='//www.youtube.com/embed/4W9VYY5QpLg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Singer Amelia Meath laughs ruefully about fans who show up to shows wearing homemade shirts reading “How’s that for manifesting our destiny,” having misinterpreted the song’s linchpin indictment as a self-help mantra fit for yogis. About halfway in, Nick Sanborn’s keyboards wobble from their glistening perch, slinking briefly into a morass beneath taunting handclaps. In the refrain, Meath’s proclamation of liberation—”We finally got free”—comes only after she reveals the cause: We’ve already ruined everything.\u003c/p>\n\u003cp>While “PARAD(w/m)E” never landed on \u003cem>Billboard\u003c/em>‘s charts, it suggests a clear framework for some future global-warming protest anthem, much like Billie Eilish’s subtly hypnotic “all the good girls go to hell”: lyrics so sharp listeners might not feel the knife, surrounded by music that celebrates whatever it is we’ve salvaged.\u003c/p>\n\u003cp>“No one likes the guy at the party who is just talking about horrible stuff all the time. But that’s me,” says Meath, smiling. She’s worked to weave such concerns into Sylvan Esso’s third LP, likely arriving in 2020, without being didactic. “That song is cloaked, very specifically, to be easy to swallow. That is the dream: Make the funnest music about the heaviest shit.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>In Iceland, mourners \u003c/strong>\u003ca href=\"https://www.usatoday.com/story/news/world/2019/08/19/okjokull-glacier-funeral-iceland-activists-establish-plaque/2049194001/\">\u003cstrong>hold\u003c/strong>\u003c/a>\u003cstrong> funerals for dead glaciers.\u003c/strong> In Washington state, a pioneering three-credit \u003ca href=\"https://www.uwb.edu/news/february-2018/environmental-grief\">course\u003c/a> called “Environmental Grief & Climate Anxiety: Coping in the Age of Consequences” teaches students how to sort through their despair and identify its sources. (The class subsequently became a\u003ca href=\"https://www.foxnews.com/us/global-warming-bringing-you-down-washington-state-offers-course-on-eco-anxiety-climate-grief.amp\"> Fox News punchline\u003c/a>.) And in magazines from\u003ca href=\"https://www.vogue.com/article/eco-anxiety-grief-mental-health-climate-change\"> \u003cem>Vogue\u003c/em>\u003c/a> to\u003ca href=\"https://www.vice.com/amp/en_uk/article/gy48d4/environmental-grief-climate-change-anxiety\"> \u003cem>Vice\u003c/em>\u003c/a>, recent articles about “eco-grief” signal the drift of these fears into the mainstream.\u003c/p>\n\u003cp>Songs about climate change are an inevitable, essential, and overdue component of that movement, a necessary response and tool for people “to process the truth and the existential dread,” as Berninger puts it. And while these songs have slowly started to accumulate during the last several years, it seems that we’re just at the edge of a new tide of them.\u003c/p>\n\u003cp>Next year, alongside new records from Sylvan Esso and The Weather Station, Grimes—a fringe pop star who has delighted in dancing at the edge of accessibility for a decade—will release\u003ca href=\"https://pitchfork.com/news/grimes-announces-new-album-miss-anthropocene/\"> \u003cem>Miss Anthropocene\u003c/em>\u003c/a>. “Each song will be a different embodiment of human extinction,” she has written. So far, its singles have mined the power dynamics of abusive relationships and the burden of despondency, topics that get to the nuance of the overarching issue.\u003c/p>\n\u003cp>In a presidential election year, when the United States is officially able \u003ca href=\"https://www.nytimes.com/2019/11/04/climate/trump-paris-agreement-climate.html\">to exit\u003c/a> the Paris Climate Agreement, Grimes likely won’t be alone, either in commiserating peers or coping listeners. The British singer-songwriter Bill Fay, now in his late 70s, touches on the topic for \u003ca href=\"https://pitchfork.com/news/bill-fay-announces-new-album-countless-branches-shares-new-song-listen/\">\u003cem>Countless Branches\u003c/em>\u003c/a>, due in January, while buzzy LA producer \u003ca href=\"http://shallou.com\">Shallou\u003c/a> cloaks concerns about environmental collapse in breakup imagery on an album due next summer.\u003c/p>\n\u003cp>None of these songwriters work under the illusion that these tunes, however poppy or plainspoken, will literally \u003cem>fix\u003c/em> anything, from reversing President Donald Trump’s confusing climate-change \u003ca href=\"https://time.com/5622374/donald-trump-climate-change-hoax-event/\">denial\u003c/a> to adjusting people’s disposable plastic habits. As working musicians, they have practical issues of their own to navigate, anyway, as the mechanisms of distribution for their work—be it a server churning through electricity or\u003ca href=\"https://www.google.com/amp/s/www.vice.com/amp/en_uk/article/9kz3y5/this-is-how-bad-your-vinyl-obsession-is-for-the-world\"> an LP made with petroleum\u003c/a> or a tour bus burning gas—inextricably entail a carbon footprint for now. Coldplay \u003ca href=\"https://news.yahoo.com/coldplay-postpones-future-global-tours-climate-change-fears-135905727.html\">won’t tour\u003c/a> behind their recent \u003cem>Everyday Life\u003c/em> until they can do so in a carbon-neutral way, a powerful stand from one of the world’s biggest bands but a strategy that’s not yet sustainable for small acts working merely for their living. It’s the essential friction of making and selling art that questions capitalist foundations.\u003c/p>\n\u003cp>But for now, these songs simply exist for the people who need them, their writers included. They’re not expressions of what they know or what they want you to do but only how they feel—and implicit permission slips for you to feel that way, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m not hoping to shine a light on something for anybody. Everything that needs to be said is being said really clearly,” says Mills, referring to scientists and policy experts who know and can articulate what he cannot. “But my song is about how we’re reacting to that information. And despair in music can help soak up the despair of the people listening.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Music+For+Our+Emergency&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Great British 'Up' Anthology is Back—and Worried About Brexit",
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"content": "\u003cp>For better and worse, class pride has always run a deep vein through British society, upstairs and down. Not so the United States, where the mere mention of social class often triggers strenuous manifestos about meritocracy and equal opportunity. Which may be why attempts to reproduce Michael Apted’s long-running \u003cem>Up\u003c/em> anthology—inquiring into the persistence of social hierarchy in post-World War II Britain—have so far failed this side of the Atlantic. For those who think \u003cem>Downton Abbey\u003c/em> is pretty much a documentary, the \u003cem>Up\u003c/em> series is the perfect antidote.\u003c/p>\n\u003cp>Beginning in 1964 with \u003cem>7 Up\u003c/em>, directed for British television by Paul Almond with Apted initially on board as a researcher, the series tracked a cross-section of 14 children from England’s famously rigid class system, with Apted checking in every seven years thereafter to document what and how they were doing. I’m roughly the same age and grew up lower middle class in London, so I’ve followed the series obsessively from soup to nuts. But you don’t have to have been as hooked as I on the anthology (now available as a boxed set) to find your way around the latest, \u003ca href=\"https://www.imdb.com/title/tt8929142/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>63 Up\u003c/em>\u003c/a>, which is studded with flashbacks to catch you up on how the group has fared since we first met them, mingling to frolic and brawl in a grim-looking adventure playground.\u003c/p>\n\u003cp>Inevitably a quiet tempo has settled on the hopes and dreams of these sexagenarians as they answer questions from Apted or go about their business with varying degrees of discomfort under cameras that have dogged them for decades. Some have retired; others contemplate their own mortality as they tell of parents passing away. One is seriously ill; another has died since \u003cem>56 Up\u003c/em>. Most seem content with what they have and express few regrets about what might have been. Luck, love, and loss, triumph and defeat, have beveled the edges of even the most pugnacious and intrepid.\u003c/p>\n\u003cp>Through every installment, Apted has peppered (some say, resentfully, pestered) the group with questions about whether England’s class divisions have grown more permeable. For some the short answer has become versions of “for the love of mike, Michael, quit asking, we are so much more than our station in life.” Apted deserves credit for including their protests.\u003c/p>\n\u003cp>The long answer to his probing is: It’s complicated. Take Tony, the charming, infuriating Cockney child of London’s East End, and the only Upper who frankly enjoys the limelight. As a teenager Tony predicted some of his future with astonishing accuracy, becoming first a jockey and then (“If I’m not good enough”) a cab-driver. Both jobs came to pass, but what Tony couldn’t dream of was that he would one day buy a handsome holiday home in Spain for his growing family and plan to build a resort there. What followed had more to do with the global economy than with his business chops, but today Tony, a proud husband, father, and grandfather who moonlights as a cabbie in TV crime shows, has switched his working-class-Tory affiliation for fear of Brexit, and may cast in his lot with the Green Party.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ugw7hUoJ0C0\u003c/p>\n\u003cp>At the other end of the social spectrum we revisit John, at 7 and 14 a snobby, upper-crust brat and easily the least likable of the \u003cem>Up\u003c/em> children. Now tweedy and balding, a considerably mellowed John (who also guessed right that he would become a barrister) is happily retiring to devote himself to charity work in the Balkans with his wife. Our early assumptions about John’s wealth and blue blood turn out to be mistaken, though there’s no doubt that his pricey education has given him more financial security than most of the Uppers.\u003c/p>\n\u003cp>Certainly John hasn’t had to struggle like Symon, the group’s only mixed-race member, who grew up in a children’s home with his friend Paul. At 7 Symon wanted to be a movie star; at 21 he worked a sausage factory assembly line. Without functioning parents, Symon has had a checkered life. What he and Paul (now settled in Australia) have achieved with the support of two good women is by any measure remarkable, as is the fact that they’ve stayed friends. And after some difficult years as a divorced single parent, the congenitally cheerful Sue—one of three East End women who, at 21, gave Apted a brisk mouthful for asking them only family-oriented questions—heads a career counseling unit at London University.\u003c/p>\n\u003cp>And what of Neil, at 7 a bonny lad in a duffel coat skipping down a suburban Liverpool street and by any measure the most beloved of viewers? At 28 we saw him homeless and roaming the British countryside. All I will say is that after a lifetime battling his biology and a less than idyllic childhood, at 63 Neil is not without faith, friends or resources.\u003c/p>\n\u003cp>Every chapter of the \u003cem>Up\u003c/em> series has seen its dropouts, and with the exception of Tony, those who remain express reservations with varying degrees of vehemence. For John, whose early arrogance so antagonized viewers, each new episode has brought “a little pill of poison.” Over time Apted’s questions have grown more personal, but he still queries them about whether they still believe Britain to be a class society. All agree that inequality persists, but they worry less for themselves than for their children, who face cuts to the country’s generous welfare state services, further concentration of wealth in the top tier, the decline of full-time jobs, and most of all the potential ravages of a looming Brexit deal.\u003c/p>\n\u003cp>Like Nick, the farm boy who became a professor in the United States, and Apted, who attended Cambridge University but now lives in America, I found far more career opportunities in the United States than I would have enjoyed in England despite a fancy education. Yet I’ve been struck by the nervousness that any discussion of social stratification inspires among students I’ve taught down the years in American universities. And I miss the stout class solidarity that, however diluted by upward mobility, remains strong among the English working class.\u003c/p>\n\u003cp>British cinema has always had a far more robust tradition than the U.S. of narrative films about the relations between the classes. Documentary offers the same satisfactions of family drama, the common hurts and losses endured and surmounted in movies by Mike Leigh or Ken Loach or the classic post-War Angry Young Men films, while permitting no facile class stereotypes. No one in \u003cem>63 Up\u003c/em> sounds like anybody above or below the salt in \u003cem>Downton Abbey\u003c/em>. We don’t see them gulping endless cups of industrial-strength tea or spending every waking hour down the pub or at the private club.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As Apted narrows his focus to the personal more than the overtly political, he has also learned from the Uppers that there is no such thing as an ordinary life; that money and education may carry you far, but that accent and income bracket have little to do with intelligence, wit, or goodness of heart. What’s striking is not just the sturdy durability of family and community, but (camera or no camera) the fundamental decency of just about every participant in this long cultural experiment. Rich or poor, all have ended up devoting themselves to helping others. So ‘bye for now, dear Uppers, and with luck and longevity, see you at \u003cem>70 Up\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Once+More%2C+Unto+The+Brits%3A+%2763+Up%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For better and worse, class pride has always run a deep vein through British society, upstairs and down. Not so the United States, where the mere mention of social class often triggers strenuous manifestos about meritocracy and equal opportunity. Which may be why attempts to reproduce Michael Apted’s long-running \u003cem>Up\u003c/em> anthology—inquiring into the persistence of social hierarchy in post-World War II Britain—have so far failed this side of the Atlantic. For those who think \u003cem>Downton Abbey\u003c/em> is pretty much a documentary, the \u003cem>Up\u003c/em> series is the perfect antidote.\u003c/p>\n\u003cp>Beginning in 1964 with \u003cem>7 Up\u003c/em>, directed for British television by Paul Almond with Apted initially on board as a researcher, the series tracked a cross-section of 14 children from England’s famously rigid class system, with Apted checking in every seven years thereafter to document what and how they were doing. I’m roughly the same age and grew up lower middle class in London, so I’ve followed the series obsessively from soup to nuts. But you don’t have to have been as hooked as I on the anthology (now available as a boxed set) to find your way around the latest, \u003ca href=\"https://www.imdb.com/title/tt8929142/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>63 Up\u003c/em>\u003c/a>, which is studded with flashbacks to catch you up on how the group has fared since we first met them, mingling to frolic and brawl in a grim-looking adventure playground.\u003c/p>\n\u003cp>Inevitably a quiet tempo has settled on the hopes and dreams of these sexagenarians as they answer questions from Apted or go about their business with varying degrees of discomfort under cameras that have dogged them for decades. Some have retired; others contemplate their own mortality as they tell of parents passing away. One is seriously ill; another has died since \u003cem>56 Up\u003c/em>. Most seem content with what they have and express few regrets about what might have been. Luck, love, and loss, triumph and defeat, have beveled the edges of even the most pugnacious and intrepid.\u003c/p>\n\u003cp>Through every installment, Apted has peppered (some say, resentfully, pestered) the group with questions about whether England’s class divisions have grown more permeable. For some the short answer has become versions of “for the love of mike, Michael, quit asking, we are so much more than our station in life.” Apted deserves credit for including their protests.\u003c/p>\n\u003cp>The long answer to his probing is: It’s complicated. Take Tony, the charming, infuriating Cockney child of London’s East End, and the only Upper who frankly enjoys the limelight. As a teenager Tony predicted some of his future with astonishing accuracy, becoming first a jockey and then (“If I’m not good enough”) a cab-driver. Both jobs came to pass, but what Tony couldn’t dream of was that he would one day buy a handsome holiday home in Spain for his growing family and plan to build a resort there. What followed had more to do with the global economy than with his business chops, but today Tony, a proud husband, father, and grandfather who moonlights as a cabbie in TV crime shows, has switched his working-class-Tory affiliation for fear of Brexit, and may cast in his lot with the Green Party.\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/Ugw7hUoJ0C0'\n title='//www.youtube.com/embed/Ugw7hUoJ0C0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the other end of the social spectrum we revisit John, at 7 and 14 a snobby, upper-crust brat and easily the least likable of the \u003cem>Up\u003c/em> children. Now tweedy and balding, a considerably mellowed John (who also guessed right that he would become a barrister) is happily retiring to devote himself to charity work in the Balkans with his wife. Our early assumptions about John’s wealth and blue blood turn out to be mistaken, though there’s no doubt that his pricey education has given him more financial security than most of the Uppers.\u003c/p>\n\u003cp>Certainly John hasn’t had to struggle like Symon, the group’s only mixed-race member, who grew up in a children’s home with his friend Paul. At 7 Symon wanted to be a movie star; at 21 he worked a sausage factory assembly line. Without functioning parents, Symon has had a checkered life. What he and Paul (now settled in Australia) have achieved with the support of two good women is by any measure remarkable, as is the fact that they’ve stayed friends. And after some difficult years as a divorced single parent, the congenitally cheerful Sue—one of three East End women who, at 21, gave Apted a brisk mouthful for asking them only family-oriented questions—heads a career counseling unit at London University.\u003c/p>\n\u003cp>And what of Neil, at 7 a bonny lad in a duffel coat skipping down a suburban Liverpool street and by any measure the most beloved of viewers? At 28 we saw him homeless and roaming the British countryside. All I will say is that after a lifetime battling his biology and a less than idyllic childhood, at 63 Neil is not without faith, friends or resources.\u003c/p>\n\u003cp>Every chapter of the \u003cem>Up\u003c/em> series has seen its dropouts, and with the exception of Tony, those who remain express reservations with varying degrees of vehemence. For John, whose early arrogance so antagonized viewers, each new episode has brought “a little pill of poison.” Over time Apted’s questions have grown more personal, but he still queries them about whether they still believe Britain to be a class society. All agree that inequality persists, but they worry less for themselves than for their children, who face cuts to the country’s generous welfare state services, further concentration of wealth in the top tier, the decline of full-time jobs, and most of all the potential ravages of a looming Brexit deal.\u003c/p>\n\u003cp>Like Nick, the farm boy who became a professor in the United States, and Apted, who attended Cambridge University but now lives in America, I found far more career opportunities in the United States than I would have enjoyed in England despite a fancy education. Yet I’ve been struck by the nervousness that any discussion of social stratification inspires among students I’ve taught down the years in American universities. And I miss the stout class solidarity that, however diluted by upward mobility, remains strong among the English working class.\u003c/p>\n\u003cp>British cinema has always had a far more robust tradition than the U.S. of narrative films about the relations between the classes. Documentary offers the same satisfactions of family drama, the common hurts and losses endured and surmounted in movies by Mike Leigh or Ken Loach or the classic post-War Angry Young Men films, while permitting no facile class stereotypes. No one in \u003cem>63 Up\u003c/em> sounds like anybody above or below the salt in \u003cem>Downton Abbey\u003c/em>. We don’t see them gulping endless cups of industrial-strength tea or spending every waking hour down the pub or at the private club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Apted narrows his focus to the personal more than the overtly political, he has also learned from the Uppers that there is no such thing as an ordinary life; that money and education may carry you far, but that accent and income bracket have little to do with intelligence, wit, or goodness of heart. What’s striking is not just the sturdy durability of family and community, but (camera or no camera) the fundamental decency of just about every participant in this long cultural experiment. Rich or poor, all have ended up devoting themselves to helping others. So ‘bye for now, dear Uppers, and with luck and longevity, see you at \u003cem>70 Up\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Once+More%2C+Unto+The+Brits%3A+%2763+Up%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lena Waithe's 'Queen & Slim' is an Odyssey For the Black Lives Matter Era",
"headTitle": "Lena Waithe’s ‘Queen & Slim’ is an Odyssey For the Black Lives Matter Era | KQED",
"content": "\u003cp>In her debut feature film, screenwriter Lena Waithe has written an odyssey set in the Black Lives Matter era.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt8722346/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Queen & Slim\u003c/em>\u003c/a> is about an African American couple on the run after a routine traffic stop gone wrong. They kill a white police officer in self-defense, and rather than entrust themselves to the U.S. criminal justice system, they flee.\u003c/p>\n\u003cp>The movie plays out over much of the United States. It explores, on a bigger scale, a lot of the themes that Waithe writes about in \u003cem>The Chi\u003c/em>, her \u003ca href=\"https://www.npr.org/2018/01/11/577311653/the-chi-creator-lena-waithe-says-television-taught-me-how-to-dream\">Showtime series set in South Side Chicago\u003c/a>. In an interview, she calls this film a “meditation on blackness.”\u003c/p>\n\u003cp>“The movie is sort of a result of every conversation that I’ve ever had with every black person I’ve ever met,” Waithe says. “And also, it’s an observation too, on our community: who we are, how beautiful we are, how complex we can be and how we are resilient. And sometimes we’ll do whatever we have to do to survive. But yeah, it’s really just this thing that came out of me, out of my body, that I needed to get off my chest—but it was really like a hug I wanted to give black people.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CDnhh4NEi_U\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On writing the traffic stop scene\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Waithe\u003c/strong>: Daniel Kaluuya [who plays Slim] said something to me very interesting … “Sometimes a black person respecting themselves can be read by a white person as disrespectful.” And he said that to me the other day, and I thought: Whoa, that is so interesting. Because a big road map that I used for that scene, that I wrote a bajillion times again and again and again until I finally felt like I got it right, was \u003ca href=\"https://www.youtube.com/watch?v=2kI7mzowxus\">Sandra Bland’s dashcam footage\u003c/a>. And it is horrifying to listen to, but here’s the thing: It’s not this really loud interaction. There’s not yelling or screaming or anything. …\u003c/p>\n\u003cp>There’s a turn that I noticed in that footage that’s very subtle—if you’re not paying attention, you don’t catch it. But it was the turn that I needed to help me figure out the scene, was that he asks her to put her cigarette out. And she makes a valid point. She says, “Is it illegal for me to smoke a cigarette in my own car?” He says, “No, it’s not, but I’m asking you to put the cigarette out.” She says no. And then instantly: “Step out of the car. Step out of the car. Get out of the car.” And that’s the turn. And to me, it was as if he felt disrespected. He felt like his authority wasn’t being respected or being honored or being valued. And obviously, that is the difference between life and death.\u003c/p>\n\u003cp>And so for this scene, he just asks—it’s cold, and mind you we were in Cleveland, Ohio, it was freezing, we were there for a polar vortex … and the line was just, “Can you please hurry up?” And then Daniel added, “Because it’s cold.” Because it was freezing. And I knew, I said: Yeah, that could be the turn. And even on the page, I say: In an instant, it goes from 2019 to 1968. …\u003c/p>\n\u003cp>That is our fundamental issue, I think, between black people and police. The police want us to bow down and respect them. But also: Respect has to be earned. You’ve got to treat me like a human being.\u003c/p>\n\u003cp>\u003cstrong>On Queen and Slim being recognized as outlaw heroes\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13870465\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-800x600.jpg\" alt=\"Lena Waithe attends the world premiere of 'Queen & Slim' in Hollywood.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lena Waithe attends the world premiere of ‘Queen & Slim’ in Hollywood. \u003ccite>(Jesse Grant/Getty Images for Audi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Waithe\u003c/strong>: I think, because our history as black people with the police has been so turbulent, so violent, a lot of people point to Rodney King, which is a clear example of police brutality. But then you could also go back to the civil rights movement. Who was it that was hosing down college students; who was it that was sicking dogs on them, beating them with batons? It wasn’t just crazy racist white people, it was the police. …\u003c/p>\n\u003cp>So that is why I said if two black people ever killed a police officer, in self-defense or not, I knew that there would be pockets of the black community that would look at them and applaud, whether it’s right or wrong. There’d be some black people that would think that was extremely irresponsible.\u003c/p>\n\u003cp>\u003cstrong>King\u003c/strong>: You have characters say that too. You have a character who at one point says, “What you did was wrong. It gives the cops now an excuse to shoot us.”\u003c/p>\n\u003cp>\u003cstrong>Waithe\u003c/strong>: Correct. But then somebody could argue: “Since when do they need an excuse?” … What Queen and Slim represent are the two different ways black people can behave when they get pulled over by a police officer.\u003c/p>\n\u003cp>\u003cstrong>King\u003c/strong>: Which are?\u003c/p>\n\u003cp>\u003cstrong>Waithe: \u003c/strong>Yes, sir; no, sir. Yeah, you can search my car; yes, you can search my person; no, I haven’t had anything to drink. You know, being very obedient.\u003c/p>\n\u003cp>Or you can say: May I ask why I was pulled over? May I see your badge number? Let me speak to the person above you. No, you may not search my car without a warrant.\u003c/p>\n\u003cp>You’ve got to decide. Who do you want to be that day?\u003c/p>\n\u003cp>\u003cstrong>On writing a road-trip odyssey\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Waithe\u003c/strong>: I’d also write beautiful scenery, fields, trees, because I’ve been on a couple long road trips, and that always happens when you get out of a city. When you’re in between cities, it’s just, like, land for as far as the eye can see. … You just feel like: You’re out on the open road. And you don’t care what’s behind you. You’re excited to see what’s in front of you. And you just feel—it’s freeing. And that’s the thing, too, it’s like: America is beautiful. But it’s also ugly—you know, underneath the surface, because of our history and, you know, what we’ve done to each other.\u003c/p>\n\u003cp>And that’s why I really love the exchange when he says, “Man, it’s beautiful out here” because he’s never been this far out of Cleveland, Ohio; he’s never done that. But then what do you see? Which is also a real thing: You see prisoners working the land. Which is just a real thing, which I’ve seen on long road trips and it freaks me out. I understand it, you know; I understand that part of the system, but it feels like modern-day slavery. … Nothing’s more American than that. A beautiful road and trees and grass—and then, of course, black and brown bodies working the land. …\u003c/p>\n\u003cp>And she says—after he says, “It’s so beautiful out here,” she goes, “Is it? Is it?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sydney Harper and Vince Pearson produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lena+Waithe%27s+%27Queen+%26+Slim%27+Is+An+Odyssey+For+The+Black+Lives+Matter+Era&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In her debut feature film, screenwriter Lena Waithe has written an odyssey set in the Black Lives Matter era.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt8722346/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Queen & Slim\u003c/em>\u003c/a> is about an African American couple on the run after a routine traffic stop gone wrong. They kill a white police officer in self-defense, and rather than entrust themselves to the U.S. criminal justice system, they flee.\u003c/p>\n\u003cp>The movie plays out over much of the United States. It explores, on a bigger scale, a lot of the themes that Waithe writes about in \u003cem>The Chi\u003c/em>, her \u003ca href=\"https://www.npr.org/2018/01/11/577311653/the-chi-creator-lena-waithe-says-television-taught-me-how-to-dream\">Showtime series set in South Side Chicago\u003c/a>. In an interview, she calls this film a “meditation on blackness.”\u003c/p>\n\u003cp>“The movie is sort of a result of every conversation that I’ve ever had with every black person I’ve ever met,” Waithe says. “And also, it’s an observation too, on our community: who we are, how beautiful we are, how complex we can be and how we are resilient. And sometimes we’ll do whatever we have to do to survive. But yeah, it’s really just this thing that came out of me, out of my body, that I needed to get off my chest—but it was really like a hug I wanted to give black people.”\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/CDnhh4NEi_U'\n title='//www.youtube.com/embed/CDnhh4NEi_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On writing the traffic stop scene\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Waithe\u003c/strong>: Daniel Kaluuya [who plays Slim] said something to me very interesting … “Sometimes a black person respecting themselves can be read by a white person as disrespectful.” And he said that to me the other day, and I thought: Whoa, that is so interesting. Because a big road map that I used for that scene, that I wrote a bajillion times again and again and again until I finally felt like I got it right, was \u003ca href=\"https://www.youtube.com/watch?v=2kI7mzowxus\">Sandra Bland’s dashcam footage\u003c/a>. And it is horrifying to listen to, but here’s the thing: It’s not this really loud interaction. There’s not yelling or screaming or anything. …\u003c/p>\n\u003cp>There’s a turn that I noticed in that footage that’s very subtle—if you’re not paying attention, you don’t catch it. But it was the turn that I needed to help me figure out the scene, was that he asks her to put her cigarette out. And she makes a valid point. She says, “Is it illegal for me to smoke a cigarette in my own car?” He says, “No, it’s not, but I’m asking you to put the cigarette out.” She says no. And then instantly: “Step out of the car. Step out of the car. Get out of the car.” And that’s the turn. And to me, it was as if he felt disrespected. He felt like his authority wasn’t being respected or being honored or being valued. And obviously, that is the difference between life and death.\u003c/p>\n\u003cp>And so for this scene, he just asks—it’s cold, and mind you we were in Cleveland, Ohio, it was freezing, we were there for a polar vortex … and the line was just, “Can you please hurry up?” And then Daniel added, “Because it’s cold.” Because it was freezing. And I knew, I said: Yeah, that could be the turn. And even on the page, I say: In an instant, it goes from 2019 to 1968. …\u003c/p>\n\u003cp>That is our fundamental issue, I think, between black people and police. The police want us to bow down and respect them. But also: Respect has to be earned. You’ve got to treat me like a human being.\u003c/p>\n\u003cp>\u003cstrong>On Queen and Slim being recognized as outlaw heroes\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13870465\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-800x600.jpg\" alt=\"Lena Waithe attends the world premiere of 'Queen & Slim' in Hollywood.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/lena-waithe-2665f95ba1828bc1ccd90ddb23e64afbce6be344-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lena Waithe attends the world premiere of ‘Queen & Slim’ in Hollywood. \u003ccite>(Jesse Grant/Getty Images for Audi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Waithe\u003c/strong>: I think, because our history as black people with the police has been so turbulent, so violent, a lot of people point to Rodney King, which is a clear example of police brutality. But then you could also go back to the civil rights movement. Who was it that was hosing down college students; who was it that was sicking dogs on them, beating them with batons? It wasn’t just crazy racist white people, it was the police. …\u003c/p>\n\u003cp>So that is why I said if two black people ever killed a police officer, in self-defense or not, I knew that there would be pockets of the black community that would look at them and applaud, whether it’s right or wrong. There’d be some black people that would think that was extremely irresponsible.\u003c/p>\n\u003cp>\u003cstrong>King\u003c/strong>: You have characters say that too. You have a character who at one point says, “What you did was wrong. It gives the cops now an excuse to shoot us.”\u003c/p>\n\u003cp>\u003cstrong>Waithe\u003c/strong>: Correct. But then somebody could argue: “Since when do they need an excuse?” … What Queen and Slim represent are the two different ways black people can behave when they get pulled over by a police officer.\u003c/p>\n\u003cp>\u003cstrong>King\u003c/strong>: Which are?\u003c/p>\n\u003cp>\u003cstrong>Waithe: \u003c/strong>Yes, sir; no, sir. Yeah, you can search my car; yes, you can search my person; no, I haven’t had anything to drink. You know, being very obedient.\u003c/p>\n\u003cp>Or you can say: May I ask why I was pulled over? May I see your badge number? Let me speak to the person above you. No, you may not search my car without a warrant.\u003c/p>\n\u003cp>You’ve got to decide. Who do you want to be that day?\u003c/p>\n\u003cp>\u003cstrong>On writing a road-trip odyssey\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Waithe\u003c/strong>: I’d also write beautiful scenery, fields, trees, because I’ve been on a couple long road trips, and that always happens when you get out of a city. When you’re in between cities, it’s just, like, land for as far as the eye can see. … You just feel like: You’re out on the open road. And you don’t care what’s behind you. You’re excited to see what’s in front of you. And you just feel—it’s freeing. And that’s the thing, too, it’s like: America is beautiful. But it’s also ugly—you know, underneath the surface, because of our history and, you know, what we’ve done to each other.\u003c/p>\n\u003cp>And that’s why I really love the exchange when he says, “Man, it’s beautiful out here” because he’s never been this far out of Cleveland, Ohio; he’s never done that. But then what do you see? Which is also a real thing: You see prisoners working the land. Which is just a real thing, which I’ve seen on long road trips and it freaks me out. I understand it, you know; I understand that part of the system, but it feels like modern-day slavery. … Nothing’s more American than that. A beautiful road and trees and grass—and then, of course, black and brown bodies working the land. …\u003c/p>\n\u003cp>And she says—after he says, “It’s so beautiful out here,” she goes, “Is it? Is it?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s been 37 years since \u003ca href=\"https://www.npr.org/tags/475156774/prince\">Prince\u003c/a> released \u003cem>1999\u003c/em>, but this week, the Prince estate will reissue a remastered version of the iconic album—this time with 35 previously unreleased tracks. During his lifetime, Prince was notoriously protective of his music, both released and unreleased. Notably, he had a long-term public battle with Warner Brothers over rights to his masters and sued \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/prince-sues-bootlegging-facebook-fans-for-22-million-in-piracy-lawsuit-9088733.html\">Facebook users\u003c/a> for posting links to unauthorized music. To learn about the estate’s decision to release the record after his death, NPR’s Michel Martin spoke with Michael Howe, the archivist for the Prince vault.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the role of “Prince’s archivist:”\u003c/strong>\u003c/p>\n\u003cp>The overarching thrust of the job is to organize and preserve Prince’s audiovisual legacy—his vault—and the extension of that is to be the A&R guy for everything that comes out of the vault. So I’m responsible, to some degree, for contextualizing and preserving Prince’s life work. It’s a pretty daunting proposition, as you might imagine.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i_o69a9ZFFA\u003c/p>\n\u003cp>\u003cstrong>On the rationale for releasing these songs right now:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I think the idea is to shine a light on the entirety of Prince’s creative legacy. There were at least a couple of times during his life where he mentioned that he thought the contents of his vault, or some portion thereof, would be released at some point after he was gone. So using that guiding principle, we use our best judgment to present the things that we think are appropriate for specific creative eras of his life.\u003c/p>\n\u003cp>\u003cstrong>On the fan response to releasing the songs:\u003c/strong>\u003c/p>\n\u003cp>I haven’t gotten any direct pushback. I know that the Prince fan community has very strong opinions and it’s very, very large. I’m sure there are some people who think, philosophically, that a lot of these things should probably stay in the vault. But I think the overwhelming majority of fans and musicians and people—who are interested in the history and artistry of a guy who was on the Mt. Rushmore of music—really should and deserve to be heard.\u003c/p>\n\u003cp>\u003cstrong>On the rumor that Prince has enough unreleased songs for an album every year until the 22nd century:\u003c/strong>\u003c/p>\n\u003cp>I would say that’s probably true, yeah. It’s an enormous amount of work that he left behind that he didn’t release, not all of which, obviously, will end up emerging. But there’s a tremendous amount of stuff that correlates with particular creative periods in his life. The way we decided to proceed on this one, as we do with everything, the guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand and that his body of work deserves.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vAdboa7jWZo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>1999 Remastered \u003cem>is out Nov. 29 via \u003c/em>\u003ca href=\"https://store.prince.com/dept/1999-remastered\">\u003cem>The Prince Estate\u003c/em>\u003c/a>\u003cem> and Warner Bros.\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=Prince%27s+%271999%27+Sees+Another+Life+%E2%80%94+This+Time+With+35+New+Songs+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been 37 years since \u003ca href=\"https://www.npr.org/tags/475156774/prince\">Prince\u003c/a> released \u003cem>1999\u003c/em>, but this week, the Prince estate will reissue a remastered version of the iconic album—this time with 35 previously unreleased tracks. During his lifetime, Prince was notoriously protective of his music, both released and unreleased. Notably, he had a long-term public battle with Warner Brothers over rights to his masters and sued \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/prince-sues-bootlegging-facebook-fans-for-22-million-in-piracy-lawsuit-9088733.html\">Facebook users\u003c/a> for posting links to unauthorized music. To learn about the estate’s decision to release the record after his death, NPR’s Michel Martin spoke with Michael Howe, the archivist for the Prince vault.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the role of “Prince’s archivist:”\u003c/strong>\u003c/p>\n\u003cp>The overarching thrust of the job is to organize and preserve Prince’s audiovisual legacy—his vault—and the extension of that is to be the A&R guy for everything that comes out of the vault. So I’m responsible, to some degree, for contextualizing and preserving Prince’s life work. It’s a pretty daunting proposition, as you might imagine.\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/i_o69a9ZFFA'\n title='//www.youtube.com/embed/i_o69a9ZFFA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On the rationale for releasing these songs right now:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think the idea is to shine a light on the entirety of Prince’s creative legacy. There were at least a couple of times during his life where he mentioned that he thought the contents of his vault, or some portion thereof, would be released at some point after he was gone. So using that guiding principle, we use our best judgment to present the things that we think are appropriate for specific creative eras of his life.\u003c/p>\n\u003cp>\u003cstrong>On the fan response to releasing the songs:\u003c/strong>\u003c/p>\n\u003cp>I haven’t gotten any direct pushback. I know that the Prince fan community has very strong opinions and it’s very, very large. I’m sure there are some people who think, philosophically, that a lot of these things should probably stay in the vault. But I think the overwhelming majority of fans and musicians and people—who are interested in the history and artistry of a guy who was on the Mt. Rushmore of music—really should and deserve to be heard.\u003c/p>\n\u003cp>\u003cstrong>On the rumor that Prince has enough unreleased songs for an album every year until the 22nd century:\u003c/strong>\u003c/p>\n\u003cp>I would say that’s probably true, yeah. It’s an enormous amount of work that he left behind that he didn’t release, not all of which, obviously, will end up emerging. But there’s a tremendous amount of stuff that correlates with particular creative periods in his life. The way we decided to proceed on this one, as we do with everything, the guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand and that his body of work deserves.\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/vAdboa7jWZo'\n title='//www.youtube.com/embed/vAdboa7jWZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>1999 Remastered \u003cem>is out Nov. 29 via \u003c/em>\u003ca href=\"https://store.prince.com/dept/1999-remastered\">\u003cem>The Prince Estate\u003c/em>\u003c/a>\u003cem> and Warner Bros.\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=Prince%27s+%271999%27+Sees+Another+Life+%E2%80%94+This+Time+With+35+New+Songs+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The most intriguing thing about \u003cem>Girl on Film\u003c/em>, a comic-book memoir by someone who never set out to create comics, is that it isn’t a tragedy. Told one way, it could have been a story of a would-be artist stubbornly pursuing their dream for years, only to finally give up in despair. Cecil Castellucci chronicles her decade-plus quest to become a filmmaker from the birth of her obsession, when she first saw \u003cem>Star Wars\u003c/em> and \u003cem>Raiders of the Lost Ark\u003c/em> in junior high school, all the way through trying and failing to cut together her first feature in her early 20s.\u003c/p>\n\u003cfigure id=\"attachment_13870346\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870346\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/9781684154531_custom-4cadac0ba6547646614a686f41255a1fad546aa2-s500-c85.jpg\" alt=\"'Girl on Film' by Cecil Castellucci, Vicky Leta, Melissa Duffy, V. Gagnon and Jon Berg.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9781684154531_custom-4cadac0ba6547646614a686f41255a1fad546aa2-s500-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9781684154531_custom-4cadac0ba6547646614a686f41255a1fad546aa2-s500-c85-160x240.jpg 160w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Girl on Film’\u003cbr>by Cecil Castellucci, Vicky Leta, Melissa Duffy, V. Gagnon and Jon Berg. \u003ccite>(Archaia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the while, though, we know Castellucci’s not going to become the next Spielberg. That’s because we know Castellucci not as a filmmaker, but as the bestselling author of such wonderful comics as \u003cem>Shade the Changing Girl\u003c/em>, \u003cem>The Plain Janes\u003c/em> and \u003cem>Year of the Beasts\u003c/em>. Castellucci’s also written Star Wars and Batgirl comics and all sorts of other works—from young-adult novels to opera librettos—as well as making music, creating performance pieces and, yes, directing a film (2005’s \u003cem>Happy Is Not Hard to Be\u003c/em>, which she also wrote and appeared in). She’s still not Spielberg, though.\u003c/p>\n\u003cp>But if you think that matters, you miss the point of Castellucci’s book. More than a life story, it’s an account of how to live an artist’s life even when it looks like your artistic ambitions are grandiose and impractical. In fact, Castellucci shows, your artistic ambitions are pretty much guaranteed to be grandiose and impractical. That doesn’t matter. What matters is how you live with your big dreams, what you give up for them, what you hang onto and what you let go.\u003c/p>\n\u003cp>For Castellucci, the dream of being a filmmaker kept her on track through her teenage years, motivating her to lay the groundwork for a multifaceted creative life. Her first big existential crisis comes in eighth grade, when she applies to two renowned Manhattan high schools, the High School of Performing Arts (the one from the 1980 movie \u003cem>Fame\u003c/em>) and the Bronx High School of Science. She’s accepted to both, forcing her to admit to her parents—both scientists—that she wants to be an artist. They’re fine with that, but it’s still a turning point for young Cecil. She’s owned her ambition out loud for the first time.\u003c/p>\n\u003cp>Cecil goes to Performing Arts, and the next several years are a whirlwind of aesthetic education and adolescent pains. She recalls how she learned from various mentors and crossed paths with various celebs (her best story is of being gifted a Warhol painting by her friend Chaz Bono, only to have Cher call up the next day and tell her she couldn’t have it after all). Most of all, though, she shows how sheer enthusiasm is the crucial quality in a young person trying to build an artistic life. Cecil tries her hand at everything, learns all she can from everyone she meets and shrugs off every slight. Things get harder when she starts film school at NYU, only to find she can’t afford it. The next few years are chaotic: She heads briefly to Europe, continues film school in Montreal, joins a band and begins to realize filmmaking may not be her path after all. With a turn of the page she’s in Los Angeles, recording music and writing a novel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Castellucci packs these twists and turns into the end of the book. She’s so committed to maintaining a sense of positivity, she breezes past the story’s only real crisis in a couple of pages. Fortunately, this doesn’t weaken her main project—fulfilled so winningly everywhere else—of showing what the life of a “baby artist” can look like. This book isn’t flagged as a young-adult title, but it cries out to be given to a creative teen.\u003c/p>\n\u003cp>Castellucci has divided the work of illustration among four different artists. It’s an unorthodox approach that could have stumbled, but Vicky Leta, Melissa Duffy, V. Gagnon and Jon Berg complement each other well. Most use fairly heavy lines, which harmonizes their pages. Duffy’s a standout with her brusque, energetic linework. Leta’s fragile lines are the most distinctive, so Castellucci reserves her for interludes where the adult Cecil contemplates the vicissitudes of memory. These sections aren’t particularly successful, actually; they’re a distraction from the bubbly momentum of young Cecil’s journey. Said journey may not have wound up where Castellucci thought it would when she was 12, but it’s still a fascinating one to follow. Most importantly, it’s far from over.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky \u003c/em>\u003cem>has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times.\u003cem> She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+%27Girl+On+Film%27+Grows+Up+And+Finds+Her+Artistic+Path&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most intriguing thing about \u003cem>Girl on Film\u003c/em>, a comic-book memoir by someone who never set out to create comics, is that it isn’t a tragedy. Told one way, it could have been a story of a would-be artist stubbornly pursuing their dream for years, only to finally give up in despair. Cecil Castellucci chronicles her decade-plus quest to become a filmmaker from the birth of her obsession, when she first saw \u003cem>Star Wars\u003c/em> and \u003cem>Raiders of the Lost Ark\u003c/em> in junior high school, all the way through trying and failing to cut together her first feature in her early 20s.\u003c/p>\n\u003cfigure id=\"attachment_13870346\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870346\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/9781684154531_custom-4cadac0ba6547646614a686f41255a1fad546aa2-s500-c85.jpg\" alt=\"'Girl on Film' by Cecil Castellucci, Vicky Leta, Melissa Duffy, V. Gagnon and Jon Berg.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9781684154531_custom-4cadac0ba6547646614a686f41255a1fad546aa2-s500-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9781684154531_custom-4cadac0ba6547646614a686f41255a1fad546aa2-s500-c85-160x240.jpg 160w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Girl on Film’\u003cbr>by Cecil Castellucci, Vicky Leta, Melissa Duffy, V. Gagnon and Jon Berg. \u003ccite>(Archaia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All the while, though, we know Castellucci’s not going to become the next Spielberg. That’s because we know Castellucci not as a filmmaker, but as the bestselling author of such wonderful comics as \u003cem>Shade the Changing Girl\u003c/em>, \u003cem>The Plain Janes\u003c/em> and \u003cem>Year of the Beasts\u003c/em>. Castellucci’s also written Star Wars and Batgirl comics and all sorts of other works—from young-adult novels to opera librettos—as well as making music, creating performance pieces and, yes, directing a film (2005’s \u003cem>Happy Is Not Hard to Be\u003c/em>, which she also wrote and appeared in). She’s still not Spielberg, though.\u003c/p>\n\u003cp>But if you think that matters, you miss the point of Castellucci’s book. More than a life story, it’s an account of how to live an artist’s life even when it looks like your artistic ambitions are grandiose and impractical. In fact, Castellucci shows, your artistic ambitions are pretty much guaranteed to be grandiose and impractical. That doesn’t matter. What matters is how you live with your big dreams, what you give up for them, what you hang onto and what you let go.\u003c/p>\n\u003cp>For Castellucci, the dream of being a filmmaker kept her on track through her teenage years, motivating her to lay the groundwork for a multifaceted creative life. Her first big existential crisis comes in eighth grade, when she applies to two renowned Manhattan high schools, the High School of Performing Arts (the one from the 1980 movie \u003cem>Fame\u003c/em>) and the Bronx High School of Science. She’s accepted to both, forcing her to admit to her parents—both scientists—that she wants to be an artist. They’re fine with that, but it’s still a turning point for young Cecil. She’s owned her ambition out loud for the first time.\u003c/p>\n\u003cp>Cecil goes to Performing Arts, and the next several years are a whirlwind of aesthetic education and adolescent pains. She recalls how she learned from various mentors and crossed paths with various celebs (her best story is of being gifted a Warhol painting by her friend Chaz Bono, only to have Cher call up the next day and tell her she couldn’t have it after all). Most of all, though, she shows how sheer enthusiasm is the crucial quality in a young person trying to build an artistic life. Cecil tries her hand at everything, learns all she can from everyone she meets and shrugs off every slight. Things get harder when she starts film school at NYU, only to find she can’t afford it. The next few years are chaotic: She heads briefly to Europe, continues film school in Montreal, joins a band and begins to realize filmmaking may not be her path after all. With a turn of the page she’s in Los Angeles, recording music and writing a novel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Castellucci packs these twists and turns into the end of the book. She’s so committed to maintaining a sense of positivity, she breezes past the story’s only real crisis in a couple of pages. Fortunately, this doesn’t weaken her main project—fulfilled so winningly everywhere else—of showing what the life of a “baby artist” can look like. This book isn’t flagged as a young-adult title, but it cries out to be given to a creative teen.\u003c/p>\n\u003cp>Castellucci has divided the work of illustration among four different artists. It’s an unorthodox approach that could have stumbled, but Vicky Leta, Melissa Duffy, V. Gagnon and Jon Berg complement each other well. Most use fairly heavy lines, which harmonizes their pages. Duffy’s a standout with her brusque, energetic linework. Leta’s fragile lines are the most distinctive, so Castellucci reserves her for interludes where the adult Cecil contemplates the vicissitudes of memory. These sections aren’t particularly successful, actually; they’re a distraction from the bubbly momentum of young Cecil’s journey. Said journey may not have wound up where Castellucci thought it would when she was 12, but it’s still a fascinating one to follow. Most importantly, it’s far from over.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky \u003c/em>\u003cem>has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times.\u003cem> She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+%27Girl+On+Film%27+Grows+Up+And+Finds+Her+Artistic+Path&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Interactive Art Installation Lets Strangers Talk To Each Other Across The Border",
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"content": "\u003cp>For several nights this month, searchlights have been illuminating the sky on the U.S.-Mexico border between El Paso, Texas, and Ciudad Juárez, Mexico. They don’t have anything to do with stepped-up border enforcement. Instead, they’re part of a binational art installation that aims to connect people on both sides of the Rio Grande.\u003c/p>\n\u003cp>The large-scale interactive installation is called Border Tuner. Here’s how it works: You step up to a microphone and turn a small wheel that controls a set of searchlights. Someone at another station just across the border does the same. When your lights intersect in the sky, it opens a two-way channel of communication.\u003c/p>\n\u003cp>You can’t see each other’s faces, but you can hear each other’s voices, booming from a loudspeaker. And you can start a conversation.\u003c/p>\n\u003cp>[aside postID=arts_13862548,arts_12291457,arts_13863441]\u003c/p>\n\u003cp>On a chilly night this week, Edna Leon leaned into a microphone at one of the stations outside Bowie High School, where there are three tuner stations. On the other side of the border in Juárez, Chamizal Park has three stations.\u003c/p>\n\u003cp>“Buenas noches,” Leon said, tentatively, unsure who was on the other end. Three large searchlights flickered in time with her voice.\u003c/p>\n\u003cp>A response came back over the loudspeaker: “Buenas, buenas.”\u003c/p>\n\u003cp>Leon introduced herself. She explained that she lives in El Paso but is originally from Meoqui, in the Mexican state of Chihuahua.\u003c/p>\n\u003cp>“I have roots there, but it’s a struggle to be able to go” and visit, she said in Spanish. “So it makes me emotional to be able to communicate with my country without barriers, a passport, inspections.”\u003c/p>\n\u003cp>“How beautiful,” said her conversation partner.\u003c/p>\n\u003cp>Border Tuner, which ends on Sunday, was two years in the making. It’s the brainchild of electronic artist Rafael Lozano-Hemmer. He’s originally from Mexico City and is now based in Montreal.\u003c/p>\n\u003cp>Lozano-Hemmer has created interactive sound and light installations all over the world, including in Abu Dhabi and Dublin. He had been drawn to the U.S.-Mexico border for years, but his desire to work here intensified after President Trump’s election. He began meeting with artists in the region.\u003c/p>\n\u003cp>“I realized that everybody in the field is tired of a very specific border story coming out about divisiveness, about racism, about militarization,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13870295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-800x529.jpg\" alt=\"Surrounded by beams of lights, a man walks up to a microphone and tells the person across the border that he's new to El Paso. He moved here a few years ago from Ciudad Juarez, and says he misses it. The voice on the other side tells him to visit and they'll get tacos together.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-768x508.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surrounded by beams of lights, a man walks up to a microphone and tells the person across the border that he’s new to El Paso. He moved here a few years ago from Ciudad Juarez, and says he misses it. The voice on the other side tells him to visit and they’ll get tacos together. \u003ccite>(Carlos Morales/Marfa Public Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While all of this is true, there’s so many other narratives that are being missed about interdependence and coexistence and about the fact that connections between, at least, El Paso and Ciudad Juárez go deep historically, fraternally, socially, environmentally, economically,\u003cstrong>“\u003c/strong> he said.\u003c/p>\n\u003cp>Lozano-Hemmer designed a project to highlight those connections, in partnership with the Rubin Center for the Visual Arts at the University of Texas at El Paso and the El Paso Community Foundation.\u003c/p>\n\u003cp>Pulling off a large-scale art installation across international lines was no easy feat. Lozano-Hemmer had to coordinate with authorities on both sides of the border, including the Department of Homeland Security and the Federal Aviation Administration.\u003c/p>\n\u003cp>And when the U.S. government replaced a border fence between Bowie High School and Chamizal Park with new, stronger material, Lozano-Hemmer says he had to adapt his technology. Now, the searchlights form a sort of bridge above the barrier.\u003c/p>\n\u003cp>“The idea that the artwork takes place above that wall to me is symbolically important because it’s almost like you’re trying to ignore it,” Lozano-Hemmer said. “You’re trying to say we still share the atmosphere.”\u003c/p>\n\u003cp>Each night of the installation begins with a 30-minute curated performance by local artists, activists, and historians. There have been programs focused on indigenous voices, and on voices from the LGBTQ community. There was a cumbia night, and a night full of cover bands paying tribute to Juan Gabriel and Selena.\u003c/p>\n\u003cp>But the most intimate moments come when strangers connect. Two children discuss their favorite animals. An attorney who volunteers with asylum seekers and a middle school art teacher thank each other for their work. A woman in El Paso apologizes for President Trump; her conversation partner, in Juárez, tells her not to worry and that “he’s only one person.” Two women discover they love to sing, and perform a song together, their voices harmonizing through beams of light.\u003c/p>\n\u003cp>A young girl named Anabella celebrated her eighth birthday at Border Tuner. Small crowds on both sides of the border sang “Happy Birthday” in English and Spanish.\u003c/p>\n\u003cp>“It was really cool for my daughter to be able to experience something this magical on her birthday,” said Anabella’s mother, Tracy Harris. She said the installation has been a learning opportunity for her two children. “It just kind of hits them like, ‘Hey, there’s other kids, there’s other people over there, and they’re like us.'”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 KERA. To see more, visit \u003ca href=\"https://www.kera.org/\">KERA\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Interactive+Art+Installation+Lets+Strangers+Talk+To+Each+Other+Across+The+Border&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For several nights this month, searchlights have been illuminating the sky on the U.S.-Mexico border between El Paso, Texas, and Ciudad Juárez, Mexico. They don’t have anything to do with stepped-up border enforcement. Instead, they’re part of a binational art installation that aims to connect people on both sides of the Rio Grande.\u003c/p>\n\u003cp>The large-scale interactive installation is called Border Tuner. Here’s how it works: You step up to a microphone and turn a small wheel that controls a set of searchlights. Someone at another station just across the border does the same. When your lights intersect in the sky, it opens a two-way channel of communication.\u003c/p>\n\u003cp>You can’t see each other’s faces, but you can hear each other’s voices, booming from a loudspeaker. And you can start a conversation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a chilly night this week, Edna Leon leaned into a microphone at one of the stations outside Bowie High School, where there are three tuner stations. On the other side of the border in Juárez, Chamizal Park has three stations.\u003c/p>\n\u003cp>“Buenas noches,” Leon said, tentatively, unsure who was on the other end. Three large searchlights flickered in time with her voice.\u003c/p>\n\u003cp>A response came back over the loudspeaker: “Buenas, buenas.”\u003c/p>\n\u003cp>Leon introduced herself. She explained that she lives in El Paso but is originally from Meoqui, in the Mexican state of Chihuahua.\u003c/p>\n\u003cp>“I have roots there, but it’s a struggle to be able to go” and visit, she said in Spanish. “So it makes me emotional to be able to communicate with my country without barriers, a passport, inspections.”\u003c/p>\n\u003cp>“How beautiful,” said her conversation partner.\u003c/p>\n\u003cp>Border Tuner, which ends on Sunday, was two years in the making. It’s the brainchild of electronic artist Rafael Lozano-Hemmer. He’s originally from Mexico City and is now based in Montreal.\u003c/p>\n\u003cp>Lozano-Hemmer has created interactive sound and light installations all over the world, including in Abu Dhabi and Dublin. He had been drawn to the U.S.-Mexico border for years, but his desire to work here intensified after President Trump’s election. He began meeting with artists in the region.\u003c/p>\n\u003cp>“I realized that everybody in the field is tired of a very specific border story coming out about divisiveness, about racism, about militarization,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13870295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-800x529.jpg\" alt=\"Surrounded by beams of lights, a man walks up to a microphone and tells the person across the border that he's new to El Paso. He moved here a few years ago from Ciudad Juarez, and says he misses it. The voice on the other side tells him to visit and they'll get tacos together.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-768x508.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surrounded by beams of lights, a man walks up to a microphone and tells the person across the border that he’s new to El Paso. He moved here a few years ago from Ciudad Juarez, and says he misses it. The voice on the other side tells him to visit and they’ll get tacos together. \u003ccite>(Carlos Morales/Marfa Public Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While all of this is true, there’s so many other narratives that are being missed about interdependence and coexistence and about the fact that connections between, at least, El Paso and Ciudad Juárez go deep historically, fraternally, socially, environmentally, economically,\u003cstrong>“\u003c/strong> he said.\u003c/p>\n\u003cp>Lozano-Hemmer designed a project to highlight those connections, in partnership with the Rubin Center for the Visual Arts at the University of Texas at El Paso and the El Paso Community Foundation.\u003c/p>\n\u003cp>Pulling off a large-scale art installation across international lines was no easy feat. Lozano-Hemmer had to coordinate with authorities on both sides of the border, including the Department of Homeland Security and the Federal Aviation Administration.\u003c/p>\n\u003cp>And when the U.S. government replaced a border fence between Bowie High School and Chamizal Park with new, stronger material, Lozano-Hemmer says he had to adapt his technology. Now, the searchlights form a sort of bridge above the barrier.\u003c/p>\n\u003cp>“The idea that the artwork takes place above that wall to me is symbolically important because it’s almost like you’re trying to ignore it,” Lozano-Hemmer said. “You’re trying to say we still share the atmosphere.”\u003c/p>\n\u003cp>Each night of the installation begins with a 30-minute curated performance by local artists, activists, and historians. There have been programs focused on indigenous voices, and on voices from the LGBTQ community. There was a cumbia night, and a night full of cover bands paying tribute to Juan Gabriel and Selena.\u003c/p>\n\u003cp>But the most intimate moments come when strangers connect. Two children discuss their favorite animals. An attorney who volunteers with asylum seekers and a middle school art teacher thank each other for their work. A woman in El Paso apologizes for President Trump; her conversation partner, in Juárez, tells her not to worry and that “he’s only one person.” Two women discover they love to sing, and perform a song together, their voices harmonizing through beams of light.\u003c/p>\n\u003cp>A young girl named Anabella celebrated her eighth birthday at Border Tuner. Small crowds on both sides of the border sang “Happy Birthday” in English and Spanish.\u003c/p>\n\u003cp>“It was really cool for my daughter to be able to experience something this magical on her birthday,” said Anabella’s mother, Tracy Harris. 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"content": "\u003cp>On the face of it, director Marielle Heller’s exhilaratingly impolite indie resume doesn’t make her an intuitive fit for a movie about the nicest man in the world — let alone a big studio picture starring nice Tom Hanks.\u003c/p>\n\u003cp>Heller’s 2015 feature debut, \u003cem>The Diary of a Teenage Girl\u003c/em>, was voiced by a sorry-not-sorry young woman who initiates an affair with her mother’s boyfriend. In her second, last year’s \u003cem>Can You Ever Forgive Me?\u003c/em>, Heller cast the beloved Melissa McCarthy as the robustly unlikable real-life literary forger Lee Israel. Next to Mister Rogers — in the eyes of many, a saint and a children’s hero — these two seem not to stack up.\u003c/p>\n\u003cp>Heller is not much into saints, but she delights in ill-fitting outliers. And Fred Rogers, in his slow and soft-voiced way, was a willing anachronism to the brash new late-sixties world that greeted the arrival on PBS of his earnestly old-fangled children’s television show, \u003cem>Mr. Rogers’ Neighborhood\u003c/em>. Rogers’ real-life buddy, journalist Tom Junod (Matthew Rhys plays Junod’s cinematic stand-in “Lloyd Vogel” in Heller’s film) lovingly described the kid-show-host as “a rather peculiar man.”\u003c/p>\n\u003cp> [aside tag='fred-rogers, mister-rogers, fredrogers, misterrogers' label='Learning from Mister Rogers']\u003c/p>\n\u003cp>So he was, and how much more so he seems now, in today’s quarrelsome noise. Rogers was a Presbyterian minister and theologian whose on-set uniform was a comfy cardigan, tie, and sneakers. Turned off by the shrieking pie-in-the face cartoons that were standard children’s television fare, he slowed the pace way down, listened to children’s darkest fears and anxieties without wishing them away, and showed them how to manage those fears. The roots of his empathy in his own troubled childhood were beautifully told in Morgan Neville’s lovely 2018 documentary, \u003cem>Won’t You Be My Neighbor?\u003c/em>, which became the top-grossing biographical documentary ever.\u003c/p>\n\u003cp>\u003cem>A Beautiful Day\u003c/em> is not that story; it’s not really Fred’s story at all. The movie is a kind of procedural that shows how Rogers worked — persnickety and willfully distractible, he drove his adoring crew round the bend — on and off the set the set of his show, in this case to free an unhappy man of an enormous psychological burden he’d carried all his life. Inspired by Junod’s 1998 \u003cem>Esquire\u003c/em> cover, the film turns on the unexpected friendship that grew between the two men out of an assignment that the hard-hitting news reporter was forced into by his hard-nosed editor. (Were he alive today, I’m sure Fred would join me in saying: So nice to see you again, Christine Lahti!). Sensitively played by Rhys (\u003cem>The Americans\u003c/em>), Lloyd is a glum and grumpy fellow despite his glitzy job and new fatherhood with a supportive wife (Susan Kelechi Watson).\u003c/p>\n\u003cp>Within minutes of their first phone call, Rogers (Tom Hanks) senses that Lloyd is in unresolved emotional trouble. The movie’s running joke, and its tenderly serious point, is Fred’s gently firm switch of the spotlight back on his resistant interlocutor, reframing the questions Lloyd is wrongly asking. Heller sprinkles the action with realist scenes of Lloyd’s current struggles with his absentee father (Chris Cooper), a feckless drunk trying ham-fistedly to make amends. But the film is also a fantasy, and in lesser hands than Heller’s, the visual devices that carry us through \u003cem>A Beautiful Day\u003c/em> — toy-filled miniature models of The Neighborhood and the cities both men travel through — might register as unbearably coy.\u003c/p>\n\u003cp>In fact the sets feel organic to Rogers’ central belief that in order to become fully functioning adults, everyone — especially the suffering children that he and Lloyd once were — should remember what it felt like to be a child. Lloyd, who has built an impregnable fort around his pain and rage toward his father, finds himself imaginatively folded into the puppet-littered sets Rogers has built for his younger audience. Some of this is played for laughs, others to warm the heart. But lest you think Heller gilds the lily, Junod’s article is there to verify some of the movie’s seemingly improbable moments, among them a scene in which Fred is serenaded with one of his own songs by passengers in his subway car. Even if you think Rogers’ psychological model is simplistic, you can’t help but climb aboard.\u003c/p>\n\u003cp>Operating with a shrewd mix of imitation and interpretation, Hanks deepens Fred Rogers from a man-child with a prankish sense of humor into a healer whose struggles with his own demons (as an overweight child he was bullied and called “Fat Freddie”) have led him to empathize with, as Lloyd puts it, “broken people like me.” Hanks’s sincere performance argues for a heartening lack of space between Rogers’ public and private personas, between himself and his puppets. He understood the darkness in children’s lives and gave them — and all the damaged Lloyds and Freds of this world — a way to grow into adults who understand that being good is endlessly renewable hard work. Welcome to a much-needed neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the face of it, director Marielle Heller’s exhilaratingly impolite indie resume doesn’t make her an intuitive fit for a movie about the nicest man in the world — let alone a big studio picture starring nice Tom Hanks.\u003c/p>\n\u003cp>Heller’s 2015 feature debut, \u003cem>The Diary of a Teenage Girl\u003c/em>, was voiced by a sorry-not-sorry young woman who initiates an affair with her mother’s boyfriend. In her second, last year’s \u003cem>Can You Ever Forgive Me?\u003c/em>, Heller cast the beloved Melissa McCarthy as the robustly unlikable real-life literary forger Lee Israel. Next to Mister Rogers — in the eyes of many, a saint and a children’s hero — these two seem not to stack up.\u003c/p>\n\u003cp>Heller is not much into saints, but she delights in ill-fitting outliers. And Fred Rogers, in his slow and soft-voiced way, was a willing anachronism to the brash new late-sixties world that greeted the arrival on PBS of his earnestly old-fangled children’s television show, \u003cem>Mr. Rogers’ Neighborhood\u003c/em>. Rogers’ real-life buddy, journalist Tom Junod (Matthew Rhys plays Junod’s cinematic stand-in “Lloyd Vogel” in Heller’s film) lovingly described the kid-show-host as “a rather peculiar man.”\u003c/p>\n\u003cp> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So he was, and how much more so he seems now, in today’s quarrelsome noise. Rogers was a Presbyterian minister and theologian whose on-set uniform was a comfy cardigan, tie, and sneakers. Turned off by the shrieking pie-in-the face cartoons that were standard children’s television fare, he slowed the pace way down, listened to children’s darkest fears and anxieties without wishing them away, and showed them how to manage those fears. The roots of his empathy in his own troubled childhood were beautifully told in Morgan Neville’s lovely 2018 documentary, \u003cem>Won’t You Be My Neighbor?\u003c/em>, which became the top-grossing biographical documentary ever.\u003c/p>\n\u003cp>\u003cem>A Beautiful Day\u003c/em> is not that story; it’s not really Fred’s story at all. The movie is a kind of procedural that shows how Rogers worked — persnickety and willfully distractible, he drove his adoring crew round the bend — on and off the set the set of his show, in this case to free an unhappy man of an enormous psychological burden he’d carried all his life. Inspired by Junod’s 1998 \u003cem>Esquire\u003c/em> cover, the film turns on the unexpected friendship that grew between the two men out of an assignment that the hard-hitting news reporter was forced into by his hard-nosed editor. (Were he alive today, I’m sure Fred would join me in saying: So nice to see you again, Christine Lahti!). Sensitively played by Rhys (\u003cem>The Americans\u003c/em>), Lloyd is a glum and grumpy fellow despite his glitzy job and new fatherhood with a supportive wife (Susan Kelechi Watson).\u003c/p>\n\u003cp>Within minutes of their first phone call, Rogers (Tom Hanks) senses that Lloyd is in unresolved emotional trouble. The movie’s running joke, and its tenderly serious point, is Fred’s gently firm switch of the spotlight back on his resistant interlocutor, reframing the questions Lloyd is wrongly asking. Heller sprinkles the action with realist scenes of Lloyd’s current struggles with his absentee father (Chris Cooper), a feckless drunk trying ham-fistedly to make amends. But the film is also a fantasy, and in lesser hands than Heller’s, the visual devices that carry us through \u003cem>A Beautiful Day\u003c/em> — toy-filled miniature models of The Neighborhood and the cities both men travel through — might register as unbearably coy.\u003c/p>\n\u003cp>In fact the sets feel organic to Rogers’ central belief that in order to become fully functioning adults, everyone — especially the suffering children that he and Lloyd once were — should remember what it felt like to be a child. Lloyd, who has built an impregnable fort around his pain and rage toward his father, finds himself imaginatively folded into the puppet-littered sets Rogers has built for his younger audience. Some of this is played for laughs, others to warm the heart. But lest you think Heller gilds the lily, Junod’s article is there to verify some of the movie’s seemingly improbable moments, among them a scene in which Fred is serenaded with one of his own songs by passengers in his subway car. Even if you think Rogers’ psychological model is simplistic, you can’t help but climb aboard.\u003c/p>\n\u003cp>Operating with a shrewd mix of imitation and interpretation, Hanks deepens Fred Rogers from a man-child with a prankish sense of humor into a healer whose struggles with his own demons (as an overweight child he was bullied and called “Fat Freddie”) have led him to empathize with, as Lloyd puts it, “broken people like me.” Hanks’s sincere performance argues for a heartening lack of space between Rogers’ public and private personas, between himself and his puppets. He understood the darkness in children’s lives and gave them — and all the damaged Lloyds and Freds of this world — a way to grow into adults who understand that being good is endlessly renewable hard work. Welcome to a much-needed neighborhood.\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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"title": "The Grammy Nominees For Best New Artist Point to a Sea Change in Pop",
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"content": "\u003cp>The Grammy Awards’ category for new artists has always been the\u003ca href=\"https://harrypotter.fandom.com/wiki/Hufflepuff\"> Hufflepuff\u003c/a> house of the event, a mishmash of eccentrics, high achievers and hard-working young music industry favorites. (Notorious category winners\u003ca href=\"https://gizmodo.com/20-years-ago-today-milli-vanilli-lost-their-grammy-for-5694574\"> Milli Vanilli\u003c/a> did work hard, just not at singing.) Rarely has the field clearly pointed toward an exciting new musical era. But this year, that’s exactly what it suggests.\u003c/p>\n\u003cp>Three breakthrough pop stars, each of whom embodies creativity and influence in the streaming age—and who, together, garnered this year’s most Grammy nominations across the board—compete with three women exploding the boundaries of genres that might have previously held them back, alongside two groups with major grassroots followings and a powerful way of defying categorization. These musicians are fluent in the style-defying language of 21st-century sounds; their members look like America, and beyond its borders, the changing pop world; and they all released genuinely great music in 2019. Whoever wins in this category will deserve it— and will likely play a role in shaping popular music for a long time.\u003c/p>\n\u003cp>\u003cstrong>Black Pumas\u003c/strong>\u003c/p>\n\u003cp>This Austin-based duo-plus represents what bands are becoming in the new century: versatile, open-ended partnerships forged by adept experimenting with form. Singer Eric Burton learned his chops both auditioning for \u003cem>American Idol\u003c/em> and busking on L.A.’s Santa Monica Pier; producer-multi-instrumentalist Adrian Quesada is a Latinx music veteran (he’s \u003ca href=\"https://www.grammy.com/search/grupo%20fantasma\">won\u003c/a> a Grammy as a member of the funk orchestra Grupo Fantasma). Together, they’re reinventing Southwestern soul with a blend that honors the region’s funky historical fusions while incorporating a hip-hop vibe. The sum of their experience makes them a great live act, the key to success as a band in 2019.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ptWQ_-xmvXY&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Billie Eilish\u003c/strong>\u003c/p>\n\u003cp>At 17 years old, Eilish is the youngest-ever multiple Grammy nominee across the top four categories: best new artist, record, album and song of the year. She could pull this off because, like the SoundCloud rappers who’ve inspired her, she writes her own material with her brother, Finneas—mostly eschewing teen pop’s starmaking machinery. (She was quietly signed to a major-label development deal at age fourteen, but she and Finneas recorded the bulk of the songs that have made her a star\u003ca href=\"https://www.prosoundnetwork.com/recording/finneas-on-producing-billie-eilishs-number-one-album-in-his-bedroom\"> at home\u003c/a>.) Homeschooled by Hollywood-savvy parents, enraptured by SoundCloud rappers like Tyler, The Creator but equally indebted to Avril Lavigne, vocally ultrafeminine but otherwise androgynous—Eilish embodies the erasure of binary thinking about music, emotion and the self: she is the living essence of Generation Z.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-PZsSWwc9xA&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Lil Nas X\u003c/strong>\u003c/p>\n\u003cp>If new technologies generate the stars they deserve, the social media platform TikTok must be particularly blessed, because its breakthrough star is absolutely fabulous. Montero Lamar Hill, now 20, was just another kid trying to get Internet famous when he discovered a beat made by a Dutch kid and bought it\u003ca href=\"https://www.cnbc.com/2019/07/23/lil-nas-x-bought-the-beat-used-in-old-town-road-for-30-on-beatstars.html\"> for $30\u003c/a>. Around it, he built “Old Town Road,” the single biggest challenge to old music biz ways issued in recent memory. Country music will never be the same, but neither will pop or hip-hop. His irresistible hit is the\u003ca href=\"https://www.rollingstone.com/music/music-news/ray-charles-whatd-i-say-origin-842880/\"> “What’d I Say”\u003c/a> of our time, refusing to be contained—as does Lil Nas X himself, as much a comedian, conceptualist and burgeoning fashion icon as he is a musician. Like TikTok itself—a tool for capturing teens’ mobile imaginations—Lil Nas X takes us all into brand-new territory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w2Ov5jzm3j8&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Lizzo\u003c/strong>\u003c/p>\n\u003cp>With two albums already under her sparkly belt, Lizzo is the kind of slow-burning phenomenon whose presence may seem odd in the best new artist category, but she belongs here—until 2019, the world was not entirely ready for her. The Houston-born, Minneapolis-nurtured rapper, singer and all-around generator of good vibes, challenges all kinds of preconceived notions about women’s pleasure, power and beauty, proudly queering the pitch of pop without being strident or politically correct. And she’s a band nerd who’s single-handedly revived the flute as a cool high school accessory. A comic artist with a serious mission, Lizzo defines America’s pleasure principle right now—her bold excessiveness is to 2019 is what cock-rock was to the 1970s, minus all the macho power plays. Prince loved her, and through her success, his spirit lives on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P00HMxdsVZI&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>To comprehend the bond this 25-year-old singer-songwriter-rocker-dance queen has with her fans, just check out her Wikipedia page, which reads, “Maggie Rogers is known for being a\u003ca href=\"https://maggierogers.store/apparel/magg010017-maggie-rogers-witchy-feminist-t-shirt-black/\"> Witchy Feminist Rockstar\u003c/a> and a legend.” That kind of enthusiasm can’t be manufactured, and anyone who’s seen Rogers bound across a stage as thousands of young women shout her lyrics won’t doubt its veracity. As a teen, Rogers pursued a conventional singer-songwriter role, but time spent in Berlin led her to dance music; she explored that intersection as a student at NYU’s Clive Davis Institute of Recorded Music, where her teacher, NPR Music contributor Jason King, introduced her to Pharrell one day. The rest is a classic discovery story—except that like Billie Eilish, Rogers resisted being molded by the major label who signed her. An infectiously enthusiastic songwriter and performer, she expresses a spirit of resistance that runs through the best pop music now—the refusal to be too polished or predictable.\u003c/p>\n\u003cp>\u003cstrong>Rosalía\u003c/strong>\u003c/p>\n\u003cp>As EDM’s influence \u003ca href=\"778532395\">fades\u003c/a> and hip-hop settles into position as pop’s foundation, the universe of Latin rhythm and melody is revitalizing the Top 40. Rosalía is the Catalan auteur leading the way. Like many young artists, she’s not abandoning her roots, but reimagining them. Her music is rooted in the folkloric, theatrical lineage of \u003cem>flamenco\u003c/em>, which she studied seriously for a decade before fashioning her hybrid urban Latin sound. Her 2018 album, \u003cem>El Mal Querer—\u003c/em>inspired by a 14th-century novel of “dark love”—won the hearts of critics and influencers, and she went on to collaborate with Latin pop superstar J Balvin on the song “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\">Con Altura\u003c/a>,” which became a worldwide smash. Rosalía’s fluidity in combining experimental and mainstream elements distinguishes her, as does the fact that she sings in Spanish—she’s the first artist who performs solely in that language to be nominated as best new artist.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rht7rBHuXW8&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Tank and the Bangas\u003c/strong>\u003c/p>\n\u003cp>As much as 21st-century pop often floats forth from an unmoored Internet, it’s also generated within local communities whose reach grows through unprecedented platforms. NPR Music’s own\u003ca href=\"https://www.youtube.com/watch?v=QKzobTCIRDw\"> Tiny Desk\u003c/a> is one such platform, as New Orleans collective Tank and the Bangas discovered in the wake of winning our Tiny Desk Contest in 2017. By then, the group, led by slam poet and joy generator Tarriona “Tank” Ball on lead vocals, had come to embody what one writer called “\u003ca href=\"https://www.ft.com/content/9cba849c-057c-11e6-9b51-0fb5e65703ce\">New Orleans now\u003c/a>“: jazz-kissed but not old-timey, letting the good times roll in ways that acknowledge the complexities of life in an old city always seeking to transcend new problems. This is the kind of band that creates community wherever it goes—the best illustration of the new spin on jam bands that’s turned a sometimes-derided genre into the freshest ground out there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0zU-Jm87kzY&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Yola\u003c/strong>\u003c/p>\n\u003cp>No new artist stands for the power of reinvention more than the woman born Yolanda Quartey in Bristol in 1984. Before becoming Americana’s beloved new sensation following a move to Nashville in 2018, Yola had another life as a pop songwriter in her native England, and a singer with dance-driven acts like Massive Attack. Her first love, however, was country music, a genre she patiently and fiercely made her own, first with the band Phantom Limb and then in solo music that frames her as an inheritor to both Dusty Springfield and Dolly Parton. Working with vintage-sound master Dan Auerbach of The Black Keys, Yola has effortlessly updated classic country soul on her debut album \u003cem>Walk Through Fire\u003c/em>; even more powerful are her live performances, which inevitably win legions of new fans. With country at a crossroads, Yola is a major force in illustrating what the genre can be at its most authentically American.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=jWTwuQ3LeH4&feature=emb_logo\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.youtube.com/watch?time_continue=1&v=jWTwuQ3LeH4&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.\u003c/a>\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Grammy+Nominees+For+Best+New+Artist+Point+To+A+Sea+Change+In+Pop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Grammy nominations are ripe for attempts to predict the future of popular music—but this year, we need to examine just one category to see how much everything is changing, and already has.",
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"description": "The Grammy nominations are ripe for attempts to predict the future of popular music—but this year, we need to examine just one category to see how much everything is changing, and already has.",
"title": "The Grammy Nominees For Best New Artist Point to a Sea Change in Pop | KQED",
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"headline": "The Grammy Nominees For Best New Artist Point to a Sea Change in Pop",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Grammy Awards’ category for new artists has always been the\u003ca href=\"https://harrypotter.fandom.com/wiki/Hufflepuff\"> Hufflepuff\u003c/a> house of the event, a mishmash of eccentrics, high achievers and hard-working young music industry favorites. (Notorious category winners\u003ca href=\"https://gizmodo.com/20-years-ago-today-milli-vanilli-lost-their-grammy-for-5694574\"> Milli Vanilli\u003c/a> did work hard, just not at singing.) Rarely has the field clearly pointed toward an exciting new musical era. But this year, that’s exactly what it suggests.\u003c/p>\n\u003cp>Three breakthrough pop stars, each of whom embodies creativity and influence in the streaming age—and who, together, garnered this year’s most Grammy nominations across the board—compete with three women exploding the boundaries of genres that might have previously held them back, alongside two groups with major grassroots followings and a powerful way of defying categorization. These musicians are fluent in the style-defying language of 21st-century sounds; their members look like America, and beyond its borders, the changing pop world; and they all released genuinely great music in 2019. Whoever wins in this category will deserve it— and will likely play a role in shaping popular music for a long time.\u003c/p>\n\u003cp>\u003cstrong>Black Pumas\u003c/strong>\u003c/p>\n\u003cp>This Austin-based duo-plus represents what bands are becoming in the new century: versatile, open-ended partnerships forged by adept experimenting with form. Singer Eric Burton learned his chops both auditioning for \u003cem>American Idol\u003c/em> and busking on L.A.’s Santa Monica Pier; producer-multi-instrumentalist Adrian Quesada is a Latinx music veteran (he’s \u003ca href=\"https://www.grammy.com/search/grupo%20fantasma\">won\u003c/a> a Grammy as a member of the funk orchestra Grupo Fantasma). Together, they’re reinventing Southwestern soul with a blend that honors the region’s funky historical fusions while incorporating a hip-hop vibe. The sum of their experience makes them a great live act, the key to success as a band in 2019.\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/ptWQ_-xmvXY'\n title='//www.youtube.com/embed/ptWQ_-xmvXY'\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>\u003cstrong>Billie Eilish\u003c/strong>\u003c/p>\n\u003cp>At 17 years old, Eilish is the youngest-ever multiple Grammy nominee across the top four categories: best new artist, record, album and song of the year. She could pull this off because, like the SoundCloud rappers who’ve inspired her, she writes her own material with her brother, Finneas—mostly eschewing teen pop’s starmaking machinery. (She was quietly signed to a major-label development deal at age fourteen, but she and Finneas recorded the bulk of the songs that have made her a star\u003ca href=\"https://www.prosoundnetwork.com/recording/finneas-on-producing-billie-eilishs-number-one-album-in-his-bedroom\"> at home\u003c/a>.) Homeschooled by Hollywood-savvy parents, enraptured by SoundCloud rappers like Tyler, The Creator but equally indebted to Avril Lavigne, vocally ultrafeminine but otherwise androgynous—Eilish embodies the erasure of binary thinking about music, emotion and the self: she is the living essence of Generation Z.\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/-PZsSWwc9xA'\n title='//www.youtube.com/embed/-PZsSWwc9xA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Lil Nas X\u003c/strong>\u003c/p>\n\u003cp>If new technologies generate the stars they deserve, the social media platform TikTok must be particularly blessed, because its breakthrough star is absolutely fabulous. Montero Lamar Hill, now 20, was just another kid trying to get Internet famous when he discovered a beat made by a Dutch kid and bought it\u003ca href=\"https://www.cnbc.com/2019/07/23/lil-nas-x-bought-the-beat-used-in-old-town-road-for-30-on-beatstars.html\"> for $30\u003c/a>. Around it, he built “Old Town Road,” the single biggest challenge to old music biz ways issued in recent memory. Country music will never be the same, but neither will pop or hip-hop. His irresistible hit is the\u003ca href=\"https://www.rollingstone.com/music/music-news/ray-charles-whatd-i-say-origin-842880/\"> “What’d I Say”\u003c/a> of our time, refusing to be contained—as does Lil Nas X himself, as much a comedian, conceptualist and burgeoning fashion icon as he is a musician. Like TikTok itself—a tool for capturing teens’ mobile imaginations—Lil Nas X takes us all into brand-new territory.\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/w2Ov5jzm3j8'\n title='//www.youtube.com/embed/w2Ov5jzm3j8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Lizzo\u003c/strong>\u003c/p>\n\u003cp>With two albums already under her sparkly belt, Lizzo is the kind of slow-burning phenomenon whose presence may seem odd in the best new artist category, but she belongs here—until 2019, the world was not entirely ready for her. The Houston-born, Minneapolis-nurtured rapper, singer and all-around generator of good vibes, challenges all kinds of preconceived notions about women’s pleasure, power and beauty, proudly queering the pitch of pop without being strident or politically correct. And she’s a band nerd who’s single-handedly revived the flute as a cool high school accessory. A comic artist with a serious mission, Lizzo defines America’s pleasure principle right now—her bold excessiveness is to 2019 is what cock-rock was to the 1970s, minus all the macho power plays. Prince loved her, and through her success, his spirit lives on.\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/P00HMxdsVZI'\n title='//www.youtube.com/embed/P00HMxdsVZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>To comprehend the bond this 25-year-old singer-songwriter-rocker-dance queen has with her fans, just check out her Wikipedia page, which reads, “Maggie Rogers is known for being a\u003ca href=\"https://maggierogers.store/apparel/magg010017-maggie-rogers-witchy-feminist-t-shirt-black/\"> Witchy Feminist Rockstar\u003c/a> and a legend.” That kind of enthusiasm can’t be manufactured, and anyone who’s seen Rogers bound across a stage as thousands of young women shout her lyrics won’t doubt its veracity. As a teen, Rogers pursued a conventional singer-songwriter role, but time spent in Berlin led her to dance music; she explored that intersection as a student at NYU’s Clive Davis Institute of Recorded Music, where her teacher, NPR Music contributor Jason King, introduced her to Pharrell one day. The rest is a classic discovery story—except that like Billie Eilish, Rogers resisted being molded by the major label who signed her. An infectiously enthusiastic songwriter and performer, she expresses a spirit of resistance that runs through the best pop music now—the refusal to be too polished or predictable.\u003c/p>\n\u003cp>\u003cstrong>Rosalía\u003c/strong>\u003c/p>\n\u003cp>As EDM’s influence \u003ca href=\"778532395\">fades\u003c/a> and hip-hop settles into position as pop’s foundation, the universe of Latin rhythm and melody is revitalizing the Top 40. Rosalía is the Catalan auteur leading the way. Like many young artists, she’s not abandoning her roots, but reimagining them. Her music is rooted in the folkloric, theatrical lineage of \u003cem>flamenco\u003c/em>, which she studied seriously for a decade before fashioning her hybrid urban Latin sound. Her 2018 album, \u003cem>El Mal Querer—\u003c/em>inspired by a 14th-century novel of “dark love”—won the hearts of critics and influencers, and she went on to collaborate with Latin pop superstar J Balvin on the song “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\">Con Altura\u003c/a>,” which became a worldwide smash. Rosalía’s fluidity in combining experimental and mainstream elements distinguishes her, as does the fact that she sings in Spanish—she’s the first artist who performs solely in that language to be nominated as best new artist.\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/Rht7rBHuXW8'\n title='//www.youtube.com/embed/Rht7rBHuXW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Tank and the Bangas\u003c/strong>\u003c/p>\n\u003cp>As much as 21st-century pop often floats forth from an unmoored Internet, it’s also generated within local communities whose reach grows through unprecedented platforms. NPR Music’s own\u003ca href=\"https://www.youtube.com/watch?v=QKzobTCIRDw\"> Tiny Desk\u003c/a> is one such platform, as New Orleans collective Tank and the Bangas discovered in the wake of winning our Tiny Desk Contest in 2017. By then, the group, led by slam poet and joy generator Tarriona “Tank” Ball on lead vocals, had come to embody what one writer called “\u003ca href=\"https://www.ft.com/content/9cba849c-057c-11e6-9b51-0fb5e65703ce\">New Orleans now\u003c/a>“: jazz-kissed but not old-timey, letting the good times roll in ways that acknowledge the complexities of life in an old city always seeking to transcend new problems. This is the kind of band that creates community wherever it goes—the best illustration of the new spin on jam bands that’s turned a sometimes-derided genre into the freshest ground out there.\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/0zU-Jm87kzY'\n title='//www.youtube.com/embed/0zU-Jm87kzY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Yola\u003c/strong>\u003c/p>\n\u003cp>No new artist stands for the power of reinvention more than the woman born Yolanda Quartey in Bristol in 1984. Before becoming Americana’s beloved new sensation following a move to Nashville in 2018, Yola had another life as a pop songwriter in her native England, and a singer with dance-driven acts like Massive Attack. Her first love, however, was country music, a genre she patiently and fiercely made her own, first with the band Phantom Limb and then in solo music that frames her as an inheritor to both Dusty Springfield and Dolly Parton. Working with vintage-sound master Dan Auerbach of The Black Keys, Yola has effortlessly updated classic country soul on her debut album \u003cem>Walk Through Fire\u003c/em>; even more powerful are her live performances, which inevitably win legions of new fans. With country at a crossroads, Yola is a major force in illustrating what the genre can be at its most authentically American.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Beautiful Day' Director on Mister Rogers' 'Radical Notion': Telling Kids the Truth",
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"content": "\u003cp>Director \u003ca href=\"https://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\">Marielle Heller\u003c/a> remembers tuning into \u003cem>Mister Rogers’ Neighborhood\u003c/em> as a kid, but it wasn’t until she was an adult watching the show with her 3-year-old son that she fully appreciated the host’s gentle, direct manner. Watching an episode in which Rogers finds that a pet fish has died, Heller was struck by the way he addressed the audience.\u003c/p>\n\u003cp>“He wasn’t afraid of any of the hardest parts of childhood or talking about the most uncomfortable things,” she says. It’s “a radical notion, but he tells kids the truth.”\u003c/p>\n\u003cp>Heller’s new film, \u003cem>A Beautiful Day in the Neighborhood,\u003c/em> was inspired by the true story of Rogers’ relationship with journalist Tom Junod, who was assigned to profile Rogers in 1998 for a special issue of \u003cem>Esquire \u003c/em>on \u003ca href=\"https://www.esquire.com/entertainment/tv/a27134/can-you-say-hero-esq1198/\">American Heroes\u003c/a>. Junod had acquired a reputation for saying the unsayable in his profiles and for his cynicism. The two men—one known for kindness; the other more of a cynic—formed an unlikely friendship.\u003c/p>\n\u003cp>Heller is adamant that her film, which stars \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a> and \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a>, is not a biopic; rather, it’s a study in how Rogers, who died in 2003, interacted with and impacted the people around him.\u003c/p>\n\u003cp>“He elicited real, fundamental, catalytic change out of people who he came into contact with,” she says. “He had this way of kind of shaking people to their core and breaking them down in some way—and changing them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-VLEPhfEN2M\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why Rogers’ widow, Joanne, told Heller she didn’t want him portrayed as a saint \u003c/strong>\u003c/p>\n\u003cp>She said, “It’s important you don’t think of him as a saint. And the reason it’s important you don’t think of him that way is then his message is unattainable. What he was aiming for is unattainable.” And something about that just clicked for me. So we put that verbatim into the movie, because it made it so clear.\u003c/p>\n\u003cp>The reason that they want us to know Fred was a person is because then we can all aim to be more like him. And that’s what he was hoping for, was that we would all see the ways in which we could choose kindness. We could all see the ways in which we could choose to be more empathetic, and that we could listen to each other more, and we could see that everybody was a child once, and see that everybody has value. And so it was never about exalting him above anybody else or making it that somehow he did things other people couldn’t do. The point was that we all could.\u003c/p>\n\u003cp>\u003cstrong>On helping Tom Hanks embody Fred Rogers \u003c/strong>\u003c/p>\n\u003cp>The positive thing going into this was obviously the way the public feels about Tom Hanks has a similar quality to how we feel about Mister Rogers. So there was a warmth that we were starting with, there was so much that was already done there, but the truth of the matter is, Tom is a very different person energetically than Mister Rogers. He’s very funny. He’s very charming. He’s actually got a loud booming voice and walks into a room and you know he’s there. He shakes everyone’s hand. He cracks jokes. He’s boisterous. He’s really vibrant, and it’s never awkward when you’re talking to Tom Hanks. I’ve never seen him have an awkward conversation with anybody.\u003c/p>\n\u003cp>And what we figured out in our research about Fred was that he really was comfortable sitting in silence and awkwardness, and he would ask questions to people and he would wait for an answer no matter how long it took, and he wouldn’t fill that silence in. And he had a stillness to him, too. So a lot of what I had to do, especially in the beginning, was to kind of reign Tom’s natural buoyancy back, and settle him into a kind of zen-like state where he was being hyper-present in every moment.\u003c/p>\n\u003cp>\u003cstrong>On finding the right pacing for the movie\u003c/strong>\u003c/p>\n\u003cp>Fred had a very specific cadence. I don’t think anybody could’ve watched his show and not noticed that he spoke at a different pace than the rest of the world. And we heard from a number of people that when you would be with Fred, it felt like time would slow down. He kind of controlled time, in a way.\u003c/p>\n\u003cp>Part of the casting of \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a> was I wanted to cast somebody who had a different pace. It was about these two men who were sort of foils to each other coming together and having these sort of emotional duels. So Matthew, he is somebody who moves very quickly. His mind is always racing, and he’s got a lot of energy pulsing through his body, so the idea was, in our rehearsals and also in the way that we shot these scenes, between these two men, it was about really kind of controlling time.\u003c/p>\n\u003cp>When there were pauses, they were carefully crafted. I had to kind of force them to pause even longer than they were comfortable pausing. But it was also about what was happening in those pauses. What are the emotional back-and-forths that are happening? What was just penetrated? What memory is being triggered? What are you thinking about in that moment, and when will you respond, and how carefully will you respond?\u003c/p>\n\u003cp>\u003cstrong>On watching the \u003c/strong>\u003cem>\u003cstrong>Mister Rogers\u003c/strong>\u003c/em>\u003cstrong> episode about death with her son \u003c/strong>\u003c/p>\n\u003cp>We were having a snow day, and so he was home from school. But it was a day that I kind of set aside that I was going to watch a lot of episodes of \u003cem>Mister Rogers\u003c/em>. So I asked Wylie if he wanted to watch some episodes with me. And I let him pick out based on the kind of thumbnails on the Internet. And he picked the fish one because he was very obsessed with underwater stuff, ocean stuff. But I knew just looking at the icon that the fish one, this is the episode about death. And I thought, “Are we going to go here? Okay.”\u003c/p>\n\u003cp>So in the episode, Mister Rogers goes to feed the fish and one of the fish is dead. And he tries to revive it and he puts it in some salt water and he sloshes it around and it kind of limply sloshes around and he says, “It looks like it’s moving, but it’s not actually moving.” And he buries the fish. And he tells the story about his dog, Mitzi, who died when he was a kid.\u003c/p>\n\u003cp>And I just watched my kid watch this episode, knowing that we hadn’t spoken really very much about death, and as Mister Rogers is telling the story about the dog dying Wylie he looks at me with this kind of skeptical look and goes, “Dogs don’t die!” I had this like Mister Rogers in my head and went, “Well, no, dogs do die.” And I told, I guess, what’s a little bit of a stretch of the truth, but I said, “You know, when they’re very old and their bodies are tired, you know, dogs do die and and cats die.” And we have two cats. And he looked at me and went, “Cats? Cats die?” And I said, “Yeah.” And he said, “But we have great cats!” …\u003c/p>\n\u003cp>And I held him and I was crying. 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Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Beautiful+Day%27+Director+On+Mister+Rogers%27+%27Radical+Notion%27%3A+Telling+Kids+The+Truth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director \u003ca href=\"https://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\">Marielle Heller\u003c/a> remembers tuning into \u003cem>Mister Rogers’ Neighborhood\u003c/em> as a kid, but it wasn’t until she was an adult watching the show with her 3-year-old son that she fully appreciated the host’s gentle, direct manner. Watching an episode in which Rogers finds that a pet fish has died, Heller was struck by the way he addressed the audience.\u003c/p>\n\u003cp>“He wasn’t afraid of any of the hardest parts of childhood or talking about the most uncomfortable things,” she says. It’s “a radical notion, but he tells kids the truth.”\u003c/p>\n\u003cp>Heller’s new film, \u003cem>A Beautiful Day in the Neighborhood,\u003c/em> was inspired by the true story of Rogers’ relationship with journalist Tom Junod, who was assigned to profile Rogers in 1998 for a special issue of \u003cem>Esquire \u003c/em>on \u003ca href=\"https://www.esquire.com/entertainment/tv/a27134/can-you-say-hero-esq1198/\">American Heroes\u003c/a>. Junod had acquired a reputation for saying the unsayable in his profiles and for his cynicism. The two men—one known for kindness; the other more of a cynic—formed an unlikely friendship.\u003c/p>\n\u003cp>Heller is adamant that her film, which stars \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a> and \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a>, is not a biopic; rather, it’s a study in how Rogers, who died in 2003, interacted with and impacted the people around him.\u003c/p>\n\u003cp>“He elicited real, fundamental, catalytic change out of people who he came into contact with,” she says. “He had this way of kind of shaking people to their core and breaking them down in some way—and changing them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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So Matthew, he is somebody who moves very quickly. His mind is always racing, and he’s got a lot of energy pulsing through his body, so the idea was, in our rehearsals and also in the way that we shot these scenes, between these two men, it was about really kind of controlling time.\u003c/p>\n\u003cp>When there were pauses, they were carefully crafted. I had to kind of force them to pause even longer than they were comfortable pausing. But it was also about what was happening in those pauses. What are the emotional back-and-forths that are happening? What was just penetrated? What memory is being triggered? What are you thinking about in that moment, and when will you respond, and how carefully will you respond?\u003c/p>\n\u003cp>\u003cstrong>On watching the \u003c/strong>\u003cem>\u003cstrong>Mister Rogers\u003c/strong>\u003c/em>\u003cstrong> episode about death with her son \u003c/strong>\u003c/p>\n\u003cp>We were having a snow day, and so he was home from school. 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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
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