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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Filming two years of the family’s three-year quest for safety and stability—from Afghanistan to Hungary—kept Fazili sane, he said in a video statement.\u003c/p>\n\u003cp>“I felt like a parasite, a lowly person. Sometimes I felt like giving up,” he said. “It was this film that gave me hope. It was this film that gave me the feeling of being alive. Shooting this film gave me the feeling that one day I’d succeed. One day, the problems will end. One day, we’ll arrive at last.”\u003c/p>\n\u003cp>Producer Emelie Mahdavian, who edited the massive catalog of video, met the family through a community of filmmakers in Tajikistan in 2015, where they were applying for protection in other countries.\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/BTT-duEoRdc'\n title='//www.youtube.com/embed/BTT-duEoRdc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an interview with NPR’s \u003cem>All Things Considered, \u003c/em>Mahdavian said she arranged to have a contact to meet the family in each country they passed through, and bring a laptop and a hard drive to back up their most recent footage that the contact could then mail back to her in the U.S.\u003c/p>\n\u003cp>As a first-person account, Mahdavian said the film breaks from traditional journalistic coverage of Europe’s refugee crisis to tell a more humanistic story.\u003c/p>\n\u003cp>“Amidst this kind of tension and anxiety of the migrant experience, there’s also still the possibility for humor and joy, and a much more diverse and rich humanity to emerge, when we are in the hands of this family rather than in the hands of an outsider who’s coming and looking for a quick story,” she said.\u003c/p>\n\u003cp>Fazili said in a press statement that, behind the camera, he struggled to balance his roles as both a protective parent and an artist.\u003c/p>\n\u003cp>“With this film, the more problems my family has and the more pain and suffering my eyes see, the better the film becomes—and I do not know what my responsibility is at that moment: father or director?”\u003c/p>\n\u003cp>Mahdavian told NPR that “moments of high drama [were] punctuated by a lot of time of trying to keep normalcy for their family.”\u003c/p>\n\u003cp>“Fleeing for your life involves a lot of being stuck in [refugee] camps and waiting, and for people who are used to working hard, having normal lives, being asked to sit somewhere for 12 months with nothing to do in a small room in really cramped quarters.”\u003c/p>\n\u003cp>In the editing process, Mahdavian, a resident of largely conservative rural Idaho, said she considered how audiences that might not be sympathetic to migrants’ stories would receive the film.\u003c/p>\n\u003cp>“What I found—at least in speaking to my friends and neighbors—is that people are open to being honest on a journey with somebody they appreciate not being preached to first,” she said. “That’s part of why it was important to me to not frame their story in advance with politics but to allow their story to stand on its own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think that’s what allows the film to open a conversation … we really are just trying to allow people to know what this journey is like.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Refugee+Family+Takes+Viewers+On+A+Years-Long+Escape+In+%27Midnight+Traveler%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Academy Awards voters can rarely resist a celebrity impersonation, judging by some of the star turns that have won Oscars in recent years. These aren’t just performances; they’re jaw-dropping feats of mimicry. \u003ca href=\"https://www.npr.org/2018/02/09/583963660/pop-culture-happy-hour-gary-oldman-jowls-it-up-as-winston-churchill\" target=\"_blank\" rel=\"noopener\">Gary Oldman\u003c/a> is Winston Churchill! \u003ca href=\"https://www.npr.org/2018/11/21/669850052/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury\" target=\"_blank\" rel=\"noopener\">Rami Malek\u003c/a> is Freddie Mercury!\u003c/p>\n\u003cp>The new film \u003cem>Judy\u003c/em> is being sold along similar lines: Renée Zellweger is Judy Garland! To judge by the breathless hype that has greeted the movie so far, the approach seems to be paying off.\u003c/p>\n\u003cp>What makes \u003cem>Judy\u003c/em> unusually fascinating for an otherwise-standard celebrity biopic is that Zellweger isn’t Judy Garland: Her transformation is impressive but hardly definitive. Even with the help of a dark wig and skillful makeup and prosthetics, she doesn’t exactly disappear into the role of the beloved singer and actress who captivated the public in movies like \u003cem>The Wizard of Oz\u003c/em> and \u003cem>Meet Me in St. Louis\u003c/em>.\u003c/p>\n\u003cp>But even if you don’t always believe you’re in the presence of Garland, Zellweger nearly makes up in raw emotional commitment what she lacks in verisimilitude. Her intensely felt, go-for-broke performance sometimes runs the risk of overwhelming this sturdy screen adaptation of Peter Quilter’s stage play, \u003cem>End of the Rainbow\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/iJ4mU3oQW3g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Judy\u003c/em> begins with one of several flashbacks to the teenage Garland on the set of \u003cem>The Wizard of Oz,\u003c/em> showing us how the industry created and destroyed her in the same breath. Her body and image are ruthlessly controlled by the powerful MGM studio head Louis B. Mayer, who puts her on a strict diet and gives her barbiturates and amphetamines, setting in motion the substance-abuse problem that she will struggle with for the rest of her life.\u003c/p>\n\u003cp>But most of the movie is set in 1969, long after her Hollywood heyday and mere months before her death at the age of 47. Judy is now broke and virtually homeless, dragging herself from one crummy L.A. club performance to another. We meet her eldest child, \u003ca href=\"https://www.npr.org/artists/15836739/liza-minnelli\" target=\"_blank\" rel=\"noopener\">Liza Minnelli\u003c/a>, at a house party, and also Judy’s third husband, Sidney Luft, who takes custody of their two young children while she reluctantly books a gig at The Talk of the Town nightclub in London. Although she’s devastated at being separated from her kids, Judy has little choice but to work overseas, where her fans can still be counted on to turn out in full force.\u003c/p>\n\u003cp>In London, Judy’s depression and insomnia quickly take over: She pops pills, skips rehearsals and nearly misses opening night. But once she stumbles into the spotlight and starts crooning “By Myself” and “The Trolley Song,” her confidence comes surging back and she enjoys having an appreciative crowd again.\u003c/p>\n\u003cp>One night after a show, Judy, feeling lonely, befriends an adoring couple, Stan and Dan, and joins them for a late dinner at their apartment. In a touching scene, Dan, played by Andy Nyman, reminds Judy how much she means to her many gay fans.\u003c/p>\n\u003cp>The director, Rupert Goold, has a deft way with actors. He gets a lovely performance from Jessie Buckley as Judy’s London handler, Rosalyn Wilder, always there to lend an ear and keep her on schedule. Finn Wittrock plays the aggressively charming music entrepreneur Mickey Deans, who becomes Judy’s fifth and final husband. Their tempestuous union does a number on Judy, who suffers a few drunken onstage meltdowns before rebounding with a climactic performance of “Over the Rainbow” that might just reduce you to tears.\u003c/p>\n\u003cp>It’s a dazzling showcase for Zellweger, whose commitment is astonishing even when the illusion doesn’t always seize hold. While the actress has a sweetly quavering singing voice, she makes no effort to match Garland’s warm, velvety contralto—reportedly at the instruction of the director himself, who rightly guessed that it would be smarter to channel Garland than to imitate her. Curiously, Zellweger’s physical resemblance to Garland is most pronounced when the camera catches her in profile; she wears the character like a mask that keeps slipping. There’s something poignant about that, since Garland herself struggled to live up to a persona constructed for an audience that could love her one minute and turn on her the next.\u003c/p>\n\u003cp>Zellweger herself knows something about what it’s like to be chewed up and spat out by the industry machine. After her earlier triumphs in movies like \u003cem>Chicago\u003c/em> and \u003cem>Cold Mountain\u003c/em> (the latter for which she won an Oscar), she struggled for the next decade to find decent roles. She endured much sexist mockery from the entertainment press and only recently returned to filmmaking after a six-year hiatus. Her empathy for her subject is apparent in every scene. Renée Zellweger may not be Judy Garland, but she reminds us that technical perfection is no match for emotional truth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Academy Awards voters can rarely resist a celebrity impersonation, judging by some of the star turns that have won Oscars in recent years. These aren’t just performances; they’re jaw-dropping feats of mimicry. \u003ca href=\"https://www.npr.org/2018/02/09/583963660/pop-culture-happy-hour-gary-oldman-jowls-it-up-as-winston-churchill\" target=\"_blank\" rel=\"noopener\">Gary Oldman\u003c/a> is Winston Churchill! \u003ca href=\"https://www.npr.org/2018/11/21/669850052/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury\" target=\"_blank\" rel=\"noopener\">Rami Malek\u003c/a> is Freddie Mercury!\u003c/p>\n\u003cp>The new film \u003cem>Judy\u003c/em> is being sold along similar lines: Renée Zellweger is Judy Garland! To judge by the breathless hype that has greeted the movie so far, the approach seems to be paying off.\u003c/p>\n\u003cp>What makes \u003cem>Judy\u003c/em> unusually fascinating for an otherwise-standard celebrity biopic is that Zellweger isn’t Judy Garland: Her transformation is impressive but hardly definitive. Even with the help of a dark wig and skillful makeup and prosthetics, she doesn’t exactly disappear into the role of the beloved singer and actress who captivated the public in movies like \u003cem>The Wizard of Oz\u003c/em> and \u003cem>Meet Me in St. Louis\u003c/em>.\u003c/p>\n\u003cp>But even if you don’t always believe you’re in the presence of Garland, Zellweger nearly makes up in raw emotional commitment what she lacks in verisimilitude. Her intensely felt, go-for-broke performance sometimes runs the risk of overwhelming this sturdy screen adaptation of Peter Quilter’s stage play, \u003cem>End of the Rainbow\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iJ4mU3oQW3g'\n title='//www.youtube.com/embed/iJ4mU3oQW3g'\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>Judy\u003c/em> begins with one of several flashbacks to the teenage Garland on the set of \u003cem>The Wizard of Oz,\u003c/em> showing us how the industry created and destroyed her in the same breath. Her body and image are ruthlessly controlled by the powerful MGM studio head Louis B. Mayer, who puts her on a strict diet and gives her barbiturates and amphetamines, setting in motion the substance-abuse problem that she will struggle with for the rest of her life.\u003c/p>\n\u003cp>But most of the movie is set in 1969, long after her Hollywood heyday and mere months before her death at the age of 47. Judy is now broke and virtually homeless, dragging herself from one crummy L.A. club performance to another. We meet her eldest child, \u003ca href=\"https://www.npr.org/artists/15836739/liza-minnelli\" target=\"_blank\" rel=\"noopener\">Liza Minnelli\u003c/a>, at a house party, and also Judy’s third husband, Sidney Luft, who takes custody of their two young children while she reluctantly books a gig at The Talk of the Town nightclub in London. Although she’s devastated at being separated from her kids, Judy has little choice but to work overseas, where her fans can still be counted on to turn out in full force.\u003c/p>\n\u003cp>In London, Judy’s depression and insomnia quickly take over: She pops pills, skips rehearsals and nearly misses opening night. But once she stumbles into the spotlight and starts crooning “By Myself” and “The Trolley Song,” her confidence comes surging back and she enjoys having an appreciative crowd again.\u003c/p>\n\u003cp>One night after a show, Judy, feeling lonely, befriends an adoring couple, Stan and Dan, and joins them for a late dinner at their apartment. In a touching scene, Dan, played by Andy Nyman, reminds Judy how much she means to her many gay fans.\u003c/p>\n\u003cp>The director, Rupert Goold, has a deft way with actors. He gets a lovely performance from Jessie Buckley as Judy’s London handler, Rosalyn Wilder, always there to lend an ear and keep her on schedule. Finn Wittrock plays the aggressively charming music entrepreneur Mickey Deans, who becomes Judy’s fifth and final husband. Their tempestuous union does a number on Judy, who suffers a few drunken onstage meltdowns before rebounding with a climactic performance of “Over the Rainbow” that might just reduce you to tears.\u003c/p>\n\u003cp>It’s a dazzling showcase for Zellweger, whose commitment is astonishing even when the illusion doesn’t always seize hold. While the actress has a sweetly quavering singing voice, she makes no effort to match Garland’s warm, velvety contralto—reportedly at the instruction of the director himself, who rightly guessed that it would be smarter to channel Garland than to imitate her. Curiously, Zellweger’s physical resemblance to Garland is most pronounced when the camera catches her in profile; she wears the character like a mask that keeps slipping. There’s something poignant about that, since Garland herself struggled to live up to a persona constructed for an audience that could love her one minute and turn on her the next.\u003c/p>\n\u003cp>Zellweger herself knows something about what it’s like to be chewed up and spat out by the industry machine. After her earlier triumphs in movies like \u003cem>Chicago\u003c/em> and \u003cem>Cold Mountain\u003c/em> (the latter for which she won an Oscar), she struggled for the next decade to find decent roles. She endured much sexist mockery from the entertainment press and only recently returned to filmmaking after a six-year hiatus. Her empathy for her subject is apparent in every scene. Renée Zellweger may not be Judy Garland, but she reminds us that technical perfection is no match for emotional truth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'I Will Survive' Saves Marginalized People a Spot on the Dance Floor",
"headTitle": "‘I Will Survive’ Saves Marginalized People a Spot on the Dance Floor | KQED",
"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\" target=\"_blank\" rel=\"noopener\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>Gloria Gaynor has said she’s pretty sure her signature song, the 1978 disco smash “\u003ca href=\"https://www.youtube.com/watch?v=8f4mytaXttw\" target=\"_blank\" rel=\"noopener\">I Will Survive\u003c/a>,” was created just for her. But the singer had to go through a lot before she and the song found each other.\u003c/p>\n\u003cp>Her mother had died a couple years earlier, and Gaynor was still coping with that loss. Then her record label, Polydor, told her they were declining to renew her contract: She’d had a hit in 1975 with her cover of The Jackson 5’s “Never Can Say Goodbye,” but nothing huge since then, and they’d decided she was no longer a good investment. Gaynor soldiered on, but was slogging through a fog of grief and anxiety.\u003c/p>\n\u003cp>Shortly after Polydor told her she was being dropped, Gaynor slipped onstage during a performance at New York’s Beacon Theatre. She finished the performance, then went out to breakfast, and finally, home to bed. “I woke up the next morning paralyzed from the waist down,” she said in a \u003ca href=\"https://www.youtube.com/watch?v=7-Say4_E91w\" target=\"_blank\" rel=\"noopener\">2013 interview\u003c/a> with Audible, adding: “I’ve always believed that God allowed that to happen so he could get my attention.”\u003c/p>\n\u003cp>Attention secured, Gaynor focused on her recovery. She endured spinal surgery and a three-month hospital stay. When she was released, she left the hospital in an unwieldy back brace that she wore for many more months.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally, after a few rough years, her luck began to turn. Polydor changed presidents, and the new guy was a fan. In fact, he was pretty sure he had a comeback hit for Gaynor: a song that a South African girl group had recently done well with, called “\u003ca href=\"https://www.youtube.com/watch?v=0sUhUO9Nny0\" target=\"_blank\" rel=\"noopener\">Substitute\u003c/a>.”\u003c/p>\n\u003cp>As it turned out, Polydor’s new president was unique in his enthusiasm for the record. In his eagerness to get it out, he cut a deal: Producer-songwriters Freddie Perren and Dino Fekaris agreed to record “Substitute” if they could put one of their own songs on the B-side of the single. They invited Gaynor in for a meeting to hear what kinds of lyrics felt most comfortable with performing. In the interview with Audible, she described what happened next.\u003c/p>\n\u003cp>“They said, ‘We think you’re the one that we’ve been waiting for to record this song that we wrote a couple of years ago,’ ” Gaynor explained. “When I read the lyrics, I realized the reason they’d been waiting for me to record that song was that God had given that song to them for them to set aside, waiting for him to get everything in order for me to meet up with them. And that song was ‘I Will Survive.'”\u003c/p>\n\u003cp>https://youtu.be/8f4mytaXttw\u003c/p>\n\u003cp>Drummer James Gadson, who in his career has backed up Marvin Gaye and Bill Withers and been featured on hundreds of hit records, was part of the studio band put together for the session. He tells NPR they spent hours laying down tracks for “Substitute,” and were about ready to wrap things up when Freddie Perren asked them to stay a little longer and do one more song.\u003c/p>\n\u003cp>“He said, ‘Well, man, I know everybody’s tired, but let’s just do this one song. In fact, I’ll do the intro.’ He was a great producer, played keyboards,” Gadson says, describing the arpeggio Perren played that became the song’s unmistakable opening sting.\u003c/p>\n\u003cp>“We just cut it and that was it, went home,” he says. “Three weeks later: \u003cem>bam\u003c/em>.”\u003c/p>\n\u003cp>Gaynor took advance copies of the single to Studio 54, the mecca of US discotheques — she’d often sung there, and knew the DJ. “He played it while we were standing there,” she said \u003ca href=\"https://www.npr.org/sections/world-cafe/2019/07/17/742634817/gloria-gaynor-disco-queen-goes-gospel\" target=\"_blank\" rel=\"noopener\">in an interview\u003c/a> with \u003cem>World Cafe\u003c/em> on NPR member station WXPN. “The audience immediately loved it, which told me this is a hit song. New Yorkers don’t immediately love \u003cem>anything\u003c/em> — they are so jaded.” The DJ liked it too — enough that he agreed to take copies and pass them along to other DJs.\u003c/p>\n\u003cp>Released in October 1978, “I Will Survive” was a near-instant hit, eclipsing the planned comeback song on the other side of the record. Within weeks it was playing everywhere, including Europe, where Gaynor was a longtime favorite. The song also coincided with the very beginning of the AIDS crisis, and found a particular resonance within the LGBT community.\u003c/p>\n\u003cp>Karen Tongson, a professor at the University of Southern California who often lectures on pop culture, says she remembers first hearing the song in the 1990s through its cover versions, then learning the history behind Gaynor’s original.\u003c/p>\n\u003cp>“It was especially significant for me, because I’d just come out,” she recalls. “The song had long associations with the LGBT community as an anthem … but in my newfound activism, in my new awareness around the different struggles the community faced — particularly around the AIDS crisis — I heard the song with new ears.” [aside postid='arts_13854644']\u003c/p>\n\u003cp>She wasn’t the only one. Beyond gay communities, “I Will Survive” has become a global anthem for those who have felt politically oppressed, physically challenged or otherwise pushed to society’s margins.\u003c/p>\n\u003cp>That includes survivors of domestic abuse, for whom Gloria Gaynor herself has become a spokesperson. Cindy Southworth heads the National Network to End Domestic Violence, where Gaynor is an advocate; she remembers when the singer appeared at the organization’s global conference in 2012.\u003c/p>\n\u003cp>“She sang her song,” Southworth says, “and singing along with her were 1,500 advocates from across the globe — many of them survivors themselves, singing in beautiful accents.”\u003c/p>\n\u003cp>Today, it’s hard to go through life without hearing some version of “I Will Survive.” Its operatic sweep makes it perfect for divas; Diana Ross, Aretha Franklin and Miss Piggy have all had a go. But it’s also been covered by Johnny Mathis and Cake, performed by marching bands and symphony orchestras.\u003c/p>\n\u003cp>Karen Tongson says it’s the progression of the lyrics from despair to empowerment that make “I Will Survive” a deeply personal song for a lot of people: “That chorus is like coming out of the dark and into the light.” Set to a driving beat, its message is one that anyone who hears it can claim as their own. It is an anthem for people who have survived whatever life has thrown at them.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Gloria Gaynor interview audio provided courtesy of Audible and WXPN’s World Café.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally, after a few rough years, her luck began to turn. Polydor changed presidents, and the new guy was a fan. In fact, he was pretty sure he had a comeback hit for Gaynor: a song that a South African girl group had recently done well with, called “\u003ca href=\"https://www.youtube.com/watch?v=0sUhUO9Nny0\" target=\"_blank\" rel=\"noopener\">Substitute\u003c/a>.”\u003c/p>\n\u003cp>As it turned out, Polydor’s new president was unique in his enthusiasm for the record. In his eagerness to get it out, he cut a deal: Producer-songwriters Freddie Perren and Dino Fekaris agreed to record “Substitute” if they could put one of their own songs on the B-side of the single. They invited Gaynor in for a meeting to hear what kinds of lyrics felt most comfortable with performing. In the interview with Audible, she described what happened next.\u003c/p>\n\u003cp>“They said, ‘We think you’re the one that we’ve been waiting for to record this song that we wrote a couple of years ago,’ ” Gaynor explained. “When I read the lyrics, I realized the reason they’d been waiting for me to record that song was that God had given that song to them for them to set aside, waiting for him to get everything in order for me to meet up with them. And that song was ‘I Will Survive.'”\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/8f4mytaXttw'\n title='//www.youtube.com/embed/8f4mytaXttw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Drummer James Gadson, who in his career has backed up Marvin Gaye and Bill Withers and been featured on hundreds of hit records, was part of the studio band put together for the session. He tells NPR they spent hours laying down tracks for “Substitute,” and were about ready to wrap things up when Freddie Perren asked them to stay a little longer and do one more song.\u003c/p>\n\u003cp>“He said, ‘Well, man, I know everybody’s tired, but let’s just do this one song. In fact, I’ll do the intro.’ He was a great producer, played keyboards,” Gadson says, describing the arpeggio Perren played that became the song’s unmistakable opening sting.\u003c/p>\n\u003cp>“We just cut it and that was it, went home,” he says. “Three weeks later: \u003cem>bam\u003c/em>.”\u003c/p>\n\u003cp>Gaynor took advance copies of the single to Studio 54, the mecca of US discotheques — she’d often sung there, and knew the DJ. “He played it while we were standing there,” she said \u003ca href=\"https://www.npr.org/sections/world-cafe/2019/07/17/742634817/gloria-gaynor-disco-queen-goes-gospel\" target=\"_blank\" rel=\"noopener\">in an interview\u003c/a> with \u003cem>World Cafe\u003c/em> on NPR member station WXPN. “The audience immediately loved it, which told me this is a hit song. New Yorkers don’t immediately love \u003cem>anything\u003c/em> — they are so jaded.” The DJ liked it too — enough that he agreed to take copies and pass them along to other DJs.\u003c/p>\n\u003cp>Released in October 1978, “I Will Survive” was a near-instant hit, eclipsing the planned comeback song on the other side of the record. Within weeks it was playing everywhere, including Europe, where Gaynor was a longtime favorite. The song also coincided with the very beginning of the AIDS crisis, and found a particular resonance within the LGBT community.\u003c/p>\n\u003cp>Karen Tongson, a professor at the University of Southern California who often lectures on pop culture, says she remembers first hearing the song in the 1990s through its cover versions, then learning the history behind Gaynor’s original.\u003c/p>\n\u003cp>“It was especially significant for me, because I’d just come out,” she recalls. “The song had long associations with the LGBT community as an anthem … but in my newfound activism, in my new awareness around the different struggles the community faced — particularly around the AIDS crisis — I heard the song with new ears.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She wasn’t the only one. Beyond gay communities, “I Will Survive” has become a global anthem for those who have felt politically oppressed, physically challenged or otherwise pushed to society’s margins.\u003c/p>\n\u003cp>That includes survivors of domestic abuse, for whom Gloria Gaynor herself has become a spokesperson. Cindy Southworth heads the National Network to End Domestic Violence, where Gaynor is an advocate; she remembers when the singer appeared at the organization’s global conference in 2012.\u003c/p>\n\u003cp>“She sang her song,” Southworth says, “and singing along with her were 1,500 advocates from across the globe — many of them survivors themselves, singing in beautiful accents.”\u003c/p>\n\u003cp>Today, it’s hard to go through life without hearing some version of “I Will Survive.” Its operatic sweep makes it perfect for divas; Diana Ross, Aretha Franklin and Miss Piggy have all had a go. But it’s also been covered by Johnny Mathis and Cake, performed by marching bands and symphony orchestras.\u003c/p>\n\u003cp>Karen Tongson says it’s the progression of the lyrics from despair to empowerment that make “I Will Survive” a deeply personal song for a lot of people: “That chorus is like coming out of the dark and into the light.” Set to a driving beat, its message is one that anyone who hears it can claim as their own. It is an anthem for people who have survived whatever life has thrown at them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "6 1/2 Reasons 'Between Two Ferns: The Movie' Defies The Sketch-Into-Movie Curse",
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"content": "\u003cp>The premise was simple. Clean. Direct. If one were feeling uncharitable, one might even say \u003cem>thin\u003c/em>.\u003c/p>\n\u003cp>In a series of 21 videos posted to Will Ferrell’s Funny or Die website, comedian Zach Galifianakis played a version of himself, interviewing celebrities. That was it. Now: It was a \u003cem>pinched \u003c/em>version of himself. A bored, distracted, irritable Zach Galifianakis, lobbing questions that were condescending and dismissive at best, and jaw-droppingly insulting at worst.\u003c/p>\n\u003cp>The celebrities were A-list: Brad Pitt, Natalie Portman, Bradley Cooper, Steve Carell. The setting was distinctly D-minus-list: two chairs, a black background curtain, and two large ferns. Everything about it—the harsh lighting, the static camera, the blocky, frequently misspelled chyrons—was meant to evoke the lawless frontier of public access television, where both Galifianakis and his \u003cem>Between Two Ferns\u003c/em> co-creator Scott Aukerman \u003cem>(Comedy Bang Bang)\u003c/em> got their starts.\u003c/p>\n\u003cp>Episodes were brief: a tight three minutes and change in the early going, and later, once they hit the big time with Very Special Episodes featuring Barack Obama and Hillary Clinton, nearly seven.\u003c/p>\n\u003cp>The news that Netflix would release a \u003cem>Between Two Ferns\u003c/em> movie (which dropped on Friday, Sept. 20) caused fans of the Web series to experience that alchemical mixture of excitement and dread that has become the defining mood of this, our current era of ceaseless reboots and relaunches. “It’s a great show,” we thought, “but it’s … a sketch, basically. And movies made out of sketches tend to …” and here we fell silent, and lowered our eyes to the floor, and perhaps we turned around in a circle three times and spat, to ward off the curse of \u003cem>It’s Pat\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And not just \u003cem>It’s Pat,\u003c/em> of course, but also \u003cem>A Night at the Roxbury,\u003c/em> and \u003cem>The Ladies’ Man,\u003c/em> and \u003cem>Stuart Saves His Family\u003c/em>.\u003c/p>\n\u003cp>“Now hold up,” you say. “What about \u003cem>MacGruber\u003c/em>? \u003cem>MacGruber\u003c/em> worked. And \u003cem>Wayne’s World\u003c/em>. And \u003cem>Blues Brothers,\u003c/em> after all, come on.”\u003c/p>\n\u003cp>We agree about \u003cem>MacGruber, \u003c/em>you and I. But the three examples you listed are exceptions. And besides, for every \u003cem>Wayne’s World,\u003c/em> there’s a \u003cem>Wayne’s World 2.\u003c/em> And for every \u003cem>Blues Brothers,\u003c/em> there is, alas, a \u003cem>Blues Brothers 2000\u003c/em>.\u003c/p>\n\u003cp>The point is: It is prohibitively difficult to transform a five-minute sketch into a feature-length film. But \u003cem>Between Two Ferns: The Movie\u003c/em> manages to pull it off, for 6 1/2 reasons.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OjljgkCQv5c\u003c/p>\n\u003ch3>\u003cstrong>The 6 1/2 Reasons \u003c/strong>\u003cstrong>\u003cem>Between Two Ferns: The Movie\u003c/em>\u003c/strong>\u003cstrong> Defies The Sketch-Into-Movie Curse\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>1. It commits to the bit(s) …\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BTF: TM\u003c/em> knows what we want, and wastes no time delivering it. It quickly sets up a rickety plot device that sends Galifianakis and a small group of cohorts on the road, searching for 10 celebrities to interview and thus deliver unto us precisely what the Web series did: celebrities we’re used to seeing being fawned over on red carpets instead enduring a passive-aggressive (and sometimes aggressive-aggressive) fileting by a truculent, beardy oaf wearing tube socks under his chinos.\u003c/p>\n\u003cp>The first such interview, with a sullen Matthew McConaughey, gives us both interviewer and interviewee in fine form, before subjecting them to … well. You’ll see.\u003c/p>\n\u003cp>\u003cstrong>2. … And then builds them out\u003c/strong>\u003c/p>\n\u003cp>If the movie simply contented itself with delivering those celebrity interviews—if it offered us nothing but A-listers like Brie Larson and Tiffany Haddish looking pained and discomfited under the barrage of Galifianakis goofery—it would seem like little more than a supercut of the Web series. Which would be fine, if less than truly satisfying.\u003c/p>\n\u003cp>Instead, the film justifies its existence by assiduously creating the world around that sad little set we’ve come to know so well—firstly, the public access television station of Flinch, the small North Carolina town in which this alternate-universe Zach Galifianakis churns out his show in relative obscurity. We meet his co-workers, who, we learn, regard him with everything from admiration (rare) to outright disdain (common), and he tells us (technically, he tells the documentary crew he has hired to chronicle his life) of his dream—a national talk show.\u003c/p>\n\u003cp>We meet this reality’s version of Will Ferrell, a pompous, coked-out media mogul only too happy to exploit the bumbling host of the small-town public access talk show he has “discovered.”\u003c/p>\n\u003cp>Every additional element isn’t simply there to pad the story—they each lend their own comedic weight, which increases the film’s narrative momentum. That proves important, and it’s something most other movies made from the bones of comedy sketches have failed to execute.\u003c/p>\n\u003cp>\u003cstrong>3. It casts the right people …\u003c/strong>\u003c/p>\n\u003cp>In the early going, the film leans into the mockumentary device, featuring testimonials from Galifianakis’ co-workers, but—perhaps owing to the fact that the movie was largely improvised—that familiar narrative infrastructure quickly collapses, and it resurfaces only fitfully as the story unfolds.\u003c/p>\n\u003cp>Instead, the film depends on the characters—which is to say the improv comedians—around Galifianakis to ground the film, to ablate the interviews’ caustic edge of ironic anti-comedy, and find its heart. In doing so, it pulls from the company of actors who’ve appeared on Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> podcast and (late, lamented) television series (Lauren Lapkus, Ryan Gaul, Paul Rust, a blink-and-you’ll-miss-him Paul F. Tompkins) as well as newish faces like Jiavani Linayao, as a boom operator named … Boom Boom.\u003c/p>\n\u003cp>The celebrities featured in the film’s interviews gamely play along, some more entertainingly than others, and this variance lends these segments, and the film around them, a satisfying texture.\u003c/p>\n\u003cp>\u003cstrong>4. … And uses them well\u003c/strong>\u003c/p>\n\u003cp>The core team that Galifianakis takes with him on the road—earnest assistant Carol (Lapkus), surly camera operator Cam (Gaul) and warmly empathetic Boom Boom (Linayao) are given sufficient screen time to play off Galifianakis’ not-quite-one-note vain witlessness. This allows the nature of their respective relationships to him to grow and change, slightly.\u003c/p>\n\u003cp>Meanwhile, certain celebrity interviews work to serve the larger story even as they supply the yuks. David Letterman becomes a kind of reluctant (\u003cem>deeply \u003c/em>reluctant) mentor, and Peter Dinklage supplies the film with a key plot development that propels it into its third act.\u003c/p>\n\u003cp>\u003cstrong>4a. Lauren Lapkus\u003c/strong>\u003c/p>\n\u003cp>I know I already mentioned Lapkus above, but her contribution here deserves a special shout-out. As Galifianakis’ concerned assistant Carol, she provides the film with its much needed emotional throughline—without her, the whole affair would soon devolve into glib silliness. Or more precisely: into nothing \u003cem>but \u003c/em>glib silliness.\u003c/p>\n\u003cp>Now of course, hers is an outsize, performative sincerity, but in the face of the movie’s sustained archness, she provides us with someone to root for during the quiet, surprisingly emotional moments.\u003c/p>\n\u003cp>Also? Not for nothing? Her opening bit with the iMac is such a dumb, good joke.\u003c/p>\n\u003cp>\u003cstrong>5. Brevity\u003c/strong>\u003c/p>\n\u003cp>82 minutes! Just enough! Not too much!\u003c/p>\n\u003cp>\u003cstrong>6. Joke density\u003c/strong>\u003c/p>\n\u003cp>And so we arrive at the true secret of \u003cem>Between Two Ferns: The Movie\u003c/em>‘s singular success—the thing it knows that other sketch-into-movies (with the notable exception of \u003cem>MacGruber\u003c/em>) did not.\u003c/p>\n\u003cp>Joke density. Gag-per-minute frequency.\u003c/p>\n\u003cp>The sheer onslaught of stupid, silly, dumb, witless jokes serves twin purposes: It keeps us watching, and laughing, instead of checking our phones; and it ensures that \u003cem>BTF:TM\u003c/em> rewards repeat viewings.\u003c/p>\n\u003cp>Now: Critics who write about comedies are sorely tempted to give away some of their favorite jokes. It’s understandable, inasmuch as it provides readers with a palpable sense of the shape and tone and quality of the humor under review. But I’m both a critic and a comedy nerd, and when it comes to reviewing comedies, the latter aspect prevails; I bend over backward to avoid spoiling jokes, which are best experienced fresh.\u003c/p>\n\u003cp>But given the sheer number of good, solid, very dumb jokes in \u003cem>Between Two Ferns: The Movie,\u003c/em> I feel confident that I can list, with a certain amount of deliberate obfuscation, those jokes so good they managed to elicit in me a bark-laugh, upon repeated viewings, every single time:\u003c/p>\n\u003cul>\n\u003cli>The Monopoly joke\u003c/li>\n\u003cli>Lapkus’ delivery of “Too many A’s!”\u003c/li>\n\u003cli>The Chrissy Teigen origin story\u003c/li>\n\u003cli>Galifianakis’ facial reaction to the cape/cloak distinction\u003c/li>\n\u003cli>The carton. My God, the carton\u003c/li>\n\u003cli>“MY PRECIOUS EGGS!”\u003c/li>\n\u003cli>The password joke\u003c/li>\n\u003cli>Galifianakis’ variant pronunciation of the word “ruined,” which, weirdly enough, precisely echoes that of John Mulaney’s character in the \u003cem>Documentary Now! \u003c/em>episode “Co-op.”\u003c/li>\n\u003c/ul>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One last thing: The closing credits include outtakes from the film’s celebrity interviews, including several instances of Galifianakis breaking into laughter—and breaking character—over the cruelty of the question he just posed. It’s fascinating, and \u003cem>very \u003c/em>funny, but it completely punctures the entire conceit. Be warned.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=6+1%2F2+Reasons+%27Between+Two+Ferns%3A+The+Movie%27+Defies+The+Sketch-Into-Movie+Curse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The premise was simple. Clean. Direct. If one were feeling uncharitable, one might even say \u003cem>thin\u003c/em>.\u003c/p>\n\u003cp>In a series of 21 videos posted to Will Ferrell’s Funny or Die website, comedian Zach Galifianakis played a version of himself, interviewing celebrities. That was it. Now: It was a \u003cem>pinched \u003c/em>version of himself. A bored, distracted, irritable Zach Galifianakis, lobbing questions that were condescending and dismissive at best, and jaw-droppingly insulting at worst.\u003c/p>\n\u003cp>The celebrities were A-list: Brad Pitt, Natalie Portman, Bradley Cooper, Steve Carell. The setting was distinctly D-minus-list: two chairs, a black background curtain, and two large ferns. Everything about it—the harsh lighting, the static camera, the blocky, frequently misspelled chyrons—was meant to evoke the lawless frontier of public access television, where both Galifianakis and his \u003cem>Between Two Ferns\u003c/em> co-creator Scott Aukerman \u003cem>(Comedy Bang Bang)\u003c/em> got their starts.\u003c/p>\n\u003cp>Episodes were brief: a tight three minutes and change in the early going, and later, once they hit the big time with Very Special Episodes featuring Barack Obama and Hillary Clinton, nearly seven.\u003c/p>\n\u003cp>The news that Netflix would release a \u003cem>Between Two Ferns\u003c/em> movie (which dropped on Friday, Sept. 20) caused fans of the Web series to experience that alchemical mixture of excitement and dread that has become the defining mood of this, our current era of ceaseless reboots and relaunches. “It’s a great show,” we thought, “but it’s … a sketch, basically. And movies made out of sketches tend to …” and here we fell silent, and lowered our eyes to the floor, and perhaps we turned around in a circle three times and spat, to ward off the curse of \u003cem>It’s Pat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And not just \u003cem>It’s Pat,\u003c/em> of course, but also \u003cem>A Night at the Roxbury,\u003c/em> and \u003cem>The Ladies’ Man,\u003c/em> and \u003cem>Stuart Saves His Family\u003c/em>.\u003c/p>\n\u003cp>“Now hold up,” you say. “What about \u003cem>MacGruber\u003c/em>? \u003cem>MacGruber\u003c/em> worked. And \u003cem>Wayne’s World\u003c/em>. And \u003cem>Blues Brothers,\u003c/em> after all, come on.”\u003c/p>\n\u003cp>We agree about \u003cem>MacGruber, \u003c/em>you and I. But the three examples you listed are exceptions. And besides, for every \u003cem>Wayne’s World,\u003c/em> there’s a \u003cem>Wayne’s World 2.\u003c/em> And for every \u003cem>Blues Brothers,\u003c/em> there is, alas, a \u003cem>Blues Brothers 2000\u003c/em>.\u003c/p>\n\u003cp>The point is: It is prohibitively difficult to transform a five-minute sketch into a feature-length film. But \u003cem>Between Two Ferns: The Movie\u003c/em> manages to pull it off, for 6 1/2 reasons.\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/OjljgkCQv5c'\n title='//www.youtube.com/embed/OjljgkCQv5c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>The 6 1/2 Reasons \u003c/strong>\u003cstrong>\u003cem>Between Two Ferns: The Movie\u003c/em>\u003c/strong>\u003cstrong> Defies The Sketch-Into-Movie Curse\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>1. It commits to the bit(s) …\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BTF: TM\u003c/em> knows what we want, and wastes no time delivering it. It quickly sets up a rickety plot device that sends Galifianakis and a small group of cohorts on the road, searching for 10 celebrities to interview and thus deliver unto us precisely what the Web series did: celebrities we’re used to seeing being fawned over on red carpets instead enduring a passive-aggressive (and sometimes aggressive-aggressive) fileting by a truculent, beardy oaf wearing tube socks under his chinos.\u003c/p>\n\u003cp>The first such interview, with a sullen Matthew McConaughey, gives us both interviewer and interviewee in fine form, before subjecting them to … well. You’ll see.\u003c/p>\n\u003cp>\u003cstrong>2. … And then builds them out\u003c/strong>\u003c/p>\n\u003cp>If the movie simply contented itself with delivering those celebrity interviews—if it offered us nothing but A-listers like Brie Larson and Tiffany Haddish looking pained and discomfited under the barrage of Galifianakis goofery—it would seem like little more than a supercut of the Web series. Which would be fine, if less than truly satisfying.\u003c/p>\n\u003cp>Instead, the film justifies its existence by assiduously creating the world around that sad little set we’ve come to know so well—firstly, the public access television station of Flinch, the small North Carolina town in which this alternate-universe Zach Galifianakis churns out his show in relative obscurity. We meet his co-workers, who, we learn, regard him with everything from admiration (rare) to outright disdain (common), and he tells us (technically, he tells the documentary crew he has hired to chronicle his life) of his dream—a national talk show.\u003c/p>\n\u003cp>We meet this reality’s version of Will Ferrell, a pompous, coked-out media mogul only too happy to exploit the bumbling host of the small-town public access talk show he has “discovered.”\u003c/p>\n\u003cp>Every additional element isn’t simply there to pad the story—they each lend their own comedic weight, which increases the film’s narrative momentum. That proves important, and it’s something most other movies made from the bones of comedy sketches have failed to execute.\u003c/p>\n\u003cp>\u003cstrong>3. It casts the right people …\u003c/strong>\u003c/p>\n\u003cp>In the early going, the film leans into the mockumentary device, featuring testimonials from Galifianakis’ co-workers, but—perhaps owing to the fact that the movie was largely improvised—that familiar narrative infrastructure quickly collapses, and it resurfaces only fitfully as the story unfolds.\u003c/p>\n\u003cp>Instead, the film depends on the characters—which is to say the improv comedians—around Galifianakis to ground the film, to ablate the interviews’ caustic edge of ironic anti-comedy, and find its heart. In doing so, it pulls from the company of actors who’ve appeared on Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> podcast and (late, lamented) television series (Lauren Lapkus, Ryan Gaul, Paul Rust, a blink-and-you’ll-miss-him Paul F. Tompkins) as well as newish faces like Jiavani Linayao, as a boom operator named … Boom Boom.\u003c/p>\n\u003cp>The celebrities featured in the film’s interviews gamely play along, some more entertainingly than others, and this variance lends these segments, and the film around them, a satisfying texture.\u003c/p>\n\u003cp>\u003cstrong>4. … And uses them well\u003c/strong>\u003c/p>\n\u003cp>The core team that Galifianakis takes with him on the road—earnest assistant Carol (Lapkus), surly camera operator Cam (Gaul) and warmly empathetic Boom Boom (Linayao) are given sufficient screen time to play off Galifianakis’ not-quite-one-note vain witlessness. This allows the nature of their respective relationships to him to grow and change, slightly.\u003c/p>\n\u003cp>Meanwhile, certain celebrity interviews work to serve the larger story even as they supply the yuks. David Letterman becomes a kind of reluctant (\u003cem>deeply \u003c/em>reluctant) mentor, and Peter Dinklage supplies the film with a key plot development that propels it into its third act.\u003c/p>\n\u003cp>\u003cstrong>4a. Lauren Lapkus\u003c/strong>\u003c/p>\n\u003cp>I know I already mentioned Lapkus above, but her contribution here deserves a special shout-out. As Galifianakis’ concerned assistant Carol, she provides the film with its much needed emotional throughline—without her, the whole affair would soon devolve into glib silliness. Or more precisely: into nothing \u003cem>but \u003c/em>glib silliness.\u003c/p>\n\u003cp>Now of course, hers is an outsize, performative sincerity, but in the face of the movie’s sustained archness, she provides us with someone to root for during the quiet, surprisingly emotional moments.\u003c/p>\n\u003cp>Also? Not for nothing? Her opening bit with the iMac is such a dumb, good joke.\u003c/p>\n\u003cp>\u003cstrong>5. Brevity\u003c/strong>\u003c/p>\n\u003cp>82 minutes! Just enough! Not too much!\u003c/p>\n\u003cp>\u003cstrong>6. Joke density\u003c/strong>\u003c/p>\n\u003cp>And so we arrive at the true secret of \u003cem>Between Two Ferns: The Movie\u003c/em>‘s singular success—the thing it knows that other sketch-into-movies (with the notable exception of \u003cem>MacGruber\u003c/em>) did not.\u003c/p>\n\u003cp>Joke density. Gag-per-minute frequency.\u003c/p>\n\u003cp>The sheer onslaught of stupid, silly, dumb, witless jokes serves twin purposes: It keeps us watching, and laughing, instead of checking our phones; and it ensures that \u003cem>BTF:TM\u003c/em> rewards repeat viewings.\u003c/p>\n\u003cp>Now: Critics who write about comedies are sorely tempted to give away some of their favorite jokes. It’s understandable, inasmuch as it provides readers with a palpable sense of the shape and tone and quality of the humor under review. But I’m both a critic and a comedy nerd, and when it comes to reviewing comedies, the latter aspect prevails; I bend over backward to avoid spoiling jokes, which are best experienced fresh.\u003c/p>\n\u003cp>But given the sheer number of good, solid, very dumb jokes in \u003cem>Between Two Ferns: The Movie,\u003c/em> I feel confident that I can list, with a certain amount of deliberate obfuscation, those jokes so good they managed to elicit in me a bark-laugh, upon repeated viewings, every single time:\u003c/p>\n\u003cul>\n\u003cli>The Monopoly joke\u003c/li>\n\u003cli>Lapkus’ delivery of “Too many A’s!”\u003c/li>\n\u003cli>The Chrissy Teigen origin story\u003c/li>\n\u003cli>Galifianakis’ facial reaction to the cape/cloak distinction\u003c/li>\n\u003cli>The carton. My God, the carton\u003c/li>\n\u003cli>“MY PRECIOUS EGGS!”\u003c/li>\n\u003cli>The password joke\u003c/li>\n\u003cli>Galifianakis’ variant pronunciation of the word “ruined,” which, weirdly enough, precisely echoes that of John Mulaney’s character in the \u003cem>Documentary Now! \u003c/em>episode “Co-op.”\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One last thing: The closing credits include outtakes from the film’s celebrity interviews, including several instances of Galifianakis breaking into laughter—and breaking character—over the cruelty of the question he just posed. It’s fascinating, and \u003cem>very \u003c/em>funny, but it completely punctures the entire conceit. Be warned.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=6+1%2F2+Reasons+%27Between+Two+Ferns%3A+The+Movie%27+Defies+The+Sketch-Into-Movie+Curse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In Golden Age Hollywood, Film Stars Slid Into Each Others' Telegrams",
"headTitle": "In Golden Age Hollywood, Film Stars Slid Into Each Others’ Telegrams | KQED",
"content": "\u003cp>Ingrid Bergman was a so-so typist. Katharine Hepburn’s signature was indecipherable. Marlene Dietrich signed her letter to Ernest Hemingway as “Your Kraut.”\u003c/p>\n\u003cp>A collection of letters, memos, telegrams and other written communiques from the golden age of Hollywood are collected in a new book. \u003cem>Letters from Hollywood\u003c/em>, edited and compiled by Barbara Hall and Rocky Lang, is a delicious peek into very famous people’s private lives.\u003c/p>\n\u003cp>Take Audrey Hepburn. On screen, she was perfection: the bangs, the long cigarette-holder in \u003cem>Breakfast at Tiffany’s\u003c/em>, the lavish hat at Ascot in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867154\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg\" alt=\"In a letter to the director of 'My Fair Lady,' Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in 'Letters from Hollywood.'\" width=\"800\" height=\"1037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-1020x1322.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-926x1200.jpg 926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a letter to the director of ‘My Fair Lady,’ Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in ‘Letters from Hollywood.’ \u003ccite>(Courtesy of Sean Hepburn Ferrer & Luca Dotti/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, after seeing \u003cem>the My Fair Lady\u003c/em> script for the first time, she wrote the director (in perfect schoolgirl penmanship) of her delight.\u003c/p>\n\u003cblockquote>\u003cp>It’s MARVELLOUS, I am beyond myself with happiness and excitement! It is all so good and so solid, warm funny and enchanting. I just pray every day to be as good as the role, or is that too much to ask for? All the wonder of the musical and the play are there, it’s just smashing!\u003c/p>\u003c/blockquote>\n\u003cp>But perfect Audrey, it seems, had bad feet. Hepburn asks for the designer’s sketches of her shoes so that her private bootmaker in Paris can cobble them for the movie.\u003c/p>\n\u003cblockquote>\u003cp>One is an awful lot on ones feet when working—and since my days in the ballet I have had “trouble with me feet” unless properly “shoed.” … It does make all the difference.\u003c/p>\u003c/blockquote>\n\u003cp>“I think it’s the kind of thing that it’s great to learn about an actress,” co-author and film historian Barbara Hall says. “We think of them—sort of put them on a pedestal, but really, she was a regular person, and obviously a very charming one.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, she was a great star who knew what she needed to do her best work.\u003c/p>\n\u003cp>Bette Davis was also like that. A winner of two Oscars, she’s \u003ca href=\"https://www.youtube.com/watch?v=LPPJdOGshUM\">famous for the immortal line\u003c/a> from \u003cem>All About Eve\u003c/em>: “Fasten your seatbelts. It’s going to be a bumpy night.”\u003c/p>\n\u003cp>Years before \u003cem>Eve\u003c/em>, Bette Davis was exhausted, overworked. Hollywood studios controlled their actors in those days, and there was little rest for Warner Brothers’ biggest star.\u003c/p>\n\u003cp>“They just kept putting her in more and more films,” Hall says. “And she felt like she needed more time between projects.”\u003c/p>\n\u003cp>Davis wanted to make fewer pictures every year—more time off between movies. So she wrote (again, by hand) to studio head Jack Warner, protesting her contract. She ended her very firm letter:\u003c/p>\n\u003cblockquote>\u003cp>Would appreciate your not communicating with me—it upsets me very much. I must be allowed to completely forget business. … Also arguing with me is no use—nor do I want to come back until it is settled—\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg\" alt=\"‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich.\" width=\"400\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85-160x219.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter-writer in this collection is Hattie McDaniel, the first African American to win an Oscar (for best supporting actress) as Mammy in 1939’s \u003cem>Gone with the Wind\u003c/em>.\u003c/p>\n\u003cp>McDaniel was a busy actor in the 1930s and ’40s—always playing a maid or servant. In 1947, she thanked gossip columnist Hedda Hopper for printing kind words about her. But others criticized her for taking so many servant roles. McDaniel wrote:\u003c/p>\n\u003cblockquote>\u003cp>Truly, a maid or butler in real life is making an honest dollar, just as we are on the screen. I only hope that producers will give us Negro actors and actresses more roles, even if there will be those who call us Uncle Toms.\u003c/p>\u003c/blockquote>\n\u003cp>The NAACP and other civil rights organizations had started pressuring studios to get rid of stereotypical roles like McDaniel was playing—the only parts African Americans could get then. The protests had a bitter result for the Oscar-winner: Hattie McDaniel found that she was getting fewer and fewer roles in the immediate postwar years, because they weren’t being written.\u003c/p>\n\u003cp>Among the 137 items in this book is a telegram to director William Wyler, sent in 1937 by an extremely precocious star-to-be.\u003c/p>\n\u003cblockquote>\u003cp>I ADMIRE YOUR PICTURES AND WOULD LIKE TO WORK FOR YOU I AM EIGHTEEN MINUTES OLD BLONDE HAIR BLUE EYES WEIGHT EIGHT POUNDS, AND I HAVE BEEN CALLED BEAUTIFUL MY FATHER WAS AN ACTOR=\u003cbr>\nJAYNE SEYMOUR FONDA.\u003c/p>\u003c/blockquote>\n\u003cp>The real author of the telegram was Henry Fonda—Jane Fonda’s father. So in his reply to the new baby, Wyler wrote that he wanted to make a screen test of her as soon as possible. But he also took a playful shot at her dad: “WE FEEL IT OUR DUTY TO CORRECT ANY ILLUSION YOU MAY HAVE BEEN UNDER IN THE PAST … YOUR FATHER NEVER WAS AN ACTOR.”\u003c/p>\n\u003cp>\u003cem>Letters from Hollywood \u003c/em>is subtitled \u003cem>Inside the Private World of Classic American Moviemaking\u003c/em>. These are very personal letters from stars, directors, heads of studios. So is it an invasion of privacy to publish them?\u003c/p>\n\u003cp>“I don’t think so,” says Peter Bogdanovich, the director, writer, actor, film historian and author of the book’s foreword. “It’s history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story for broadcast.\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\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Golden+Age+Hollywood%2C+Film+Stars+Slid+Into+Each+Others%27+Telegrams&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ingrid Bergman was a so-so typist. Katharine Hepburn’s signature was indecipherable. Marlene Dietrich signed her letter to Ernest Hemingway as “Your Kraut.”\u003c/p>\n\u003cp>A collection of letters, memos, telegrams and other written communiques from the golden age of Hollywood are collected in a new book. \u003cem>Letters from Hollywood\u003c/em>, edited and compiled by Barbara Hall and Rocky Lang, is a delicious peek into very famous people’s private lives.\u003c/p>\n\u003cp>Take Audrey Hepburn. On screen, she was perfection: the bangs, the long cigarette-holder in \u003cem>Breakfast at Tiffany’s\u003c/em>, the lavish hat at Ascot in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867154\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg\" alt=\"In a letter to the director of 'My Fair Lady,' Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in 'Letters from Hollywood.'\" width=\"800\" height=\"1037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-1020x1322.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-926x1200.jpg 926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a letter to the director of ‘My Fair Lady,’ Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in ‘Letters from Hollywood.’ \u003ccite>(Courtesy of Sean Hepburn Ferrer & Luca Dotti/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, after seeing \u003cem>the My Fair Lady\u003c/em> script for the first time, she wrote the director (in perfect schoolgirl penmanship) of her delight.\u003c/p>\n\u003cblockquote>\u003cp>It’s MARVELLOUS, I am beyond myself with happiness and excitement! It is all so good and so solid, warm funny and enchanting. I just pray every day to be as good as the role, or is that too much to ask for? All the wonder of the musical and the play are there, it’s just smashing!\u003c/p>\u003c/blockquote>\n\u003cp>But perfect Audrey, it seems, had bad feet. Hepburn asks for the designer’s sketches of her shoes so that her private bootmaker in Paris can cobble them for the movie.\u003c/p>\n\u003cblockquote>\u003cp>One is an awful lot on ones feet when working—and since my days in the ballet I have had “trouble with me feet” unless properly “shoed.” … It does make all the difference.\u003c/p>\u003c/blockquote>\n\u003cp>“I think it’s the kind of thing that it’s great to learn about an actress,” co-author and film historian Barbara Hall says. “We think of them—sort of put them on a pedestal, but really, she was a regular person, and obviously a very charming one.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, she was a great star who knew what she needed to do her best work.\u003c/p>\n\u003cp>Bette Davis was also like that. A winner of two Oscars, she’s \u003ca href=\"https://www.youtube.com/watch?v=LPPJdOGshUM\">famous for the immortal line\u003c/a> from \u003cem>All About Eve\u003c/em>: “Fasten your seatbelts. It’s going to be a bumpy night.”\u003c/p>\n\u003cp>Years before \u003cem>Eve\u003c/em>, Bette Davis was exhausted, overworked. Hollywood studios controlled their actors in those days, and there was little rest for Warner Brothers’ biggest star.\u003c/p>\n\u003cp>“They just kept putting her in more and more films,” Hall says. “And she felt like she needed more time between projects.”\u003c/p>\n\u003cp>Davis wanted to make fewer pictures every year—more time off between movies. So she wrote (again, by hand) to studio head Jack Warner, protesting her contract. She ended her very firm letter:\u003c/p>\n\u003cblockquote>\u003cp>Would appreciate your not communicating with me—it upsets me very much. I must be allowed to completely forget business. … Also arguing with me is no use—nor do I want to come back until it is settled—\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg\" alt=\"‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich.\" width=\"400\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85-160x219.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter-writer in this collection is Hattie McDaniel, the first African American to win an Oscar (for best supporting actress) as Mammy in 1939’s \u003cem>Gone with the Wind\u003c/em>.\u003c/p>\n\u003cp>McDaniel was a busy actor in the 1930s and ’40s—always playing a maid or servant. In 1947, she thanked gossip columnist Hedda Hopper for printing kind words about her. But others criticized her for taking so many servant roles. McDaniel wrote:\u003c/p>\n\u003cblockquote>\u003cp>Truly, a maid or butler in real life is making an honest dollar, just as we are on the screen. I only hope that producers will give us Negro actors and actresses more roles, even if there will be those who call us Uncle Toms.\u003c/p>\u003c/blockquote>\n\u003cp>The NAACP and other civil rights organizations had started pressuring studios to get rid of stereotypical roles like McDaniel was playing—the only parts African Americans could get then. The protests had a bitter result for the Oscar-winner: Hattie McDaniel found that she was getting fewer and fewer roles in the immediate postwar years, because they weren’t being written.\u003c/p>\n\u003cp>Among the 137 items in this book is a telegram to director William Wyler, sent in 1937 by an extremely precocious star-to-be.\u003c/p>\n\u003cblockquote>\u003cp>I ADMIRE YOUR PICTURES AND WOULD LIKE TO WORK FOR YOU I AM EIGHTEEN MINUTES OLD BLONDE HAIR BLUE EYES WEIGHT EIGHT POUNDS, AND I HAVE BEEN CALLED BEAUTIFUL MY FATHER WAS AN ACTOR=\u003cbr>\nJAYNE SEYMOUR FONDA.\u003c/p>\u003c/blockquote>\n\u003cp>The real author of the telegram was Henry Fonda—Jane Fonda’s father. So in his reply to the new baby, Wyler wrote that he wanted to make a screen test of her as soon as possible. But he also took a playful shot at her dad: “WE FEEL IT OUR DUTY TO CORRECT ANY ILLUSION YOU MAY HAVE BEEN UNDER IN THE PAST … YOUR FATHER NEVER WAS AN ACTOR.”\u003c/p>\n\u003cp>\u003cem>Letters from Hollywood \u003c/em>is subtitled \u003cem>Inside the Private World of Classic American Moviemaking\u003c/em>. These are very personal letters from stars, directors, heads of studios. So is it an invasion of privacy to publish them?\u003c/p>\n\u003cp>“I don’t think so,” says Peter Bogdanovich, the director, writer, actor, film historian and author of the book’s foreword. “It’s history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story for broadcast.\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\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Golden+Age+Hollywood%2C+Film+Stars+Slid+Into+Each+Others%27+Telegrams&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Patti Smith Weaves Between Worlds Real and Imagined in 'Year of the Monkey'",
"headTitle": "Patti Smith Weaves Between Worlds Real and Imagined in ‘Year of the Monkey’ | KQED",
"content": "\u003cp>Patti Smith’s \u003cem>Year of the Monkey\u003c/em> is a beautiful, elegant, and poetic memoir that takes a single year in the artist’s life, 2016, and delves deep into the events that shaped it—and the feelings and memories they produced.\u003c/p>\n\u003cp>Effortlessly weaving together fiction and nonfiction, Smith takes readers on two unique journeys: one that can be traced on a map and one, infinitely richer and more complex, that takes place inside her head and heart. The result is a hybrid narrative that’s part travel journal, part reflexive essay on our times, and part meditation on existence at the edge of a new decade of life.\u003c/p>\n\u003cp>After a series of New Year’s concerts at the Fillmore, one of San Francisco’s most renowned music venues, musician, writer and photographer Patti Smith decides to spend a year traveling by herself, contemplating life, and connecting with old friends. The journey takes her from a strange hotel in California that talks to her to a long, dreamlike walk in the Arizona desert—and from a farm in Kentucky to the side of the hospital bed of a beloved mentor and friend who unceremoniously collapsed in a parking lot. Along the way, memories abound, strange events happen, and Smith ponders everything around and inside her as she approaches her 70th birthday. The process is a deep conversation with art, politics, a variety of places and books, and some of the people who have influenced her.\u003c/p>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> walks a fine line between fiction and nonfiction. She is aware of the difference between what happens outside her head and what only goes on inside it, but she happily walks that fine line and allows her writing to obliterate the dividing line. The places and people Smith writes about are real, but the way her mind filters and shapes the events give the narrative a touch of surrealism that sometimes seems to approach dream logic:\u003c/p>\n\u003cblockquote>\u003cp>“In the Dream Motel, I was certain I did not dream, yet the more I thought about it, I realized I did dream. More precisely, I skated along the fringe of dream. First it was morning, then night, then dawn, and the rays of the sun warmed everything. I left all thoughts of the world behind and followed my dream to the sea. The seals were sleeping, save the king, more like a walrus, who lifted his head and bellowed at the sun. There was a sense that everyone was gone, a J.G. Ballard kind of gone.”\u003c/p>\u003c/blockquote>\n\u003cp>In this memoir, the reality of the western landscape melds with Smith’s internal landscape. The emerging place is both real and imagined, immediate and accessible only through memories, welcoming and awful. Despite the amount of time readers spend in Smith’s head, the real world is always present. Places, airplanes, people, food, businesses and politics all anchor the narrative in immediate reality. Smith’s own Polaroids serve as proof of every trip and encounter. These constant reality intrusions range in tone from nostalgic and fun to scary and depressing. For example, she writes about the way the political landscape made her feel:\u003c/p>\n\u003cblockquote>\u003cp>“No matter which way I stepped or whatever plane I was on, it was still the Year of the Monkey. I was still moving within an atmosphere of artificial brightness with corrosive edges, the hyperreality of a polarizing pre-election mudslide, an avalanche of toxicity infiltrating every outpost.”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867091\" class=\"wp-caption alignright\" style=\"max-width: 346px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867091\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg\" alt=\"'The Year of the Monkey' by Patti Smith.\" width=\"346\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg 346w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_-160x231.jpg 160w\" sizes=\"(max-width: 346px) 100vw, 346px\">\u003cfigcaption class=\"wp-caption-text\">‘The Year of the Monkey’ by Patti Smith. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>The Year of the Monkey\u003c/em> is wildly entertaining and, at times, touching, the beauty of it comes from Smith’s writing. Her musical career sometimes threatens to overshadow her accomplishments in other creative fields, but every page in this book is packed with enough outstanding prose to constantly remind readers that Smith is an accomplished novelist, essayist, and poet who won the National Book Award in 2010. In her capable hands, a simple look at New York City in winter becomes a flash of beautiful poetry:\u003c/p>\n\u003cblockquote>\u003cp>“Valentine’s Day was the coldest on record in New York City’s history. A complex mantle of frost covered everything, bare branches strung with a symphony of frozen hearts. Pendants of ice, lethal enough to wound, cracked and plummeted from the edges of the overhangs and scaffolding onto the sidewalks, left to lie like discarded weapons of a primitive age.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> is a beautifully realized and unique memoir that chronicles a transformative year in the life of one of our most multi-talented creative voices. Smith’s approach to nonfiction is unique and brave: It counts as true if it happened, if she imagined it, and if she felt it. This is a book about Smith and the world all around—and that world includes all of us. And that is just one more reason why everyone should read it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\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\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Patti+Smith+Weaves+Between+Worlds+Real+And+Imagined+In+%27Year+Of+The+Monkey%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Patti Smith’s \u003cem>Year of the Monkey\u003c/em> is a beautiful, elegant, and poetic memoir that takes a single year in the artist’s life, 2016, and delves deep into the events that shaped it—and the feelings and memories they produced.\u003c/p>\n\u003cp>Effortlessly weaving together fiction and nonfiction, Smith takes readers on two unique journeys: one that can be traced on a map and one, infinitely richer and more complex, that takes place inside her head and heart. The result is a hybrid narrative that’s part travel journal, part reflexive essay on our times, and part meditation on existence at the edge of a new decade of life.\u003c/p>\n\u003cp>After a series of New Year’s concerts at the Fillmore, one of San Francisco’s most renowned music venues, musician, writer and photographer Patti Smith decides to spend a year traveling by herself, contemplating life, and connecting with old friends. The journey takes her from a strange hotel in California that talks to her to a long, dreamlike walk in the Arizona desert—and from a farm in Kentucky to the side of the hospital bed of a beloved mentor and friend who unceremoniously collapsed in a parking lot. Along the way, memories abound, strange events happen, and Smith ponders everything around and inside her as she approaches her 70th birthday. The process is a deep conversation with art, politics, a variety of places and books, and some of the people who have influenced her.\u003c/p>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> walks a fine line between fiction and nonfiction. She is aware of the difference between what happens outside her head and what only goes on inside it, but she happily walks that fine line and allows her writing to obliterate the dividing line. The places and people Smith writes about are real, but the way her mind filters and shapes the events give the narrative a touch of surrealism that sometimes seems to approach dream logic:\u003c/p>\n\u003cblockquote>\u003cp>“In the Dream Motel, I was certain I did not dream, yet the more I thought about it, I realized I did dream. More precisely, I skated along the fringe of dream. First it was morning, then night, then dawn, and the rays of the sun warmed everything. I left all thoughts of the world behind and followed my dream to the sea. The seals were sleeping, save the king, more like a walrus, who lifted his head and bellowed at the sun. There was a sense that everyone was gone, a J.G. Ballard kind of gone.”\u003c/p>\u003c/blockquote>\n\u003cp>In this memoir, the reality of the western landscape melds with Smith’s internal landscape. The emerging place is both real and imagined, immediate and accessible only through memories, welcoming and awful. Despite the amount of time readers spend in Smith’s head, the real world is always present. Places, airplanes, people, food, businesses and politics all anchor the narrative in immediate reality. Smith’s own Polaroids serve as proof of every trip and encounter. These constant reality intrusions range in tone from nostalgic and fun to scary and depressing. For example, she writes about the way the political landscape made her feel:\u003c/p>\n\u003cblockquote>\u003cp>“No matter which way I stepped or whatever plane I was on, it was still the Year of the Monkey. I was still moving within an atmosphere of artificial brightness with corrosive edges, the hyperreality of a polarizing pre-election mudslide, an avalanche of toxicity infiltrating every outpost.”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867091\" class=\"wp-caption alignright\" style=\"max-width: 346px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867091\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg\" alt=\"'The Year of the Monkey' by Patti Smith.\" width=\"346\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg 346w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_-160x231.jpg 160w\" sizes=\"(max-width: 346px) 100vw, 346px\">\u003cfigcaption class=\"wp-caption-text\">‘The Year of the Monkey’ by Patti Smith. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>The Year of the Monkey\u003c/em> is wildly entertaining and, at times, touching, the beauty of it comes from Smith’s writing. Her musical career sometimes threatens to overshadow her accomplishments in other creative fields, but every page in this book is packed with enough outstanding prose to constantly remind readers that Smith is an accomplished novelist, essayist, and poet who won the National Book Award in 2010. In her capable hands, a simple look at New York City in winter becomes a flash of beautiful poetry:\u003c/p>\n\u003cblockquote>\u003cp>“Valentine’s Day was the coldest on record in New York City’s history. A complex mantle of frost covered everything, bare branches strung with a symphony of frozen hearts. Pendants of ice, lethal enough to wound, cracked and plummeted from the edges of the overhangs and scaffolding onto the sidewalks, left to lie like discarded weapons of a primitive age.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> is a beautifully realized and unique memoir that chronicles a transformative year in the life of one of our most multi-talented creative voices. Smith’s approach to nonfiction is unique and brave: It counts as true if it happened, if she imagined it, and if she felt it. This is a book about Smith and the world all around—and that world includes all of us. And that is just one more reason why everyone should read it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Ties That Bind: Bruce Springsteen and the Wide Divide",
"headTitle": "The Ties That Bind: Bruce Springsteen and the Wide Divide | KQED",
"content": "\u003cp>On February 4, 1999, on Wheeler Avenue in the Soundview section of the Bronx, Amadou Diallo, an immigrant from Guinea, was killed by four plainclothes members of the New York Police Department’s Street Crimes Unit. Diallo, who was unarmed, was standing on the front stoop of the building where he lived and reaching for his wallet when the officers started shooting. They fired forty-one bullets, nineteen of which hit Diallo.\u003c/p>\n\u003cp>In response to the shooting, Bruce Springsteen released “American Skin (41 Shots),” a minor- key ballad, more anguished than angry, which applied the balms of empathy and narrative economy to a raw social wound. The central verse dramatizes what African American families call “the talk.” As a mother, Lena, prepares her son, Charles, for school, she reminds him: “You’ve got to understand the rules / if an officer stops you, promise me, you’ll always be polite / and that you’ll never ever run away / and promise mama you’ll keep your hands in sight.”\u003c/p>\n\u003cp>The following summer, I managed to score seats up in the rafters of Madison Square Garden for one of the last shows in the E Street Band’s epic reunion tour. A few rows ahead of me at that show, there were two guys [who] were bigger Bruce fans than I was, or at least fans of longer standing and purer pedigree.\u003c/p>\n\u003cp>But this isn’t really about me. It’s about those other guys, who I might not have noticed, and would never have remembered nearly twenty years after the fact, if not for what I’m about to describe. They looked a little older than I was: closer to forty than thirty. They were meatier, louder, probably drunker and having a great time—dancing, pumping their fists, exchanging high fives with strangers, singing along to every chorus and most of the verses. They were not self-conscious at all.\u003c/p>\n\u003cp>At least not until the first mournful notes of “American Skin.” I don’t remember if Bruce introduced it or if anyone needed reminding. The officers had been acquitted four months earlier, in February 2000. Diallo’s mother, Kadijatou, had filed a suit against the city in April. Maybe he said something about that, or maybe everyone remembered when he sang the line “forty-one shots.” As soon as he did, the two men turned their backs to the stage, clasped their hands in front of them and bowed their heads. They didn’t boo and they didn’t walk out but stood silently, registering their protest at the Boss’s protest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aQMqWAiWPMs\u003c/p>\n\u003cp>Once the final chorus began to fade, he shifted—without pausing for breath—into the familiar harmonica riff that leads into the first verse of “The Promised Land.” Having made their point and enacted their displeasure, the two guys turned back to face the music, and when Bruce stopped singing after the first chorus and turned the microphone toward the crowd, they sang along with everyone else, belting out a stanza that expressed a different kind of protest: “Sometimes I feel so weak, I just wanna explode.”\u003c/p>\n\u003cp>For a long time I held onto that moment as a complicated symbol of civic promise, a testament to the inclusiveness of popular music in general and Bruce Springsteen in particular. Of course he didn’t have the power to fix racism, to resolve the contradictions of class and ideology, to move the world toward justice. But the reach of his empathy was wide enough to extend to both Amadou Diallo’s family and, if not to his killers, surely to their families and supporters. The politics that would take any criticism of the police as a moral provocation, while far from Springsteen’s own beliefs, is in no way alien to his imagination. He might not have agreed with those guys standing with their backs turned but he understood them. And their understanding of \u003cem>him\u003c/em> was what authorized their protest. The concert created a civic space in which two antithetical sentiments could coexist and communicate with each other. Feelings might be hurt, but the bond between performer and fan was stronger than politics.\u003c/p>\n\u003cp>Something like this idea defined the public career of Barack Obama, in some ways the most Springsteenian political figure in American political history. The speech at the 2004 Democratic National Convention that set Obama on course to capture the presidency wove a shimmering dialectic of unity and diversity. Obama rewrote historical conflict—about race, power, money, religion, and culture—as common struggle. He tried to insist in particular that America’s racial wounds could be salved by the mutual recognition of good will, by appreciation of the varieties of American skin we all inhabit.\u003c/p>\n\u003cfigure id=\"attachment_13866929\" class=\"wp-caption alignright\" style=\"max-width: 183px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/download-3.jpg\" alt=\"'Long Walk Home: Reflections on Bruce Springsteen' by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca.\" width=\"183\" height=\"275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3.jpg 183w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3-160x240.jpg 160w\" sizes=\"(max-width: 183px) 100vw, 183px\">\u003cfigcaption class=\"wp-caption-text\">‘Long Walk Home:\u003cbr>Reflections on Bruce Springsteen’ by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca. \u003ccite>(Rutgers University Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Is a dream a lie if it don’t come true?” As I write this, Obama’s liberal ideals have fallen on hard times. Maybe they were illusions to begin with, each fatally underestimating the depth and jaggedness of the fissures, the intensity of the fury, the tenacity of the tribal ties that bind. And maybe too, some of us invested too much faith in the charisma of our leaders, and rested too comfortably in the conviction of our own goodness.\u003c/p>\n\u003cp>Or maybe we were listening wrong, missing the overtones of irony, the notes of tragedy, longing, and defeat that sounded through even the most ringing and rousing choruses. The liberal Springsteen has been a comforting fantasy, but the radical Springsteen—the poet of work, violence, futility, and all-in existential revolt—needs to be recovered, just as we are being forced to recall that the character of our common civic life has always been a matter of life and death. “You can get killed just for living in your American skin.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This is an edited excerpt of a longer work taken from \u003c/em>Long Walk Home: Reflections on Bruce Springsteen\u003cem>, a collection of essays from Rutgers University Press examining the artist, now in his 70th year, and his career. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Disclosure: NPR Music senior director Lauren Onkey has a piece included in the collection.\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=The+Ties+That+Bind%3A+Bruce+Springsteen+And+The+Wide+Divide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "A Springsteen concert \"created a civic space in which two antithetical sentiments could coexist and communicate with each other,\" writes A.O. Scott. The Boss turns 70 years old today.",
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"title": "The Ties That Bind: Bruce Springsteen and the Wide Divide | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On February 4, 1999, on Wheeler Avenue in the Soundview section of the Bronx, Amadou Diallo, an immigrant from Guinea, was killed by four plainclothes members of the New York Police Department’s Street Crimes Unit. Diallo, who was unarmed, was standing on the front stoop of the building where he lived and reaching for his wallet when the officers started shooting. They fired forty-one bullets, nineteen of which hit Diallo.\u003c/p>\n\u003cp>In response to the shooting, Bruce Springsteen released “American Skin (41 Shots),” a minor- key ballad, more anguished than angry, which applied the balms of empathy and narrative economy to a raw social wound. The central verse dramatizes what African American families call “the talk.” As a mother, Lena, prepares her son, Charles, for school, she reminds him: “You’ve got to understand the rules / if an officer stops you, promise me, you’ll always be polite / and that you’ll never ever run away / and promise mama you’ll keep your hands in sight.”\u003c/p>\n\u003cp>The following summer, I managed to score seats up in the rafters of Madison Square Garden for one of the last shows in the E Street Band’s epic reunion tour. A few rows ahead of me at that show, there were two guys [who] were bigger Bruce fans than I was, or at least fans of longer standing and purer pedigree.\u003c/p>\n\u003cp>But this isn’t really about me. It’s about those other guys, who I might not have noticed, and would never have remembered nearly twenty years after the fact, if not for what I’m about to describe. They looked a little older than I was: closer to forty than thirty. They were meatier, louder, probably drunker and having a great time—dancing, pumping their fists, exchanging high fives with strangers, singing along to every chorus and most of the verses. They were not self-conscious at all.\u003c/p>\n\u003cp>At least not until the first mournful notes of “American Skin.” I don’t remember if Bruce introduced it or if anyone needed reminding. The officers had been acquitted four months earlier, in February 2000. Diallo’s mother, Kadijatou, had filed a suit against the city in April. Maybe he said something about that, or maybe everyone remembered when he sang the line “forty-one shots.” As soon as he did, the two men turned their backs to the stage, clasped their hands in front of them and bowed their heads. They didn’t boo and they didn’t walk out but stood silently, registering their protest at the Boss’s protest.\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/aQMqWAiWPMs'\n title='//www.youtube.com/embed/aQMqWAiWPMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once the final chorus began to fade, he shifted—without pausing for breath—into the familiar harmonica riff that leads into the first verse of “The Promised Land.” Having made their point and enacted their displeasure, the two guys turned back to face the music, and when Bruce stopped singing after the first chorus and turned the microphone toward the crowd, they sang along with everyone else, belting out a stanza that expressed a different kind of protest: “Sometimes I feel so weak, I just wanna explode.”\u003c/p>\n\u003cp>For a long time I held onto that moment as a complicated symbol of civic promise, a testament to the inclusiveness of popular music in general and Bruce Springsteen in particular. Of course he didn’t have the power to fix racism, to resolve the contradictions of class and ideology, to move the world toward justice. But the reach of his empathy was wide enough to extend to both Amadou Diallo’s family and, if not to his killers, surely to their families and supporters. The politics that would take any criticism of the police as a moral provocation, while far from Springsteen’s own beliefs, is in no way alien to his imagination. He might not have agreed with those guys standing with their backs turned but he understood them. And their understanding of \u003cem>him\u003c/em> was what authorized their protest. The concert created a civic space in which two antithetical sentiments could coexist and communicate with each other. Feelings might be hurt, but the bond between performer and fan was stronger than politics.\u003c/p>\n\u003cp>Something like this idea defined the public career of Barack Obama, in some ways the most Springsteenian political figure in American political history. The speech at the 2004 Democratic National Convention that set Obama on course to capture the presidency wove a shimmering dialectic of unity and diversity. Obama rewrote historical conflict—about race, power, money, religion, and culture—as common struggle. He tried to insist in particular that America’s racial wounds could be salved by the mutual recognition of good will, by appreciation of the varieties of American skin we all inhabit.\u003c/p>\n\u003cfigure id=\"attachment_13866929\" class=\"wp-caption alignright\" style=\"max-width: 183px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/download-3.jpg\" alt=\"'Long Walk Home: Reflections on Bruce Springsteen' by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca.\" width=\"183\" height=\"275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3.jpg 183w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3-160x240.jpg 160w\" sizes=\"(max-width: 183px) 100vw, 183px\">\u003cfigcaption class=\"wp-caption-text\">‘Long Walk Home:\u003cbr>Reflections on Bruce Springsteen’ by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca. \u003ccite>(Rutgers University Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Is a dream a lie if it don’t come true?” As I write this, Obama’s liberal ideals have fallen on hard times. Maybe they were illusions to begin with, each fatally underestimating the depth and jaggedness of the fissures, the intensity of the fury, the tenacity of the tribal ties that bind. And maybe too, some of us invested too much faith in the charisma of our leaders, and rested too comfortably in the conviction of our own goodness.\u003c/p>\n\u003cp>Or maybe we were listening wrong, missing the overtones of irony, the notes of tragedy, longing, and defeat that sounded through even the most ringing and rousing choruses. The liberal Springsteen has been a comforting fantasy, but the radical Springsteen—the poet of work, violence, futility, and all-in existential revolt—needs to be recovered, just as we are being forced to recall that the character of our common civic life has always been a matter of life and death. “You can get killed just for living in your American skin.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This is an edited excerpt of a longer work taken from \u003c/em>Long Walk Home: Reflections on Bruce Springsteen\u003cem>, a collection of essays from Rutgers University Press examining the artist, now in his 70th year, and his career. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Disclosure: NPR Music senior director Lauren Onkey has a piece included in the collection.\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=The+Ties+That+Bind%3A+Bruce+Springsteen+And+The+Wide+Divide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Fleabag' and 'Game Of Thrones' Win Big at the Emmys",
"headTitle": "‘Fleabag’ and ‘Game Of Thrones’ Win Big at the Emmys | KQED",
"content": "\u003cp>If you predicted that creator-actor Phoebe Waller-Bridge would be a big winner going into Sunday night’s Emmy Awards, you might just have won your Emmys pool. And if you were predicting a giant final haul of \u003cem>Game of Thrones \u003c/em>trophies as that show leaves us for good, you were … well, sort of right.\u003c/p>\n\u003cp>These Emmys started as many do, with a limp opening number that—now that “not having a host” is the new “having a host”—wandered from Homer Simpson to Anthony Anderson to Bryan Cranston, who offered a staid salute to television and the moon landing, and then to the general goodness of TV These Days. Not to complain, but … we could always go back to having a \u003cem>good \u003c/em>host.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hnyA-9r2Fro\u003c/p>\n\u003cp>\u003cstrong>Comedy Awards\u003c/strong>\u003c/p>\n\u003cp>Comedy was up first. Ben Stiller did a wax-figure bit with Bob Newhart, who was, of course, not a wax figure. And honestly, for an awards-show bit, it was pretty funny! They presented the stacked category of supporting actor in a comedy series: The nominees were Tony Shalhoub for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Henry Winkler \u003cem>and \u003c/em>Stephen Root \u003cem>and \u003c/em>Anthony Carrigan for \u003cem>Barry\u003c/em>, Alan Arkin for \u003cem>The Kominsky Method\u003c/em> and Tony Hale for \u003cem>Veep\u003c/em>. Shalhoub won, but that is a commanding group. Amy Poehler and Catherine O’Hara, an imposing duo indeed, presented the supporting actress in a comedy series award to Alex Borstein, also from \u003cem>Maisel\u003c/em>, despite another stacked category. For a moment, it began to look like another 2018, when \u003cem>Maisel \u003c/em>won eight awards, including outstanding comedy series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But just as that suspicion began to set in, they gave the comedy series writing award to Waller-Bridge for \u003cem>Fleabag\u003c/em>, which completed its two-season story this year with a nearly perfect second set of episodes. (Amazon Prime, if you still haven’t watched it!) The directing prize went to Harry Bradbeer, also for \u003cem>Fleabag\u003c/em>, which meant, among other things, that Amazon had won the first four prizes of the night.\u003c/p>\n\u003cp>HBO roared back when Bill Hader won lead actor for \u003cem>Barry\u003c/em>, his series in which he plays a hit man. Could HBO keep it up? They could not, because when Hader was through, we went right back to Phoebe Waller-Bridge. Sometimes more recognized as a writer than a performer (she also created \u003cem>Killing Eve\u003c/em>), Waller-Bridge beat actresses like Julia Louis-Dreyfus, the legendary Catherine O’Hara, and fabulous performances in new series by Christina Applegate and Natasha Lyonne—not to mention Rachel Brosnahan, who won last year for \u003cem>Maisel\u003c/em>. It never seemed certain that the Academy would embrace something as idiosyncratic as \u003cem>Fleabag\u003c/em>; what a delight to see that they did.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dAXJir9knco\u003c/p>\n\u003cp>\u003cstrong>A Moment For Reality\u003c/strong>\u003c/p>\n\u003cp>While most of the reality awards have been shipped off to the Creative Arts ceremony that took place a week ago, the reality competition show stayed to represent the entire genre, and this year, it went to \u003cem>RuPaul’s Drag Race\u003c/em>. RuPaul got up on stage and told everyone to go and register to vote, the first time we’d hear a (very mild) nod to current events.\u003c/p>\n\u003cp>Before the limited series and movie awards started, there was a very special moment of … gratitude? … for the existence of HBO’s \u003cem>Game of Thrones\u003c/em>, during which the cast came on stage and recited lines about what a great time they had. Had there been a whole bunch of tributes to concluded shows, it might have seemed like a more graceful element of the broadcast. But bringing the entire show to a halt to salute \u003cem>Game of Thrones\u003c/em>—a show still in competition in these very awards!—felt, for lack of a better word, weird. After all, the way a show normally wins a chunk of attention is by winning awards, and many, many wonderful shows have never been recognized at all. \u003cem>Game of Thrones \u003c/em>has been honored a great deal at the Emmys \u003cem>and \u003c/em>its ending was covered extensively in the press \u003cem>and \u003c/em>it got high ratings. Why, exactly, does it need a special moment of appreciation? How are we deciding who gets this little tribute? Why not a special tribute for shows like \u003cem>Jane the Virgin \u003c/em>that were never Emmy favorites?\u003c/p>\n\u003cp>\u003cstrong>Limited Series/Movie Awards\u003c/strong>\u003c/p>\n\u003cp>When we did finally get around to giving out more awards, Patricia Arquette won for supporting actress in a limited series for Hulu’s \u003cem>The Act\u003c/em>, based on the true story of a mother and daughter. Arquette devoted most of her speech to the pain of losing her sister Alexis, and to a stirring call to treat trans people better.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6OXS7uVU0xA\u003c/p>\n\u003cp>In further limited-series news, Johan Renck won for directing \u003cem>Chernobyl \u003c/em>for HBO, Ben Whishaw won supporting actor for Amazon’s \u003cem>A Very English Scandal \u003c/em>(beating, among others, three actors from Ava DuVernay’s \u003cem>When They See Us \u003c/em>on Netflix; they may have suffered from some vote-splitting), and Craig Mazin won for writing the highly regarded \u003cem>Chernobyl\u003c/em>. Next up was the moment for \u003cem>When They See Us\u003c/em>, though, when Jharrel Jerome won best lead actor in a limited series for playing Korey Wise, one of the five men who were ultimately exonerated after spending years incarcerated for an assault in Central Park. Jerome, the only actor in the piece who played his character both as an adolescent at the time of the arrest and as an adult at the time of his exoneration, got one of the most excited reactions of the evening.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VpxBswBrQ2w\u003c/p>\n\u003cp>The award for best TV movie, a category that doesn’t get nearly the heat it used to, went to \u003cem>Bandersnatch\u003c/em>, Netflix’s \u003ca href=\"https://www.npr.org/2018/12/28/680671691/black-mirror-bandersnatch-makes-you-choose-your-own-adventure\">weird, uneven experiment\u003c/a> in interactive storytelling. Among other nominees, it beat the movie that wrapped up HBO’s \u003cem>Deadwood\u003c/em> years after it originally ended—perhaps a fitting legacy for a show that was denied major awards for its entire run.\u003c/p>\n\u003cp>Before they wrapped up the limited series/movie awards, there was a \u003cem>Veep \u003c/em>tribute similar to the \u003cem>Game of Thrones \u003c/em>tribute, and … well, once again, there have been a lot of opportunities to salute this show, including a string of Emmys for star Julia Louis-Dreyfus. The cast, being naturally funny, did more with the on-stage time than the \u003cem>Game of Thrones \u003c/em>cast did, but … the way you recognize shows on an awards show is with awards. If you don’t have enough to do, move some awards back from Creative Arts. Or just make the show shorter. Nobody will mind. You’ve got to believe me.\u003c/p>\n\u003cp>The lead actress in a limited series or movie was Michelle Williams for her indelible work as Gwen Verdon in FX’s \u003cem>Fosse/Verdon\u003c/em>. Williams, who gave that series most of its finest moments, made a stirring speech in which she told the story of having been supported in the things she asked for—more dance lessons, a better wig, better fake teeth—and having been paid equally. She called out the particularly low pay that goes to women of color, and said that valuing people leads them to put that value back into their work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UbMUl57nDAQ\u003c/p>\n\u003cp>The Emmy for limited series went to \u003cem>Chernobyl\u003c/em>, and there’s a good argument to be made that that award, while it’s in the middle of the show rather than at the end, is as prestigious as any. Limited series are the home of a lot of the most interesting work that’s happening at any given moment.\u003c/p>\n\u003cp>\u003cstrong>Variety Series\u003c/strong>\u003c/p>\n\u003cp>When you think about it, “Variety” is an inappropriate name for the variety category. You know how you can tell? The award for variety series writing went to the writers from \u003cem>Last Week Tonight With John Oliver\u003c/em>, which has been winning and winning, and the award for outstanding sketch series went to the young upstart known as \u003cem>Saturday Night Live\u003c/em>, which also took the directing award. Not to take anything away from these winners that have won a billion awards already, but if you haven’t yet watched \u003cem>Documentary Now!\u003c/em>, which was nominated in the sketch category and didn’t win, I encourage you to track it down immediately. It was fun, we must admit, to see Billy Porter, wearing perhaps the best hat of the year, present the award for best variety talk series to \u003cem>Last Week Tonight With John Oliver\u003c/em>, even if it was for the fourth straight time.\u003c/p>\n\u003cp>For whatever reason, variety category winners tend to win for 11 years in a row or what have you, or they never win at all. Variety, indeed.\u003c/p>\n\u003cp>\u003cstrong>Drama Series Awards\u003c/strong>\u003c/p>\n\u003cp>And then it was time for some drama.\u003c/p>\n\u003cp>Viola Davis came out in some genuinely great sneakers (comfort is important!) to present the award for supporting actor in a drama series. Unsurprisingly, it went to Peter Dinklage, who won for the fourth time for \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>In fresher news, Jesse Armstrong won for drama series writing, for HBO’s exceptional \u003cem>Succession\u003c/em>, which seems destined to one day win for drama series, even if it was not to be this year. The supporting actress Emmy was nabbed by another actor from a somewhat lower-profile show: Julia Garner for \u003cem>Ozark\u003c/em>, a Netflix drama that’s maintained a solid awards profile and has an enthusiastic following but more modest critical attention. \u003cem>Ozark \u003c/em>also won Jason Bateman, its star, an Emmy for directing. (Raise your hand if you called that one back when he was on \u003cem>Silver Spoons\u003c/em>.)\u003c/p>\n\u003cp>Some awards just seem like good news all around, and the next one to be handed out fit that bill: The award for lead actor in a drama series went to the wonderful Billy Porter for \u003cem>Pose\u003c/em>, and if you didn’t feel good about anything else that happened at this ceremony, how could you not feel good about that? And then Billy Porter was followed by a win for Jodie Comer, who plays the wicked Villanelle on \u003cem>Killing Eve\u003c/em>; she won for lead actress in a drama series. So that’s two winning roles—on \u003cem>Killing Eve \u003c/em>and \u003cem>Fleabag\u003c/em>—that were developed by the same creator, Phoebe Waller-Bridge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U2qO9UdA6WA\u003c/p>\n\u003cp>It wasn’t over yet.\u003c/p>\n\u003cp>\u003cem>Fleabag\u003c/em>‘s night—and its Emmy run—concluded with a comedy series win for this unusual, beautiful, very funny show that probably could not have existed in quite this way even 10 years ago. This was the part of the evening where things felt surprising.\u003c/p>\n\u003cp>Best drama series went to \u003cem>Game of Thrones—\u003c/em>which, it turns out, did not need to have been given a tribute in the middle of the broadcast as if it were an adorable hero dog who saved someone from drowning, on top of winning the top award of them all … again. This was the part where things felt unsurprising.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This is the Emmys, in a nutshell: You win some—or the people whose work you like win some—and you lose some. But if you grew up watching this show turn its nose up at almost everything that felt new or fresh or experimental, seeing Billy Porter and Phoebe Waller-Bridge and Jodie Comer and Bill Hader winning Emmys for these roles? It’s not bad.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleabag%27+And+%27Game+Of+Thrones%27+Win+Big+At+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Phoebe Waller-Bridge's 'Fleabag' and the departing 'Game of Thrones' both came up big Sunday night, as did 'Chernobyl' and 'The Marvelous Mrs. Maisel'.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you predicted that creator-actor Phoebe Waller-Bridge would be a big winner going into Sunday night’s Emmy Awards, you might just have won your Emmys pool. And if you were predicting a giant final haul of \u003cem>Game of Thrones \u003c/em>trophies as that show leaves us for good, you were … well, sort of right.\u003c/p>\n\u003cp>These Emmys started as many do, with a limp opening number that—now that “not having a host” is the new “having a host”—wandered from Homer Simpson to Anthony Anderson to Bryan Cranston, who offered a staid salute to television and the moon landing, and then to the general goodness of TV These Days. Not to complain, but … we could always go back to having a \u003cem>good \u003c/em>host.\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/hnyA-9r2Fro'\n title='//www.youtube.com/embed/hnyA-9r2Fro'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Comedy Awards\u003c/strong>\u003c/p>\n\u003cp>Comedy was up first. Ben Stiller did a wax-figure bit with Bob Newhart, who was, of course, not a wax figure. And honestly, for an awards-show bit, it was pretty funny! They presented the stacked category of supporting actor in a comedy series: The nominees were Tony Shalhoub for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Henry Winkler \u003cem>and \u003c/em>Stephen Root \u003cem>and \u003c/em>Anthony Carrigan for \u003cem>Barry\u003c/em>, Alan Arkin for \u003cem>The Kominsky Method\u003c/em> and Tony Hale for \u003cem>Veep\u003c/em>. Shalhoub won, but that is a commanding group. Amy Poehler and Catherine O’Hara, an imposing duo indeed, presented the supporting actress in a comedy series award to Alex Borstein, also from \u003cem>Maisel\u003c/em>, despite another stacked category. For a moment, it began to look like another 2018, when \u003cem>Maisel \u003c/em>won eight awards, including outstanding comedy series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But just as that suspicion began to set in, they gave the comedy series writing award to Waller-Bridge for \u003cem>Fleabag\u003c/em>, which completed its two-season story this year with a nearly perfect second set of episodes. (Amazon Prime, if you still haven’t watched it!) The directing prize went to Harry Bradbeer, also for \u003cem>Fleabag\u003c/em>, which meant, among other things, that Amazon had won the first four prizes of the night.\u003c/p>\n\u003cp>HBO roared back when Bill Hader won lead actor for \u003cem>Barry\u003c/em>, his series in which he plays a hit man. Could HBO keep it up? They could not, because when Hader was through, we went right back to Phoebe Waller-Bridge. Sometimes more recognized as a writer than a performer (she also created \u003cem>Killing Eve\u003c/em>), Waller-Bridge beat actresses like Julia Louis-Dreyfus, the legendary Catherine O’Hara, and fabulous performances in new series by Christina Applegate and Natasha Lyonne—not to mention Rachel Brosnahan, who won last year for \u003cem>Maisel\u003c/em>. It never seemed certain that the Academy would embrace something as idiosyncratic as \u003cem>Fleabag\u003c/em>; what a delight to see that they did.\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/dAXJir9knco'\n title='//www.youtube.com/embed/dAXJir9knco'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>A Moment For Reality\u003c/strong>\u003c/p>\n\u003cp>While most of the reality awards have been shipped off to the Creative Arts ceremony that took place a week ago, the reality competition show stayed to represent the entire genre, and this year, it went to \u003cem>RuPaul’s Drag Race\u003c/em>. RuPaul got up on stage and told everyone to go and register to vote, the first time we’d hear a (very mild) nod to current events.\u003c/p>\n\u003cp>Before the limited series and movie awards started, there was a very special moment of … gratitude? … for the existence of HBO’s \u003cem>Game of Thrones\u003c/em>, during which the cast came on stage and recited lines about what a great time they had. Had there been a whole bunch of tributes to concluded shows, it might have seemed like a more graceful element of the broadcast. But bringing the entire show to a halt to salute \u003cem>Game of Thrones\u003c/em>—a show still in competition in these very awards!—felt, for lack of a better word, weird. After all, the way a show normally wins a chunk of attention is by winning awards, and many, many wonderful shows have never been recognized at all. \u003cem>Game of Thrones \u003c/em>has been honored a great deal at the Emmys \u003cem>and \u003c/em>its ending was covered extensively in the press \u003cem>and \u003c/em>it got high ratings. Why, exactly, does it need a special moment of appreciation? How are we deciding who gets this little tribute? Why not a special tribute for shows like \u003cem>Jane the Virgin \u003c/em>that were never Emmy favorites?\u003c/p>\n\u003cp>\u003cstrong>Limited Series/Movie Awards\u003c/strong>\u003c/p>\n\u003cp>When we did finally get around to giving out more awards, Patricia Arquette won for supporting actress in a limited series for Hulu’s \u003cem>The Act\u003c/em>, based on the true story of a mother and daughter. Arquette devoted most of her speech to the pain of losing her sister Alexis, and to a stirring call to treat trans people better.\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/6OXS7uVU0xA'\n title='//www.youtube.com/embed/6OXS7uVU0xA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In further limited-series news, Johan Renck won for directing \u003cem>Chernobyl \u003c/em>for HBO, Ben Whishaw won supporting actor for Amazon’s \u003cem>A Very English Scandal \u003c/em>(beating, among others, three actors from Ava DuVernay’s \u003cem>When They See Us \u003c/em>on Netflix; they may have suffered from some vote-splitting), and Craig Mazin won for writing the highly regarded \u003cem>Chernobyl\u003c/em>. Next up was the moment for \u003cem>When They See Us\u003c/em>, though, when Jharrel Jerome won best lead actor in a limited series for playing Korey Wise, one of the five men who were ultimately exonerated after spending years incarcerated for an assault in Central Park. Jerome, the only actor in the piece who played his character both as an adolescent at the time of the arrest and as an adult at the time of his exoneration, got one of the most excited reactions of the evening.\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/VpxBswBrQ2w'\n title='//www.youtube.com/embed/VpxBswBrQ2w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The award for best TV movie, a category that doesn’t get nearly the heat it used to, went to \u003cem>Bandersnatch\u003c/em>, Netflix’s \u003ca href=\"https://www.npr.org/2018/12/28/680671691/black-mirror-bandersnatch-makes-you-choose-your-own-adventure\">weird, uneven experiment\u003c/a> in interactive storytelling. Among other nominees, it beat the movie that wrapped up HBO’s \u003cem>Deadwood\u003c/em> years after it originally ended—perhaps a fitting legacy for a show that was denied major awards for its entire run.\u003c/p>\n\u003cp>Before they wrapped up the limited series/movie awards, there was a \u003cem>Veep \u003c/em>tribute similar to the \u003cem>Game of Thrones \u003c/em>tribute, and … well, once again, there have been a lot of opportunities to salute this show, including a string of Emmys for star Julia Louis-Dreyfus. The cast, being naturally funny, did more with the on-stage time than the \u003cem>Game of Thrones \u003c/em>cast did, but … the way you recognize shows on an awards show is with awards. If you don’t have enough to do, move some awards back from Creative Arts. Or just make the show shorter. Nobody will mind. You’ve got to believe me.\u003c/p>\n\u003cp>The lead actress in a limited series or movie was Michelle Williams for her indelible work as Gwen Verdon in FX’s \u003cem>Fosse/Verdon\u003c/em>. Williams, who gave that series most of its finest moments, made a stirring speech in which she told the story of having been supported in the things she asked for—more dance lessons, a better wig, better fake teeth—and having been paid equally. She called out the particularly low pay that goes to women of color, and said that valuing people leads them to put that value back into their work.\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/UbMUl57nDAQ'\n title='//www.youtube.com/embed/UbMUl57nDAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Emmy for limited series went to \u003cem>Chernobyl\u003c/em>, and there’s a good argument to be made that that award, while it’s in the middle of the show rather than at the end, is as prestigious as any. Limited series are the home of a lot of the most interesting work that’s happening at any given moment.\u003c/p>\n\u003cp>\u003cstrong>Variety Series\u003c/strong>\u003c/p>\n\u003cp>When you think about it, “Variety” is an inappropriate name for the variety category. You know how you can tell? The award for variety series writing went to the writers from \u003cem>Last Week Tonight With John Oliver\u003c/em>, which has been winning and winning, and the award for outstanding sketch series went to the young upstart known as \u003cem>Saturday Night Live\u003c/em>, which also took the directing award. Not to take anything away from these winners that have won a billion awards already, but if you haven’t yet watched \u003cem>Documentary Now!\u003c/em>, which was nominated in the sketch category and didn’t win, I encourage you to track it down immediately. It was fun, we must admit, to see Billy Porter, wearing perhaps the best hat of the year, present the award for best variety talk series to \u003cem>Last Week Tonight With John Oliver\u003c/em>, even if it was for the fourth straight time.\u003c/p>\n\u003cp>For whatever reason, variety category winners tend to win for 11 years in a row or what have you, or they never win at all. Variety, indeed.\u003c/p>\n\u003cp>\u003cstrong>Drama Series Awards\u003c/strong>\u003c/p>\n\u003cp>And then it was time for some drama.\u003c/p>\n\u003cp>Viola Davis came out in some genuinely great sneakers (comfort is important!) to present the award for supporting actor in a drama series. Unsurprisingly, it went to Peter Dinklage, who won for the fourth time for \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>In fresher news, Jesse Armstrong won for drama series writing, for HBO’s exceptional \u003cem>Succession\u003c/em>, which seems destined to one day win for drama series, even if it was not to be this year. The supporting actress Emmy was nabbed by another actor from a somewhat lower-profile show: Julia Garner for \u003cem>Ozark\u003c/em>, a Netflix drama that’s maintained a solid awards profile and has an enthusiastic following but more modest critical attention. \u003cem>Ozark \u003c/em>also won Jason Bateman, its star, an Emmy for directing. (Raise your hand if you called that one back when he was on \u003cem>Silver Spoons\u003c/em>.)\u003c/p>\n\u003cp>Some awards just seem like good news all around, and the next one to be handed out fit that bill: The award for lead actor in a drama series went to the wonderful Billy Porter for \u003cem>Pose\u003c/em>, and if you didn’t feel good about anything else that happened at this ceremony, how could you not feel good about that? And then Billy Porter was followed by a win for Jodie Comer, who plays the wicked Villanelle on \u003cem>Killing Eve\u003c/em>; she won for lead actress in a drama series. So that’s two winning roles—on \u003cem>Killing Eve \u003c/em>and \u003cem>Fleabag\u003c/em>—that were developed by the same creator, Phoebe Waller-Bridge.\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/U2qO9UdA6WA'\n title='//www.youtube.com/embed/U2qO9UdA6WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wasn’t over yet.\u003c/p>\n\u003cp>\u003cem>Fleabag\u003c/em>‘s night—and its Emmy run—concluded with a comedy series win for this unusual, beautiful, very funny show that probably could not have existed in quite this way even 10 years ago. This was the part of the evening where things felt surprising.\u003c/p>\n\u003cp>Best drama series went to \u003cem>Game of Thrones—\u003c/em>which, it turns out, did not need to have been given a tribute in the middle of the broadcast as if it were an adorable hero dog who saved someone from drowning, on top of winning the top award of them all … again. This was the part where things felt unsurprising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the Emmys, in a nutshell: You win some—or the people whose work you like win some—and you lose some. But if you grew up watching this show turn its nose up at almost everything that felt new or fresh or experimental, seeing Billy Porter and Phoebe Waller-Bridge and Jodie Comer and Bill Hader winning Emmys for these roles? It’s not bad.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleabag%27+And+%27Game+Of+Thrones%27+Win+Big+At+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With its austere surfaces and jaundiced view of humanity’s interplanetary destiny, James Gray’s stirring sci-fi epic \u003cem>Ad Astra\u003c/em> can’t help but evoke Stanley Kubrick’s \u003cem>2001: A Space Odyssey\u003c/em>, the paterfamilias of all “serious” space movies. But in fact it’s a closer cousin to \u003cem>another\u003c/em> long-delayed, wildly over-budget spectacle that initially fared better with ticket-buyers than critics, only to be revealed in time as a masterpiece: Francis Ford Coppola’s \u003cem>Apocalypse Now\u003c/em>.\u003c/p>\n\u003cp>Like Coppola’s surreal Vietnam War movie, \u003cem>Ad Astra\u003c/em> is told to us by a haunted man on a mission into the unknown. After a thrilling set piece involving an unplanned high-altitude skydive from the “International Space Antenna,” Brad Pitt’s Major Roy McBride is dispatched to investigate the cause of a series of destructive cosmic ray bursts emanating from Neptune.\u003c/p>\n\u003cp>McBride is given the task because his superiors believe these disruptions might somehow have been caused by his father (Tommy Lee Jones), commander of an exploration mission that was presumed lost some 16 years earlier. In the event the old man has somehow survived and gone all Colonel Kurtz on them, they’re hoping his baby boy might be able to talk him down.\u003c/p>\n\u003cp>https://youtu.be/P6AaSMfXHbA\u003c/p>\n\u003cp>One needn’t have seen \u003cem>2001\u003c/em>—or for that matter, last year’s undervalued Neil Armstrong biopic \u003cem>First Man\u003c/em>—to grok that emotional availability is the one area in which McBride is seriously deficient. (His heart rate has never risen above 80, his dossier says.) In space, no one can hear you cry…\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>… though they \u003cem>are\u003c/em> sometimes privy to your internal monologue. “We are the world-eaters,” McBride laments in voiceover as he takes in the Applebees and Hudson News shops that pimple the near side of the moon in the mid-to-late 21st century. The only thing \u003cem>Ad Astra\u003c/em> shares with the comparatively upbeat adventure \u003cem>The Martian\u003c/em> is a notion we might be wiser to leave space exploration to our robots. We see McBride file a psychological self-evaluation each time he’s getting ready to launch; only if the A.I. concurs with his assessment that he’s fit to fly is he permitted to go.\u003c/p>\n\u003cp>Pitt is in every scene and frequently in close-up; now in his mid-50s, his face continues its preternaturally slow erosion from handsome to interesting. This is his second admirably interior performance in two months, but the laconic swagger he brought to \u003cem>Once Upon a Time… in Hollywood\u003c/em> is long gone. He plays McBride as a contemplative spaceman in the Armstrong mold; not one of those swaggering jet jocks Tom Wolfe wrote about in \u003cem>The Right Stuff\u003c/em>.\u003c/p>\n\u003cp>Gray and co-writer Ethan Gross are shrewd enough to consider that the qualities that made McBride a washout as a husband (Liv Tyler appears briefly as his estranged spouse in a near-silent role) make him an ideal candidate for the privation and solitude of space travel. Like Gray’s most recent picture, a soulful adaptation of the nonfiction book \u003cem>The Lost City of Z\u003c/em>, \u003cem>Ad Astra\u003c/em> is interested in the psychology of explorers. 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This film has big philosophical differences with those two, but it makes its observations about our place in the cosmos with equal grace, even majesty. If the arc of the moral universe bends toward justice, the arc of the physical universe might bend towards just us. That doesn’t mean we stop seeking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>… though they \u003cem>are\u003c/em> sometimes privy to your internal monologue. “We are the world-eaters,” McBride laments in voiceover as he takes in the Applebees and Hudson News shops that pimple the near side of the moon in the mid-to-late 21st century. The only thing \u003cem>Ad Astra\u003c/em> shares with the comparatively upbeat adventure \u003cem>The Martian\u003c/em> is a notion we might be wiser to leave space exploration to our robots. We see McBride file a psychological self-evaluation each time he’s getting ready to launch; only if the A.I. concurs with his assessment that he’s fit to fly is he permitted to go.\u003c/p>\n\u003cp>Pitt is in every scene and frequently in close-up; now in his mid-50s, his face continues its preternaturally slow erosion from handsome to interesting. This is his second admirably interior performance in two months, but the laconic swagger he brought to \u003cem>Once Upon a Time… in Hollywood\u003c/em> is long gone. He plays McBride as a contemplative spaceman in the Armstrong mold; not one of those swaggering jet jocks Tom Wolfe wrote about in \u003cem>The Right Stuff\u003c/em>.\u003c/p>\n\u003cp>Gray and co-writer Ethan Gross are shrewd enough to consider that the qualities that made McBride a washout as a husband (Liv Tyler appears briefly as his estranged spouse in a near-silent role) make him an ideal candidate for the privation and solitude of space travel. Like Gray’s most recent picture, a soulful adaptation of the nonfiction book \u003cem>The Lost City of Z\u003c/em>, \u003cem>Ad Astra\u003c/em> is interested in the psychology of explorers. And while the filmmaker is careful to punctuate his existential walkabout with expertly staged feats of derring-do—there’s a pirate raid on a convoy of moon buggies, and it’s \u003cem>awesome\u003c/em>—he and his collaborators have done enough homework to let us suspend our disbelief without feeling like we’re selling it cheap. Their predictions of how commerce and geopolitics might play out on the moon in perhaps 50 years’ time are woven into the narrative rather than ladled on. And the movie’s analog aesthetic—\u003cem>Ad Astra\u003c/em> was shot on photochemical film, using practical sets wherever feasible—gives it a lens-flaring verisimilitude that makes it feel more substantial than all those space-set Marvel movies, for example.\u003c/p>\n\u003cp>Although Tyler is barely in the movie, the rest of the supporting cast delivers the requisite gravitas: Along with elder spacemen Jones and Donald Sutherland, there are brief but memorable appearances from Ruth Negga as the administrator of the American outpost on Mars and Loren Dean as a clay-footed rocket crewman.\u003c/p>\n\u003cp>\u003cem>Ad Astra\u003c/em> borrows some below-the-line talent from other sterling genre specimens of recent vintage: Cinematographer Hoyte Van Hoytema shot \u003cem>Interstellar\u003c/em> five years ago, while composer Max Richter (who shared scoring duties with Lorne Balfe) did the music for \u003cem>Arrival\u003c/em>. This film has big philosophical differences with those two, but it makes its observations about our place in the cosmos with equal grace, even majesty. If the arc of the moral universe bends toward justice, the arc of the physical universe might bend towards just us. That doesn’t mean we stop seeking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There was a time, around the turn of the century, when Mandy Moore the pop singer and Mandy Moore the actor existed simultaneously, touring with \u003ca href=\"https://www.npr.org/artists/120239634/-nsync\">*NSYNC\u003c/a> and starring alongside Anne Hathaway in \u003cem>The Princess Diaries\u003c/em>. But as she outgrew both bubblegum pop and bubblegum roles, so to speak, her simultaneous careers became richer, her talent deeper. Moore’s albums, especially, showcased a sophisticated singer-turned-songwriter invested in pop music’s history, for which she never really got much credit.\u003c/p>\n\u003cp>Moore is now the star of the NBC family drama \u003cem>This Is Us \u003c/em>(she \u003ca href=\"https://www.youtube.com/watch?v=nQknS1AVyAo\">covered\u003c/a> a Linda Ronstadt song for that show’s soundtrack, too) and the voice of Rapunzel on Disney’s \u003cem>Tangled: The Series,\u003c/em> but it’s been a decade since she released the album \u003cem>Amanda Leigh\u003c/em>.\u003c/p>\n\u003cp>“When I Wasn’t Watching” was co-written with longtime collaborator Mike Viola, \u003ca href=\"https://www.npr.org/artists/113932444/dawes\">Dawes\u003c/a> frontman (and husband) Taylor Goldsmith and Jason Boesel, the former drummer of \u003ca href=\"https://www.npr.org/artists/14984051/rilo-kiley\">Rilo Kiley\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15189641/bright-eyes\">Bright Eyes\u003c/a>, and \u003ca href=\"https://www.npr.org/artists/15998977/conor-oberst\">Conor Oberst\u003c/a>‘s Mystic Valley Band. The song sways with a \u003ca href=\"https://www.npr.org/artists/173427475/stevie-nicks\">Stevie Nicks\u003c/a> energy—fringe and ruffles all the way down—as Moore reflects, with a resilient Nicks-ian bittersweetness, on who she became while not paying attention to herself: “My favorite version of me disappeared/ Through longer days and shorter years / So where was I when this was going down?/ Assumed the world would come around.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=143&v=e5yM8lHoOAk\u003c/p>\n\u003cp>Moore’s new album will be released sometime in 2020, via Verve Forecast.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mandy+Moore+Releases+First+Original+Song+In+10+Years%2C+%27When+I+Wasn%27t+Watching%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There was a time, around the turn of the century, when Mandy Moore the pop singer and Mandy Moore the actor existed simultaneously, touring with \u003ca href=\"https://www.npr.org/artists/120239634/-nsync\">*NSYNC\u003c/a> and starring alongside Anne Hathaway in \u003cem>The Princess Diaries\u003c/em>. But as she outgrew both bubblegum pop and bubblegum roles, so to speak, her simultaneous careers became richer, her talent deeper. Moore’s albums, especially, showcased a sophisticated singer-turned-songwriter invested in pop music’s history, for which she never really got much credit.\u003c/p>\n\u003cp>Moore is now the star of the NBC family drama \u003cem>This Is Us \u003c/em>(she \u003ca href=\"https://www.youtube.com/watch?v=nQknS1AVyAo\">covered\u003c/a> a Linda Ronstadt song for that show’s soundtrack, too) and the voice of Rapunzel on Disney’s \u003cem>Tangled: The Series,\u003c/em> but it’s been a decade since she released the album \u003cem>Amanda Leigh\u003c/em>.\u003c/p>\n\u003cp>“When I Wasn’t Watching” was co-written with longtime collaborator Mike Viola, \u003ca href=\"https://www.npr.org/artists/113932444/dawes\">Dawes\u003c/a> frontman (and husband) Taylor Goldsmith and Jason Boesel, the former drummer of \u003ca href=\"https://www.npr.org/artists/14984051/rilo-kiley\">Rilo Kiley\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15189641/bright-eyes\">Bright Eyes\u003c/a>, and \u003ca href=\"https://www.npr.org/artists/15998977/conor-oberst\">Conor Oberst\u003c/a>‘s Mystic Valley Band. The song sways with a \u003ca href=\"https://www.npr.org/artists/173427475/stevie-nicks\">Stevie Nicks\u003c/a> energy—fringe and ruffles all the way down—as Moore reflects, with a resilient Nicks-ian bittersweetness, on who she became while not paying attention to herself: “My favorite version of me disappeared/ Through longer days and shorter years / So where was I when this was going down?/ Assumed the world would come around.”\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/e5yM8lHoOAk'\n title='//www.youtube.com/embed/e5yM8lHoOAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moore’s new album will be released sometime in 2020, via Verve Forecast.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mandy+Moore+Releases+First+Original+Song+In+10+Years%2C+%27When+I+Wasn%27t+Watching%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Updated at 4:18 p.m. Monday\u003c/strong>\u003c/p>\n\u003cp>Ric Ocasek, the lead singer of the rock band The Cars, died Sunday in New York; he was found unconscious Sunday afternoon at his townhouse in Manhattan. A New York Police Department spokesman confirmed Ocasek’s death to NPR. There is some confusion about Ocasek’s age: The NYPD said that he was 75; public records list his age as 70 years old.\u003c/p>\n\u003cp>On Monday, the New York City Office of Chief Medical Examiner told NPR in a statement that Ocasek died of heart disease, specifically hypertensive and atherosclerotic cardiovascular disease, with pulmonary emphysema as a contributing condition. (OCME also lists the singer’s age as 75.)\u003c/p>\n\u003cp>The Boston-based band was inducted into the Rock & Roll Hall of Fame in 2018; the Rock Hall \u003ca href=\"https://www.rockhall.com/inductees/cars?gclid=CjwKCAjwwvfrBRBIEiwA2nFiPR6ZqPqJ-1nBQ_Y-sHi_5GAAAyzL74sTlm2Y4J22xBC6I6tI1upsWhoCNuoQAvD_BwE\">called\u003c/a> The Cars “the ultimate New Wave dream machine: a hook-savvy super-charged quintet that fused 60s pop, 70s glam and avant-rock minimalism into a decade of dashboard-radio nirvana.”\u003c/p>\n\u003cp>[aside tag='rock, rock-n-roll' label='More Stories For You']\u003c/p>\n\u003cp>Ocasek — The Cars’ lead singer, guitarist and songwriter — was born in Baltimore (as Richard Otcasek) and raised in Cleveland. He co-founded the group with Benjamin Orr, a bassist and vocalist with whom he had begun playing in Ohio. The two began traveling as a duo before landing in Boston. The Cars came together in 1976 with three other musicians: guitarist Elliot Easton, keyboard player Greg Hawkes and drummer David Robinson.\u003c/p>\n\u003cp>Within a year, the group was signed to Elektra. During the initial wave of publicity for their eponymous debut album, then-\u003cem>Rolling Stone \u003c/em>critic Jon Pareles \u003ca href=\"https://www.rollingstone.com/music/music-news/the-cars-ric-ocasek-boston-new-wave-band-cover-176467/\">predicted\u003c/a> the band’s lasting appeal. He wrote: “Everybody liked it: New Wavers recognized Ocasek’s Velvet Underground debts and the cunning ambivalence of his lyrics, while rock fans and radio programmers picked up on the catchy tunes and meticulous arrangements.”\u003c/p>\n\u003cp>Several cuts from \u003cem>The Cars\u003c/em> became instant radio staples, including “Just What I Needed,” “Good Times Roll,” “My Best Friend’s Girl” and “You’re All I’ve Got Tonight.” Each of the group’s next four albums emerged as huge commercial successes as well.\u003c/p>\n\u003cp>But even at its most Top 40-friendly, The Cars wove offbeat, New Wave elements into its sound and look that were a perfect match for the MTV age, such as in 1984’s “\u003ca href=\"https://www.youtube.com/watch?v=3dOx510kyOs\">You Might Think\u003c/a>,” which won the first-ever Video of the Year honor at the MTV Video Music Awards.\u003c/p>\n\u003cp>Ocasek also worked in A&R and produced work by New Wave-era peers like Suicide and Romeo Void. The Cars broke up in 1988, but Ocasek’s influence in rock extended well beyond the apex of the group’s career. In addition to releasing half a dozen solo albums, he worked as a producer for leading bands of a younger generation, including Weezer, No Doubt, Guided by Voices and Bad Religion. Orr died of pancreatic cancer in 2000, but in 2011, the surviving members of The Cars reunited and released a new album, \u003cem>Move Like This\u003c/em>.\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>\u003c/p>\n\u003cp>Ocasek — The Cars’ lead singer, guitarist and songwriter — was born in Baltimore (as Richard Otcasek) and raised in Cleveland. He co-founded the group with Benjamin Orr, a bassist and vocalist with whom he had begun playing in Ohio. The two began traveling as a duo before landing in Boston. The Cars came together in 1976 with three other musicians: guitarist Elliot Easton, keyboard player Greg Hawkes and drummer David Robinson.\u003c/p>\n\u003cp>Within a year, the group was signed to Elektra. During the initial wave of publicity for their eponymous debut album, then-\u003cem>Rolling Stone \u003c/em>critic Jon Pareles \u003ca href=\"https://www.rollingstone.com/music/music-news/the-cars-ric-ocasek-boston-new-wave-band-cover-176467/\">predicted\u003c/a> the band’s lasting appeal. He wrote: “Everybody liked it: New Wavers recognized Ocasek’s Velvet Underground debts and the cunning ambivalence of his lyrics, while rock fans and radio programmers picked up on the catchy tunes and meticulous arrangements.”\u003c/p>\n\u003cp>Several cuts from \u003cem>The Cars\u003c/em> became instant radio staples, including “Just What I Needed,” “Good Times Roll,” “My Best Friend’s Girl” and “You’re All I’ve Got Tonight.” Each of the group’s next four albums emerged as huge commercial successes as well.\u003c/p>\n\u003cp>But even at its most Top 40-friendly, The Cars wove offbeat, New Wave elements into its sound and look that were a perfect match for the MTV age, such as in 1984’s “\u003ca href=\"https://www.youtube.com/watch?v=3dOx510kyOs\">You Might Think\u003c/a>,” which won the first-ever Video of the Year honor at the MTV Video Music Awards.\u003c/p>\n\u003cp>Ocasek also worked in A&R and produced work by New Wave-era peers like Suicide and Romeo Void. The Cars broke up in 1988, but Ocasek’s influence in rock extended well beyond the apex of the group’s career. In addition to releasing half a dozen solo albums, he worked as a producer for leading bands of a younger generation, including Weezer, No Doubt, Guided by Voices and Bad Religion. Orr died of pancreatic cancer in 2000, but in 2011, the surviving members of The Cars reunited and released a new album, \u003cem>Move Like This\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>María Fernanda Papa was 4 years old when she and her family arrived in Miami. She’d begun dancing back home in Venezuela, and when she and her parents settled in the U.S., she asked if she could continue practicing ballet. Eventually, they found a spot for her in an “amazing school,” says María, now 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.classicalballetschool.com/\">That amazing school,\u003c/a> run by the Arts Ballet Theatre of Florida, is in a strip mall in North Miami Beach. Many of the dancers are Venezuelan. In recent years, more than 200,000 Venezuelans fleeing political and economic upheaval have settled in South Florida.\u003c/p>\n\u003cp>Many of the children are continuing artistic studies they began in their home country. \u003ca href=\"https://www.artsballettheatre.org/\">Arts Ballet Theatre\u003c/a> and its associated school is run by Ruby Romero-Issaev and her husband, ballet master \u003ca href=\"https://www.artsballettheatre.org/director-1\">Vladimir Issaev\u003c/a>. They came to Miami from Venezuela in 1997, a couple of years before Hugo Chávez came to power. Over the next two decades, under Chávez and his successor Nicolás Maduro, the country became more authoritarian and basic goods and services became harder to get. So, many other Venezuelans followed, including families with children.\u003c/p>\n\u003cp>[aside tag='if-cities-could-dance' label='WATCH: If Cities Could Dance']\u003c/p>\n\u003cp>“Although they knew they were going to struggle, they didn’t want the children’s lives to change,” Romero-Issaev says. “If they were doing tennis, they wanted to do tennis. If they were doing soccer, they wanted to do soccer. If they were doing ballet, they needed to do ballet.”\u003c/p>\n\u003cp>With help from Miami’s \u003ca href=\"https://www.thechildrenstrust.org/\">Children’s Trust,\u003c/a> a quasi-governmental agency, Arts Ballet Theatre and the school are able to provide scholarships to students from low-income families, including many newly arrived from Venezuela.\u003c/p>\n\u003cp>\u003ca href=\"https://www.artsballettheatre.org/lusian-hernandez\">Lusian Hernández,\u003c/a> 25, is a soloist who dances with Arts Ballet Theatre’s professional company. She came to Miami when she was 16, determined to continue her studies and launch a career. In Venezuela now, she says there are few opportunities for dancers.\u003c/p>\n\u003cp>“Many schools had to close,” Hernández explains. Students didn’t have the money to pay tuition, and without tuition, the schools couldn’t pay rent. “It’s very insecure,” she says. “So [dancers] have to leave the country and the schools start closing.”\u003c/p>\n\u003cp>There used to be three professional ballet companies in Caracas. Now there’s just one, Hernández says, and it’s small. She remembers point shoes were already expensive and hard to find a decade ago — her parents, who are still back at home in Venezuela — say it’s now all but impossible to get a pair.\u003c/p>\n\u003cp>Hernandez considers herself lucky to be in the U.S. where she can continue her studies with the hopes of one day becoming a professional dancer. With help from Arts Ballet Theatre, Hernández collects used point shoes from the company’s dancers which she sends to a dance school in her hometown.\u003c/p>\n\u003cp>Other arts programs in Miami are also working to help young Venezuelans adjust to life in a new country. On a recent afternoon, at a church in the Miami neighborhood of Coconut Grove, a dozen beginners on violins and cellos are playing scales and simple tunes. They’re part of \u003ca href=\"https://www.musicall.org/\">Musicall\u003c/a>, another arts program offering scholarships. About a quarter of the program’s 300 students are from Venezuela.\u003c/p>\n\u003cp>Venezuela is “a very musical country,” says opera singer and Musicall teacher Carlos Silva. He began his vocal studies at a school that was part of El Sistema — the renowned Venezuelan music education program founded more than 40 years ago. Its graduates include \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/04/526897569/gustavo-dudamel-addresses-venezuelas-leaders-enough-is-enough\">conductor Gustavo Dudamel, \u003c/a>who now leads the Los Angeles Philharmonic.\u003c/p>\n\u003cp>But under the Chávez and Muduro regimes, music education programs suffered and many teachers left the country, Silva explains, and now “those who couldn’t travel outside of the country are stuck there and they are facing a lot of problems.”\u003c/p>\n\u003cp>[aside tag='immigration' label='Stories For You']\u003c/p>\n\u003cp>In today’s Venezuela, Silva says, there are more pressing needs than music education. People are starving, he says: “It’s difficult to find a place for music. There are priorities and the priority there is to find something to eat.” Silva wants to someday go back to Venezuela to teach, but he doesn’t know when that might become possible.\u003c/p>\n\u003cp>Ruby Romero-Issaev, with Arts Ballet Theatre, is ready to help rebuild Venezuela, too — but in the meantime, she has work to do here. “We were lucky at a certain point to be here, to have a visa, to be able to work, to be able to establish our lives here,” she says. “We think it’s our responsibility to try to help other Venezuelan families that are bringing the kids.”\u003c/p>\n\u003cp>Knowing what their families and friends are going through in Venezuela is hard for her students, Romero-Issaev says: “You see their sadness, but once they get into the studio, and the music starts to play … their minds, their hearts open and they feel they’re in another world.”\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>María Fernanda Papa was 4 years old when she and her family arrived in Miami. She’d begun dancing back home in Venezuela, and when she and her parents settled in the U.S., she asked if she could continue practicing ballet. Eventually, they found a spot for her in an “amazing school,” says María, now 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.classicalballetschool.com/\">That amazing school,\u003c/a> run by the Arts Ballet Theatre of Florida, is in a strip mall in North Miami Beach. Many of the dancers are Venezuelan. In recent years, more than 200,000 Venezuelans fleeing political and economic upheaval have settled in South Florida.\u003c/p>\n\u003cp>Many of the children are continuing artistic studies they began in their home country. \u003ca href=\"https://www.artsballettheatre.org/\">Arts Ballet Theatre\u003c/a> and its associated school is run by Ruby Romero-Issaev and her husband, ballet master \u003ca href=\"https://www.artsballettheatre.org/director-1\">Vladimir Issaev\u003c/a>. They came to Miami from Venezuela in 1997, a couple of years before Hugo Chávez came to power. Over the next two decades, under Chávez and his successor Nicolás Maduro, the country became more authoritarian and basic goods and services became harder to get. So, many other Venezuelans followed, including families with children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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