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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15152697/radiohead\">Radiohead\u003c/a> has officially released 18 hours of demos and outtakes recorded between 1995 and 1998 during the band’s \u003cem>OK Computer \u003c/em>sessions, after the tapes were reportedly stolen and leaked online. In \u003ca href=\"https://www.radiohead.com/deadairspace\">a statement on the group’s website\u003c/a>, guitarist \u003ca href=\"https://www.npr.org/artists/16215159/jonny-greenwood\">Jonny Greenwood\u003c/a> says “We got hacked last week – someone stole Thom [Yorke’s] minidisk archive from around the time of \u003cem>OK Computer \u003c/em>and reportedly demanded $150,000 on threat of releasing it. So instead of complaining – much – or ignoring it, we’re releasing \u003ca href=\"https://radiohead.bandcamp.com/\">all 18 hours on Bandcamp\u003c/a> in aid of Extinction Rebellion.”\u003c/p>\n\u003cp>The 18 tracks of raw audio are identified only by numbers “MD111” through “MD128,” so discovering what songs are actually on the discs will be an Easter egg hunt, though some fans have been cataloging it on a \u003ca href=\"https://docs.google.com/document/d/1kA8u6UhjbutZ-b7TXzmX4qkOTg6nGC1vPg50WwCcZyo/preview\">shared Google doc\u003c/a>. Greenwood says the recordings will only be available for the next 18 days. “Never intended for public consumption (though some clips did reach the cassette in the \u003cem>OK Computer \u003c/em>reissue) it’s only tangentially interesting. And very, very long.”\u003c/p>\n\u003cp>In 2017, Radiohead released a deluxe version of their groundbreaking album that included three previously unreleased songs – “I Promise,” “Lift” and “Man of War” – along with a cassette tape of select demos.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 700px; height: 820px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=540938686/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In 'Ayesha at Last,' a Take on Austen That's Sparky and Sensitive",
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"content": "\u003cfigure id=\"attachment_13859377\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859377\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ayesha-at-last-800x1200.jpg\" alt=\"'Ayesha at Last' by Uzma Jalaluddin. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Ayesha at Last’ by Uzma Jalaluddin.\u003c/figcaption>\u003c/figure>\n\u003cp>South Asian adaptations of Jane Austen’s timeless \u003cem>Pride and Prejudice \u003c/em>have become quite popular recently — and no, watching the 2005 Bollywood-style token film \u003cem>Bride and Prejudice\u003c/em> — the only famous Indian adaptation of Austen’s novel — doesn’t mean we’ve seen it all. Uzma Jalaluddin’s debut novel \u003cem>Ayesha at Last\u003c/em> — which reads like an Indian soap opera with a dash of Shakespeare — stands out beautifully in the crowd.\u003c/p>\n\u003cp>The novel kicks off with Khalid Mirza and Ayesha Shamsi, two Muslims living in Toronto, who clash at every turn over different interpretations of their faith. Khalid, who’s more conservative, is content with allowing his controlling mother to run his life and arrange his marriage because “love comes after marriage.” Ayesha, on the other hand, is a fiercely independent poet on the rise, who would much rather focus on her career and find a husband on her own than be pressured into a relationship by her gossipy community, just because she’s getting older.\u003c/p>\n\u003cp>When they’re forced to work on a conference together at their mosque, judgmental glares and biting remarks give way to a burgeoning attraction that leaves Khalid confused; after all, his mother has always warned him about the dangers of pre-marital love. “These Western ideas of romantic love are utter nonsense. Just look at the American divorce rate,” his Ammi says. [aside postid='news_11753466']\u003c/p>\n\u003cp>Understandably, we don’t see traditionally sexy scenes in \u003cem>Ayesha at Last\u003c/em>, but the palpable friction between Khalid and Ayesha as they dance around like two magnets desperate to connect creates a whole new level of non-physical seduction. Jalaluddin carefully teases out their romance, taking just enough time and adding just enough heat to make it rise as gracefully as Ayesha’s grandmother’s parathas.\u003c/p>\n\u003cp>Their encounters overflow with tension — which reaches a peak when Khalid’s mother sets him up with Ayesha’s younger (and wealthier) cousin Hafsa, thereby forcing them to admit their feelings and look past their differences, or lose each other for good. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the similarities in the premises, \u003cem>Ayesha at Last \u003c/em>is more than just a Muslim retelling of Austen’s work; Jalaluddin constructs a timely and enlightening narrative that validates the experiences of many South Asians and Muslims today, while weaving in universal themes of identity, class, and discrimination. Though the topic of arranged marriage is prominent in the story, it acts more as a conduit to start lively debates about tradition and change among the different generations. And by highlighting ideological differences between many of the Muslim characters, particularly Ayesha and Khalid, Jalaluddin helps dismantle the misconception that all Muslims are alike. [aside postid='arts_13858424']\u003c/p>\n\u003cp>Even so, our romantic duo experiences their fair share of microaggressions and discrimination because of their culture and religious attire; in fact, Khalid’s supervisor at work goes to extreme lengths to sabotage him, and the uncertainty that constantly follows him at the office — coupled with the private workplace conversations we hear about him — is heartbreaking. Jalaluddin, however, empowers her characters to stand up to injustice and practice their religion with pride instead of staying silent. They don’t ask why they’re being victimized, rather, they want to know how they can speak up, educate others, and be authentic to themselves. [aside postid='arts_13859162']\u003c/p>\n\u003cp>By actively discussing their faith, Ayesha and Khalid begin to change the xenophobic narrative that so often surrounds Islam. In many ways, \u003cem>Ayesha at Last\u003c/em>‘s fictional universe acts as a microcosm of a diverse and oft-misunderstood community, and Jalaluddin’s compassionate and sensitive writing about it radiates off the page.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935468\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Kamrun Nesa is a freelance writer based in New York. Her work has been featured in \u003c/em>The Washington Post\u003cem>, \u003c/em>Bustle\u003cem>, \u003c/em>PopSugar\u003cem>, and \u003c/em>HelloGiggles\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright to \u003ca href=\"http://npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a> 2019.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13859377\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13859377\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ayesha-at-last-800x1200.jpg\" alt=\"'Ayesha at Last' by Uzma Jalaluddin. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ayesha-at-last-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Ayesha at Last’ by Uzma Jalaluddin.\u003c/figcaption>\u003c/figure>\n\u003cp>South Asian adaptations of Jane Austen’s timeless \u003cem>Pride and Prejudice \u003c/em>have become quite popular recently — and no, watching the 2005 Bollywood-style token film \u003cem>Bride and Prejudice\u003c/em> — the only famous Indian adaptation of Austen’s novel — doesn’t mean we’ve seen it all. Uzma Jalaluddin’s debut novel \u003cem>Ayesha at Last\u003c/em> — which reads like an Indian soap opera with a dash of Shakespeare — stands out beautifully in the crowd.\u003c/p>\n\u003cp>The novel kicks off with Khalid Mirza and Ayesha Shamsi, two Muslims living in Toronto, who clash at every turn over different interpretations of their faith. Khalid, who’s more conservative, is content with allowing his controlling mother to run his life and arrange his marriage because “love comes after marriage.” Ayesha, on the other hand, is a fiercely independent poet on the rise, who would much rather focus on her career and find a husband on her own than be pressured into a relationship by her gossipy community, just because she’s getting older.\u003c/p>\n\u003cp>When they’re forced to work on a conference together at their mosque, judgmental glares and biting remarks give way to a burgeoning attraction that leaves Khalid confused; after all, his mother has always warned him about the dangers of pre-marital love. “These Western ideas of romantic love are utter nonsense. Just look at the American divorce rate,” his Ammi says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Understandably, we don’t see traditionally sexy scenes in \u003cem>Ayesha at Last\u003c/em>, but the palpable friction between Khalid and Ayesha as they dance around like two magnets desperate to connect creates a whole new level of non-physical seduction. Jalaluddin carefully teases out their romance, taking just enough time and adding just enough heat to make it rise as gracefully as Ayesha’s grandmother’s parathas.\u003c/p>\n\u003cp>Their encounters overflow with tension — which reaches a peak when Khalid’s mother sets him up with Ayesha’s younger (and wealthier) cousin Hafsa, thereby forcing them to admit their feelings and look past their differences, or lose each other for good. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the similarities in the premises, \u003cem>Ayesha at Last \u003c/em>is more than just a Muslim retelling of Austen’s work; Jalaluddin constructs a timely and enlightening narrative that validates the experiences of many South Asians and Muslims today, while weaving in universal themes of identity, class, and discrimination. Though the topic of arranged marriage is prominent in the story, it acts more as a conduit to start lively debates about tradition and change among the different generations. And by highlighting ideological differences between many of the Muslim characters, particularly Ayesha and Khalid, Jalaluddin helps dismantle the misconception that all Muslims are alike. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even so, our romantic duo experiences their fair share of microaggressions and discrimination because of their culture and religious attire; in fact, Khalid’s supervisor at work goes to extreme lengths to sabotage him, and the uncertainty that constantly follows him at the office — coupled with the private workplace conversations we hear about him — is heartbreaking. Jalaluddin, however, empowers her characters to stand up to injustice and practice their religion with pride instead of staying silent. They don’t ask why they’re being victimized, rather, they want to know how they can speak up, educate others, and be authentic to themselves. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By actively discussing their faith, Ayesha and Khalid begin to change the xenophobic narrative that so often surrounds Islam. In many ways, \u003cem>Ayesha at Last\u003c/em>‘s fictional universe acts as a microcosm of a diverse and oft-misunderstood community, and Jalaluddin’s compassionate and sensitive writing about it radiates off the page.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935468\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Kamrun Nesa is a freelance writer based in New York. Her work has been featured in \u003c/em>The Washington Post\u003cem>, \u003c/em>Bustle\u003cem>, \u003c/em>PopSugar\u003cem>, and \u003c/em>HelloGiggles\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright to \u003ca href=\"http://npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a> 2019.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alone Together: Robyn's 'Dancing On My Own' Opens The Corners Of Community",
"headTitle": "Alone Together: Robyn’s ‘Dancing On My Own’ Opens The Corners Of Community | 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\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>“Dancing on My Own” starts with one of the most visceral, propelling four-to-the-floor beats of the past few decades. The tempo is perfectly situated right around 118 beats per minute, pretty close to what scientists say is the preferred walking tempo for humans. The one-five-four chord progression is immediately familiar, like it’s been around since the beginning of time. Everything about it is meant to make you smile and move and dance. It could easily be a perfect teen pop song, especially considering \u003ca href=\"https://www.npr.org/artists/90029878/robyn\">Robyn \u003c/a>got her start making just that.\u003c/p>\n\u003cp>But “Dancing on My Own” is more than that. When the lyrics start, you realize she’s tricked you, that it’s all one big bait and switch. This is a breakup song:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Somebody said you got a new friend\u003cbr>\nDoes she love you better than I can?\u003cbr>\nThere’s a big black sky over my town\u003cbr>\nI know where you’re at, I bet she’s around\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>In lesser hands, it might be confusing. When Robyn does it, it’s human. Contrary emotions wrapped up in one package, happiness and sadness living together in a groove: Everything about this song is a juxtaposition. That’s what makes it an anthem.\u003c/p>\n\u003cp>[aside postID='pop_109670' hero='https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/robyn-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>When I decided to make “Dancing on My Own” my pick for NPR’s American Anthem series, I went to social media and asked anyone who saw the request to send me their stories about the song. I heard a little bit of everything.\u003c/p>\n\u003cp>There were the DJs who spin it at wedding receptions, knowing it will get everyone on the floor. People who have played it for hours in one sitting, or kept it on repeat for a road trip hundreds of miles long, or made it the last dance at every house party they’ve ever thrown. People who insist it can be a queer anthem: “\u003cem>Is she singing ‘I’m not the GIRL you’re taking home’ or ‘I’m not the GUY you’re taking home’? Who knows! Maybe she MEANT it that way? ROBYN IS A GENIUS\u003c/em>,” they said, more or less. The ones who have used it to get through not just breakups, but cancer, or death, or a lot more, who love that decadent drum fill toward the end more than life.\u003c/p>\n\u003cp>All stories of juxtaposition. People finding community in a song all about being solo.\u003c/p>\n\u003cp>https://youtu.be/CcNo07Xp8aQ\u003c/p>\n\u003cp>In the late 1990s, when she was still a teenager, Robyn had two U.S. Top 10 singles. “\u003ca href=\"https://www.youtube.com/watch?v=bhWEI6-_w9E\">Show Me Love\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z4n6ymEMQmk\">Do You Know (What It Takes)\u003c/a>” were in line with the rest of the teen pop from those days, adjacent in sound to the Backstreet Boys and ‘N Sync and Britney Spears. Less than 10 years later, Robyn had left all that behind, made her own label, Konichiwa Records, changed up her image and started making pop with an edge.\u003c/p>\n\u003cp>“It was a big, big change for me,” \u003ca href=\"https://www.npr.org/sections/therecord/2010/08/05/129012343/robyn-says-her-business-decisions-are-really-selfish\">Robyn told NPR\u003c/a> in 2010, “but I really didn’t feel like I had another option. For me it was like the last, last thing to try, before I was going to quit music.”\u003c/p>\n\u003cp>It worked. Robyn’s self-titled album and its follow-up, the three-part \u003cem>Body Talk\u003c/em> series, made her a star in Europe and a cult favorite in the States. Music critic Sasha Geffen says in this new phase of her career, Robyn succeeds because she still has teen pop in her heart, even if she broke up with that part of the industry.\u003c/p>\n\u003cp>“It’s important to see her as a teenager who survived,” Geffen says. “She has kind of learned to carry the intensity of teenage emotion into perfectly adult pop songs … which I think is incredible.”\u003c/p>\n\u003cp>Patrik Berger, who co-wrote and produced the song with Robyn, told me the lyrics were the hardest part. The chords and the track and the melody came together pretty quickly, but every single word took its time.\u003c/p>\n\u003cp>“I think we spent, like, a couple of days on each line,” Berger says. “I remember we were texting each other for, like, weeks on lines. I have a notebook [full] of lyrics that we scrapped.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. [/pullquote]\u003c/p>\n\u003cp>The result is only around 130 words, with a simple, accessible story. A woman ends up at the same club as her ex. She sees him across the floor, dancing with someone new. She’s hurt, but she keeps dancing, over a floor full of stiletto heels and broken bottles. Drum break. Repeat.\u003c/p>\n\u003cp>Nate Sloan, a musicologist at the University of Southern California and host of the music podcast \u003ca href=\"https://www.switchedonpop.com/\">Switched On Pop\u003c/a>, says the miracle of those lyrics is their sparseness. “[There’s] like six seconds of silence between each line in the verse,” Sloan says. “Which is not a lot of time in the abstract, but on a pop song, that’s like eons.”\u003c/p>\n\u003cp>[aside postID='arts_13839666' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/08/ttt-robyn_custom-886e1f4c19aec3e192b3965d40d4351f0242ef32-1180x813.jpg' target='_blank']\u003c/p>\n\u003cp>It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. Berger says his favorite line is one that gets at an extremely teenage feeling:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Yeah, I know it’s stupid\u003cbr>\nI just gotta see it for myself\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’re not being the smartest person on the planet,” he says, unpacking the words. “You’re not being the nicest, you’re not being the best. You’re just a loser — and that’s fine.”\u003c/p>\n\u003cp>Though “Dancing on My Own” was never a radio hit in the states (I’ve never heard it on the radio once), it has had a long shelf life. Lena Dunham and Allison Williams danced to it in an episode of HBO’s \u003cem>Girls\u003c/em>, pushing through their characters’ mid-20s pain. Just this year, it ran under the credits of the Charlize Theron/Seth Rogen rom-com \u003cem>Long Shot\u003c/em> and was a major plot point in the Elle Fanning pop fable \u003cem>Teen Spirit\u003c/em>. In 2016, \u003cem>Britain’s Got Talent\u003c/em> contestant Calum Scott took his slowed-down acoustic cover to No. 2 in the U.K., a higher peak than that of Robyn’s original recording.\u003c/p>\n\u003cp>https://youtu.be/q31tGyBJhRY\u003c/p>\n\u003cp>But whenever the song has popped up in the close to 10 years since its release, the moral of its story has remained the same. Everything I’ve found in the months I’ve spent thinking about it, talking to people about it, working it into my bones, has shown that this song, all about being alone, has helped people find community and togetherness.\u003c/p>\n\u003cp>Nora McInerny is one such example. “That whole album [\u003cem>Body Talk\u003c/em>] reminds me of it being October in Minnesota,” she says. “The sun shining, this really blue crisp sky. The air is cold, the leaves are turning but it hasn’t snowed yet, and I’m driving down the freeway, listening to these songs that are so hopeful and energetic. It just feels like falling in love when I hear those songs.”\u003c/p>\n\u003cp>Nora is a writer and host of the podcast \u003ca href=\"https://www.ttfa.org/\">Terrible, Thanks For Asking\u003c/a>. She says the moment she met her husband, Aaron, he had one question for her: “Do you like Robyn?”\u003c/p>\n\u003cp>Aaron made Nora consume the singer’s entire discography, and it became the soundtrack to their courtship. She says she remembers him killing Robyn’s songs at karaoke, or dancing so wildly to them that he once caused a good friend to tear his ACL on the dance floor: “Strangers would applaud him.” When they got married, they walked down the aisle to a Robyn song.\u003c/p>\n\u003cp>But a few years after their relationship began, it ended. Aaron was diagnosed with brain cancer. Robyn’s music became a soundtrack to a different part of their lives.\u003c/p>\n\u003cp>Before Aaron died, he made Nora a playlist of songs to play at his funeral. She says about 1,000 people showed up to the “makeshift” ceremony, put together in a big studio space in Minneapolis. When the crowd had thinned out to about 100, the music, hand-selected by the man whose life they were there to honor, was still playing. Nora, a little drunk by then, found herself dancing with her friends to “Dancing on My Own.”\u003c/p>\n\u003cp>To this day, she says, there’s a moment in the song that makes her cry:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>So far away, but still so near\u003cbr>\nThe lights go on, the music dies\u003cbr>\nBut you don’t see me standing here\u003cbr>\nI just came to say goodbye\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“What’s true of most human experiences is that you’re going to have more than one emotion at a time,” she says. “It’s very rare to have all of that in a song.”\u003c/p>\n\u003cp>These days, she says, hearing “Dancing on My Own” makes her think of the friends she was with that night, or of how she now loves to pull her and Aaron’s son out onto the dance floor at parties. She thinks about being in communion with others, finding some way to get through it all.\u003c/p>\n\u003cp>Nora, of course, is not alone. Go down the rabbit hole of live videos and you’ll see crowds \u003ca href=\"https://www.youtube.com/watch?v=NWqRNIAVZwM\">bursting into the chorus\u003c/a> a cappella, singing perfectly and earnestly like a children’s choir. Or the one where dozens of Robyn concertgoers wait on a subway platform after a show in New York: bundled up, crammed shoulder to shoulder, \u003ca href=\"https://www.youtube.com/watch?v=wLm4PwYuF8I\">singing “Dancing on My Own,” together\u003c/a>.\u003c/p>\n\u003cp>This is what’s so confusing, so endearing and so lovable about this song. When I talk to people about it, they tell me how it always manages to make them feel less lost — eager to dance themselves toward the next day, or the next party, or the next lover. It’s a song about loneliness, but the moment you hear it, you instantly feel less alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I decided to make “Dancing on My Own” my pick for NPR’s American Anthem series, I went to social media and asked anyone who saw the request to send me their stories about the song. I heard a little bit of everything.\u003c/p>\n\u003cp>There were the DJs who spin it at wedding receptions, knowing it will get everyone on the floor. People who have played it for hours in one sitting, or kept it on repeat for a road trip hundreds of miles long, or made it the last dance at every house party they’ve ever thrown. People who insist it can be a queer anthem: “\u003cem>Is she singing ‘I’m not the GIRL you’re taking home’ or ‘I’m not the GUY you’re taking home’? Who knows! Maybe she MEANT it that way? ROBYN IS A GENIUS\u003c/em>,” they said, more or less. The ones who have used it to get through not just breakups, but cancer, or death, or a lot more, who love that decadent drum fill toward the end more than life.\u003c/p>\n\u003cp>All stories of juxtaposition. People finding community in a song all about being solo.\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/CcNo07Xp8aQ'\n title='//www.youtube.com/embed/CcNo07Xp8aQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the late 1990s, when she was still a teenager, Robyn had two U.S. Top 10 singles. “\u003ca href=\"https://www.youtube.com/watch?v=bhWEI6-_w9E\">Show Me Love\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z4n6ymEMQmk\">Do You Know (What It Takes)\u003c/a>” were in line with the rest of the teen pop from those days, adjacent in sound to the Backstreet Boys and ‘N Sync and Britney Spears. Less than 10 years later, Robyn had left all that behind, made her own label, Konichiwa Records, changed up her image and started making pop with an edge.\u003c/p>\n\u003cp>“It was a big, big change for me,” \u003ca href=\"https://www.npr.org/sections/therecord/2010/08/05/129012343/robyn-says-her-business-decisions-are-really-selfish\">Robyn told NPR\u003c/a> in 2010, “but I really didn’t feel like I had another option. For me it was like the last, last thing to try, before I was going to quit music.”\u003c/p>\n\u003cp>It worked. Robyn’s self-titled album and its follow-up, the three-part \u003cem>Body Talk\u003c/em> series, made her a star in Europe and a cult favorite in the States. Music critic Sasha Geffen says in this new phase of her career, Robyn succeeds because she still has teen pop in her heart, even if she broke up with that part of the industry.\u003c/p>\n\u003cp>“It’s important to see her as a teenager who survived,” Geffen says. “She has kind of learned to carry the intensity of teenage emotion into perfectly adult pop songs … which I think is incredible.”\u003c/p>\n\u003cp>Patrik Berger, who co-wrote and produced the song with Robyn, told me the lyrics were the hardest part. The chords and the track and the melody came together pretty quickly, but every single word took its time.\u003c/p>\n\u003cp>“I think we spent, like, a couple of days on each line,” Berger says. “I remember we were texting each other for, like, weeks on lines. I have a notebook [full] of lyrics that we scrapped.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The result is only around 130 words, with a simple, accessible story. A woman ends up at the same club as her ex. She sees him across the floor, dancing with someone new. She’s hurt, but she keeps dancing, over a floor full of stiletto heels and broken bottles. Drum break. Repeat.\u003c/p>\n\u003cp>Nate Sloan, a musicologist at the University of Southern California and host of the music podcast \u003ca href=\"https://www.switchedonpop.com/\">Switched On Pop\u003c/a>, says the miracle of those lyrics is their sparseness. “[There’s] like six seconds of silence between each line in the verse,” Sloan says. “Which is not a lot of time in the abstract, but on a pop song, that’s like eons.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. Berger says his favorite line is one that gets at an extremely teenage feeling:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Yeah, I know it’s stupid\u003cbr>\nI just gotta see it for myself\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’re not being the smartest person on the planet,” he says, unpacking the words. “You’re not being the nicest, you’re not being the best. You’re just a loser — and that’s fine.”\u003c/p>\n\u003cp>Though “Dancing on My Own” was never a radio hit in the states (I’ve never heard it on the radio once), it has had a long shelf life. Lena Dunham and Allison Williams danced to it in an episode of HBO’s \u003cem>Girls\u003c/em>, pushing through their characters’ mid-20s pain. Just this year, it ran under the credits of the Charlize Theron/Seth Rogen rom-com \u003cem>Long Shot\u003c/em> and was a major plot point in the Elle Fanning pop fable \u003cem>Teen Spirit\u003c/em>. In 2016, \u003cem>Britain’s Got Talent\u003c/em> contestant Calum Scott took his slowed-down acoustic cover to No. 2 in the U.K., a higher peak than that of Robyn’s original recording.\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/q31tGyBJhRY'\n title='//www.youtube.com/embed/q31tGyBJhRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But whenever the song has popped up in the close to 10 years since its release, the moral of its story has remained the same. Everything I’ve found in the months I’ve spent thinking about it, talking to people about it, working it into my bones, has shown that this song, all about being alone, has helped people find community and togetherness.\u003c/p>\n\u003cp>Nora McInerny is one such example. “That whole album [\u003cem>Body Talk\u003c/em>] reminds me of it being October in Minnesota,” she says. “The sun shining, this really blue crisp sky. The air is cold, the leaves are turning but it hasn’t snowed yet, and I’m driving down the freeway, listening to these songs that are so hopeful and energetic. It just feels like falling in love when I hear those songs.”\u003c/p>\n\u003cp>Nora is a writer and host of the podcast \u003ca href=\"https://www.ttfa.org/\">Terrible, Thanks For Asking\u003c/a>. She says the moment she met her husband, Aaron, he had one question for her: “Do you like Robyn?”\u003c/p>\n\u003cp>Aaron made Nora consume the singer’s entire discography, and it became the soundtrack to their courtship. She says she remembers him killing Robyn’s songs at karaoke, or dancing so wildly to them that he once caused a good friend to tear his ACL on the dance floor: “Strangers would applaud him.” When they got married, they walked down the aisle to a Robyn song.\u003c/p>\n\u003cp>But a few years after their relationship began, it ended. Aaron was diagnosed with brain cancer. Robyn’s music became a soundtrack to a different part of their lives.\u003c/p>\n\u003cp>Before Aaron died, he made Nora a playlist of songs to play at his funeral. She says about 1,000 people showed up to the “makeshift” ceremony, put together in a big studio space in Minneapolis. When the crowd had thinned out to about 100, the music, hand-selected by the man whose life they were there to honor, was still playing. Nora, a little drunk by then, found herself dancing with her friends to “Dancing on My Own.”\u003c/p>\n\u003cp>To this day, she says, there’s a moment in the song that makes her cry:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>So far away, but still so near\u003cbr>\nThe lights go on, the music dies\u003cbr>\nBut you don’t see me standing here\u003cbr>\nI just came to say goodbye\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“What’s true of most human experiences is that you’re going to have more than one emotion at a time,” she says. “It’s very rare to have all of that in a song.”\u003c/p>\n\u003cp>These days, she says, hearing “Dancing on My Own” makes her think of the friends she was with that night, or of how she now loves to pull her and Aaron’s son out onto the dance floor at parties. She thinks about being in communion with others, finding some way to get through it all.\u003c/p>\n\u003cp>Nora, of course, is not alone. Go down the rabbit hole of live videos and you’ll see crowds \u003ca href=\"https://www.youtube.com/watch?v=NWqRNIAVZwM\">bursting into the chorus\u003c/a> a cappella, singing perfectly and earnestly like a children’s choir. Or the one where dozens of Robyn concertgoers wait on a subway platform after a show in New York: bundled up, crammed shoulder to shoulder, \u003ca href=\"https://www.youtube.com/watch?v=wLm4PwYuF8I\">singing “Dancing on My Own,” together\u003c/a>.\u003c/p>\n\u003cp>This is what’s so confusing, so endearing and so lovable about this song. When I talk to people about it, they tell me how it always manages to make them feel less lost — eager to dance themselves toward the next day, or the next party, or the next lover. It’s a song about loneliness, but the moment you hear it, you instantly feel less alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "‘Life With Picasso’ Stands As An Invaluable Work Of Art History | KQED",
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"content": "\u003cp>When the French painter and writer Françoise Gilot was 21, she met an older artist at a Paris restaurant. He invited her to visit his studio, and they quickly fell in love.\u003c/p>\n\u003cp>She defied her bourgeois family by moving in with him, and they remained together for 10 years. They raised two children, and she slowed her own career to be his muse, manager and support system. But this became untenable, and she left him, becoming a highly successful painter in her own right. As for the older artist — well, he was Pablo Picasso.\u003c/p>\n\u003cfigure id=\"attachment_13859180\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg\" alt=\"'Life With Picasso' by Francoise Gilot, Carlton Lake and Lisa Alther. \" width=\"800\" height=\"1274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-160x255.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-768x1223.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-754x1200.jpg 754w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Life With Picasso’\u003cbr>by Francoise Gilot, Carlton Lake and Lisa Alther. \u003ccite>( Random House Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade after she and Picasso split, Gilot wrote a memoir of their time together, \u003cem>Life with Picasso\u003c/em>, newly reissued by NYRB Classics. When it first came out, Picasso launched three lawsuits trying to block its publication — and 40 French intellectuals signed a manifesto asking that it be banned. The novelist Lisa Alther writes in her introduction to the new edition that these intellectuals “evidently found it acceptable for Picasso to have used Gilot’s likeness in hundreds of his artworks — but scandalous if she portrayed him in hers.” Thankfully, the challenges to \u003cem>Life with Picasso\u003c/em> failed. Today, it stands as both an invaluable work of art history and a revealing precursor to the literature of #MeToo.\u003c/p>\n\u003cp>I have to admit to a certain temptation to read \u003cem>Life with Picasso \u003c/em>exclusively as the latter. In Gilot’s telling, which is without fail warm and empathic, Picasso emerges as domineering, sexist, and borderline abusive. Multiple times in the narrative, he prevents Gilot from seeking medical care. He tells her frequently that “there are only two kinds of women — goddesses and doormats.” But Gilot is neither. She is never a victim or an ingénue. In \u003cem>Life with Picasso\u003c/em>, she is a highly intelligent young artist to whom her former lover’s artwork is as intellectually exciting as their relationship was destructive.\u003c/p>\n\u003cp>Several of the best novels that have thus far emerged from the #MeToo movement, or been linked to it, have placed serious emphasis on their female protagonists’ intelligence or creativity as a source of agency, self-respect and liberation. Lisa Halliday’s \u003cem>Asymmetry \u003c/em>and Susan Choi’s \u003cem>Trust Exercise \u003c/em>excel on that front. Even the hapless protagonist of Erin Somers’ \u003cem>Stay Up with Hugo Best \u003c/em>out-talks the late-night host with whom she becomes entangled. \u003cem>Life with Picasso \u003c/em>prefigures these books. Throughout the memoir, Gilot takes control through her artistic intelligence. She describes Picasso’s methods and compares him to his contemporaries, filtering their work through her own exacting critical eye.\u003c/p>\n\u003cp>Gilot is exceptionally good at describing art. Often, she breaks an artwork into its essentials, as with a Picasso portrait that “had its planes brought over from the profile onto the front view, in blue and the black-gray-white gamut with ochre that is one of Pablo’s typical combinations.” But periodically she moves into full lyricism, as when she visits Giacometti’s studio:\u003c/p>\n\u003cblockquote>\u003cp>“One gets the feeling of life or movement because of the exceptional acuity of Giacometti’s sense of proportion. He makes us feel that his people are in motion, not by imitating any kind of gesture, but by the proportion himself and by the elongation of the material.”\u003c/p>\u003c/blockquote>\n\u003cp>At no point does she mention what Picasso thought of Giacometti’s work. It’s Gilot’s ideas that matter.\u003c/p>\n\u003cp>[aside postID='arts_13857445' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/09-TRIPLE-ELVIS_COVER-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>That said, Gilot does spend significant time describing Picasso’s artistic methods and ideas. This seems not like subordination, but like study. It also underscores the extent to which her attraction to him relied on his art. “At the time I went to live with Pablo,” she writes, “I had felt that he was a person to whom I could, and should, devote myself entirely, but from whom I should expect to receive nothing beyond what he had given the world by means of his art. I consented to make my life with him on those terms.” From a contemporary perspective, this consent seems compromised, given how much older and more powerful Picasso was than Gilot. Soon enough, Gilot, too, starts to notice its flaws.\u003c/p>\n\u003cp>Only at the memoir’s start does Picasso treat Gilot at all well. Once he persuades her to have children, their relationship rapidly falls apart. Picasso becomes distant and cruel. He cheats on Gilot and isolates her from Paris, and from her family. He pressures her to submit fully to his will; watching their newborn daughter Paloma sleep, he comments, “She’ll be a perfect woman… Passive and submissive. That’s the way all girls should be.”\u003c/p>\n\u003cp>At this point, the narrative takes on a familiar shape. Picasso uses all his influence to prevent Gilot from leaving him and from speaking publicly about his treatment of her. Gilot does both. She maintains clear respect for her former lover as both man and artist, but it is difficult to read \u003cem>Life with Picasso \u003c/em>and not come away both disappointed in Picasso and deeply respectful of Gilot’s intelligence, writing talent and will.\u003c/p>\n\u003cp>At the end of \u003cem>Life with Picasso\u003c/em>, as Picasso tries to prevent Gilot from leaving, he sneers, “You imagine people will be interested in \u003cem>you\u003c/em>? … Even if you think people like you, it will only be a kind of curiosity they will have about a person whose life has touched mine.” Reading \u003cem>Life with Picasso \u003c/em>exclusively as art history or feminist history would fulfill Picasso’s cruel prophecy. The book’s intellectual heft is in its art criticism, even as its emotional arc lies in Picasso and Gilot’s unequal romance. Only by appreciating both can readers accord Gilot the respect she deserves.\u003c/p>\n\u003cp>\u003cem>Lily Meyer is a writer and translator living in Washington, D.C.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">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>When the French painter and writer Françoise Gilot was 21, she met an older artist at a Paris restaurant. He invited her to visit his studio, and they quickly fell in love.\u003c/p>\n\u003cp>She defied her bourgeois family by moving in with him, and they remained together for 10 years. They raised two children, and she slowed her own career to be his muse, manager and support system. But this became untenable, and she left him, becoming a highly successful painter in her own right. As for the older artist — well, he was Pablo Picasso.\u003c/p>\n\u003cfigure id=\"attachment_13859180\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg\" alt=\"'Life With Picasso' by Francoise Gilot, Carlton Lake and Lisa Alther. \" width=\"800\" height=\"1274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-160x255.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-768x1223.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/gilot_2_800-754x1200.jpg 754w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Life With Picasso’\u003cbr>by Francoise Gilot, Carlton Lake and Lisa Alther. \u003ccite>( Random House Inc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade after she and Picasso split, Gilot wrote a memoir of their time together, \u003cem>Life with Picasso\u003c/em>, newly reissued by NYRB Classics. When it first came out, Picasso launched three lawsuits trying to block its publication — and 40 French intellectuals signed a manifesto asking that it be banned. The novelist Lisa Alther writes in her introduction to the new edition that these intellectuals “evidently found it acceptable for Picasso to have used Gilot’s likeness in hundreds of his artworks — but scandalous if she portrayed him in hers.” Thankfully, the challenges to \u003cem>Life with Picasso\u003c/em> failed. Today, it stands as both an invaluable work of art history and a revealing precursor to the literature of #MeToo.\u003c/p>\n\u003cp>I have to admit to a certain temptation to read \u003cem>Life with Picasso \u003c/em>exclusively as the latter. In Gilot’s telling, which is without fail warm and empathic, Picasso emerges as domineering, sexist, and borderline abusive. Multiple times in the narrative, he prevents Gilot from seeking medical care. He tells her frequently that “there are only two kinds of women — goddesses and doormats.” But Gilot is neither. She is never a victim or an ingénue. In \u003cem>Life with Picasso\u003c/em>, she is a highly intelligent young artist to whom her former lover’s artwork is as intellectually exciting as their relationship was destructive.\u003c/p>\n\u003cp>Several of the best novels that have thus far emerged from the #MeToo movement, or been linked to it, have placed serious emphasis on their female protagonists’ intelligence or creativity as a source of agency, self-respect and liberation. Lisa Halliday’s \u003cem>Asymmetry \u003c/em>and Susan Choi’s \u003cem>Trust Exercise \u003c/em>excel on that front. Even the hapless protagonist of Erin Somers’ \u003cem>Stay Up with Hugo Best \u003c/em>out-talks the late-night host with whom she becomes entangled. \u003cem>Life with Picasso \u003c/em>prefigures these books. Throughout the memoir, Gilot takes control through her artistic intelligence. She describes Picasso’s methods and compares him to his contemporaries, filtering their work through her own exacting critical eye.\u003c/p>\n\u003cp>Gilot is exceptionally good at describing art. Often, she breaks an artwork into its essentials, as with a Picasso portrait that “had its planes brought over from the profile onto the front view, in blue and the black-gray-white gamut with ochre that is one of Pablo’s typical combinations.” But periodically she moves into full lyricism, as when she visits Giacometti’s studio:\u003c/p>\n\u003cblockquote>\u003cp>“One gets the feeling of life or movement because of the exceptional acuity of Giacometti’s sense of proportion. He makes us feel that his people are in motion, not by imitating any kind of gesture, but by the proportion himself and by the elongation of the material.”\u003c/p>\u003c/blockquote>\n\u003cp>At no point does she mention what Picasso thought of Giacometti’s work. It’s Gilot’s ideas that matter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That said, Gilot does spend significant time describing Picasso’s artistic methods and ideas. This seems not like subordination, but like study. It also underscores the extent to which her attraction to him relied on his art. “At the time I went to live with Pablo,” she writes, “I had felt that he was a person to whom I could, and should, devote myself entirely, but from whom I should expect to receive nothing beyond what he had given the world by means of his art. I consented to make my life with him on those terms.” From a contemporary perspective, this consent seems compromised, given how much older and more powerful Picasso was than Gilot. Soon enough, Gilot, too, starts to notice its flaws.\u003c/p>\n\u003cp>Only at the memoir’s start does Picasso treat Gilot at all well. Once he persuades her to have children, their relationship rapidly falls apart. Picasso becomes distant and cruel. He cheats on Gilot and isolates her from Paris, and from her family. He pressures her to submit fully to his will; watching their newborn daughter Paloma sleep, he comments, “She’ll be a perfect woman… Passive and submissive. That’s the way all girls should be.”\u003c/p>\n\u003cp>At this point, the narrative takes on a familiar shape. Picasso uses all his influence to prevent Gilot from leaving him and from speaking publicly about his treatment of her. Gilot does both. She maintains clear respect for her former lover as both man and artist, but it is difficult to read \u003cem>Life with Picasso \u003c/em>and not come away both disappointed in Picasso and deeply respectful of Gilot’s intelligence, writing talent and will.\u003c/p>\n\u003cp>At the end of \u003cem>Life with Picasso\u003c/em>, as Picasso tries to prevent Gilot from leaving, he sneers, “You imagine people will be interested in \u003cem>you\u003c/em>? … Even if you think people like you, it will only be a kind of curiosity they will have about a person whose life has touched mine.” Reading \u003cem>Life with Picasso \u003c/em>exclusively as art history or feminist history would fulfill Picasso’s cruel prophecy. The book’s intellectual heft is in its art criticism, even as its emotional arc lies in Picasso and Gilot’s unequal romance. Only by appreciating both can readers accord Gilot the respect she deserves.\u003c/p>\n\u003cp>\u003cem>Lily Meyer is a writer and translator living in Washington, D.C.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After 18 years, Apple is killing iTunes — well, sort of. The media management software for most Mac users (and many Windows users) is being broken into separate pieces for separate uses: Music, podcasts and television will soon have \u003ca href=\"https://www.apple.com/newsroom/2019/06/apple-previews-macos-catalina/\">their own apps\u003c/a> on the new Catalina Mac operating system.\u003c/p>\n\u003cp>Apple announced the move on Monday along with new hardware, including a new Mac Pro and Pro Display XDR, and entertainment and lifestyle features.\u003cbr>\n[aside postID='arts_13852882' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-1020x680.jpeg' target='_blank']\u003cbr>\nBut the company’s presentation, at its developers conference in San Jose, Calif., offered a lot of suspense around iTunes. “Tell me about iTunes or leave me alone while I feverishly try to back up my library lmao,” \u003ca href=\"https://twitter.com/tonyisapoet/status/1135617456276291584\">tweeted\u003c/a> one user.\u003c/p>\n\u003cp>Apple laid to rest a misapprehension that the iTunes Store (where users purchase songs and albums for download) would be going away in favor of Apple Music (the company’s streaming service). The iTunes Store will remain, as will the music that people bought from it. But Apple did address a long-running complaint from users of the iTunes desktop app: mainly, that it’s trying to be too many things at once.\u003c/p>\n\u003cp>At Monday’s conference, Craig Federighi, Apple’s senior vice president of software engineering, joked about this. “Customers love iTunes and everything it can do,” he said, before sarcastically asking: “But if there’s one thing we hear over and over, it’s ‘Can iTunes do even more?’ ”\u003c/p>\n\u003cp>Apple announced it will be launching a new stand-alone music app for Mac, as well as a new and improved TV app and a podcast app. And it said device syncing will now be handled in the Finder, the macOS file manager. Apple did not say how syncing iPhones or iPads would be handled on Windows machines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>iTunes will continue as a music store, but the new music app will be more closely aligned with Apple’s music-streaming service.\u003c/p>\n\u003cp>Apple has seen a \u003ca href=\"https://www.businessinsider.com/apple-biggest-iphone-sales-decline-in-3-years-gartner-says-2019-2\">decline in iPhone sales\u003c/a> due to a confluence of factors, including fewer buyers in China and an extended upgrade cycle. The company has been rebranding itself as a streaming-entertainment provider.\u003c/p>\n\u003cp>[aside postID='arts_13849625' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/01/Pandora.MAIN_-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>And it has made no secret of looking to grow its \u003ca href=\"https://www.npr.org/2019/03/25/706513097/apple-debuts-streaming-video-payment-card-and-news-subscription-services\">services businesses\u003c/a>, including the Apple Music streaming service, a forthcoming TV-streaming service and a magazine subscription service.\u003c/p>\n\u003cp>So is owning music becoming a thing of the past?\u003c/p>\n\u003cp>Streaming made up \u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2016/01/RIAA-2018-Year-End-Music-Industry-Revenue-Report.pdf\">75% of the music industry’s revenue last year\u003c/a>. It’s so lucrative that music streaming is where one of the fiercest battles against Apple’s alleged monopoly is being waged. In March, Spotify announced it had filed an antitrust complaint against Apple with the European Commission. Spotify says the 30% commission on all App Store purchases is unfair because it forces Spotify users to pay more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These accusations aren’t just happening in Europe. In the U.S., the Supreme Court recently ruled that a class action lawsuit accusing Apple of operating an App Store monopoly can proceed.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nBut the company’s presentation, at its developers conference in San Jose, Calif., offered a lot of suspense around iTunes. “Tell me about iTunes or leave me alone while I feverishly try to back up my library lmao,” \u003ca href=\"https://twitter.com/tonyisapoet/status/1135617456276291584\">tweeted\u003c/a> one user.\u003c/p>\n\u003cp>Apple laid to rest a misapprehension that the iTunes Store (where users purchase songs and albums for download) would be going away in favor of Apple Music (the company’s streaming service). The iTunes Store will remain, as will the music that people bought from it. But Apple did address a long-running complaint from users of the iTunes desktop app: mainly, that it’s trying to be too many things at once.\u003c/p>\n\u003cp>At Monday’s conference, Craig Federighi, Apple’s senior vice president of software engineering, joked about this. “Customers love iTunes and everything it can do,” he said, before sarcastically asking: “But if there’s one thing we hear over and over, it’s ‘Can iTunes do even more?’ ”\u003c/p>\n\u003cp>Apple announced it will be launching a new stand-alone music app for Mac, as well as a new and improved TV app and a podcast app. And it said device syncing will now be handled in the Finder, the macOS file manager. Apple did not say how syncing iPhones or iPads would be handled on Windows machines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it has made no secret of looking to grow its \u003ca href=\"https://www.npr.org/2019/03/25/706513097/apple-debuts-streaming-video-payment-card-and-news-subscription-services\">services businesses\u003c/a>, including the Apple Music streaming service, a forthcoming TV-streaming service and a magazine subscription service.\u003c/p>\n\u003cp>So is owning music becoming a thing of the past?\u003c/p>\n\u003cp>Streaming made up \u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2016/01/RIAA-2018-Year-End-Music-Industry-Revenue-Report.pdf\">75% of the music industry’s revenue last year\u003c/a>. It’s so lucrative that music streaming is where one of the fiercest battles against Apple’s alleged monopoly is being waged. In March, Spotify announced it had filed an antitrust complaint against Apple with the European Commission. Spotify says the 30% commission on all App Store purchases is unfair because it forces Spotify users to pay more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These accusations aren’t just happening in Europe. In the U.S., the Supreme Court recently ruled that a class action lawsuit accusing Apple of operating an App Store monopoly can proceed.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This was the toughest TV show for me to watch in a long while.\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> is director/writer/producer Ava DuVernay’s searing, four-part drama about five black and Latino boys who were railroaded into falsely confessing to the most notorious gang rape in New York City history. But it wasn’t difficult viewing for its violence—in fact, the Netflix series is very careful in how it presents many instances of assault, with the most grisly details left to viewers’ imagination.\u003c/p>\n\u003cp>It was tough to watch because DuVernay’s look at the Central Park Five depicts a chilling circumstance that sits in the back of my mind, as a black man in America, pretty much every day. What happens when/if white America decides you are guilty of a horrific crime, partially to confirm its own horrific prejudices about people who look like you? What if that happens regardless of the evidence or circumstance?\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/u3F9n_smGWY\">http://youtu.be/u3F9n_smGWY\u003c/a>\u003c/p>\n\u003cp>And when/if that time comes, what if every institution that is supposed to protect you — police, lawyers, the media, even your parents and family — all turn their backs, pile on, or are too overwhelmed to make a difference?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is the stark picture DuVernay offers, in a masterpiece of a series aimed at humanizing five boys who were vilified for decades and served years in prison for a crime they didn’t commit. When we first meet them, Antron McCray, Kevin Richardson, Yusef Salaam, Raymond Santana and Korey Wise (played as boys by Caleel Harris, Asante Blackk, Ethan Herisse, Marquis Rodriguez, and Jharrel Jerome) are typical teenagers; well-meaning young men focused on music lessons, hanging with friends, chatting up girls and finding a fun way to spend spring break.\u003c/p>\n\u003cp>[aside postID='arts_13844441' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/11/Nijla_BTL_Thumbnail-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>But within minutes, it’s obvious they’ve landed in the wrong place at the wrong time when they join a group of young men who pour into Central Park from Harlem during an infamous evening in April 1989. DuVernay shows them mostly laughing and roughhousing with each other when they stumble on a knot of young black men beating up a white man; in the Netflix series, one of the attackers says he was beaten by a group of white men in Bronx and was delivering “payback.”\u003c/p>\n\u003cp>News reports at the time painted a different picture. Those stories reported a group of about 30 youths “wilding” — a term the Netflix series depicts coming from an officer’s report on what one of the youths said — beating up and harassing a number of other people in the park, for no real reason.\u003c/p>\n\u003cp>Then there was the jogger: white, 28-year-old investment banker Trisha Meili. She was discovered bound and bleeding in the park, raped and almost beaten to death that night in an attack that left her in a coma for nearly two weeks. When she recovered, she had no memory of the assault.\u003c/p>\n\u003cp>What followed is a plunge into a nightmare that DuVernay recreates with brutal realism. Police detectives and prosecutor zero in on five boys, aged 14 to 16, who were in the park. They isolate them from parents and guardians and spend long hours coercing confessions out of each of them, promising to send them home if they just admit to participating in the rape.\u003c/p>\n\u003cp>I’ll be honest; I had to stop the episode several times during these scenes, once to wipe away tears. I knew what was coming for these children. They were signing away their futures with no knowledge of what they were admitting. They would be convicted of the rape on the strength of these manipulated statements. The world would assume the tale told by police and prosecutors was the truth. It felt like watching a slow-motion lynching.\u003c/p>\n\u003cp>This feeling only builds when the series features the real-life actions of Donald Trump, then a loud-mouthed, celebrity-chasing real estate mogul, who advocated for the Central Park Five to get the death penalty in newspaper ads. Shown in clips from interviews at the time, Trump insists he would rather be “a well-educated black” because of the advantages such a person supposedly has. This from a guy who \u003ca href=\"http://<<https://www.nytimes.com/interactive/2018/10/02/us/politics/trump-family-wealth.html>>\">the \u003cem>New York Times\u003c/em> has reporte\u003c/a>d received the equivalent of $413 million in today’s dollars from his father’s real estate empire to help build his own businesses.\u003c/p>\n\u003cp>Felicity Huffman, whose public image has already been hurt thanks to her \u003ca href=\"https://www.nbcnews.com/news/us-news/felicity-huffman-pleads-guilty-college-admissions-scandal-n1005056\">guilty plea in a college admissions scandal\u003c/a>, is fortuitously cast as the show’s biggest villain — prosecutor Linda Fairstein. In the Netflix show, she calls the Central Park Five “animals,” pushing cops to coerce confessions and hold back evidence.\u003c/p>\n\u003cp>[aside postID='arts_13820054' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail.jpg' target='_blank']\u003c/p>\n\u003cp>As the series shows, many years later convicted serial rapist and murderer Matias Reyes confessed that he raped Meili alone and DNA evidence found at the scene proves he was there. Still, Huffman’s Fairstein refuses to admit they may have railroaded the wrong people. (The adult men are played by Jovan Adepo, Justin Cunningham, Freddy Miyares, Chris Chalk, and Jharrel Jerome, who plays Wise as both a young man and an older one.)\u003c/p>\n\u003cp>But empathy for the falsely accused can come at a price. Because this show is based on the stories of the Central Park Five, humanizing these black and brown kids caught up the rush to convict, we don’t get a lot of background on the other victims of assaults in the park that night. Even Meili, the most famous victim, isn’t given much substance; she’s showcased best in a powerful moment when she struggles to walk to the witness stand in one of the trials.\u003c/p>\n\u003cp>In combating the prejudice and rush to judgment of the original event, \u003cem>When They See Us\u003c/em> is a mostly sympathetic retelling. The series unwinds the prevailing narrative about the Central Park Five by presenting another one largely in their favor, even when they make unwise decisions.\u003c/p>\n\u003cp>In her Oscar-nominated feature film \u003cem>Selma\u003c/em> and her Oscar-nominated documentary \u003cem>13th\u003c/em>, DuVernay has stood as a principled filmmaker of color whose work wrests control of history’s narrative from white-dominated institutions. I almost felt this story could have been called \u003cem>When WILL They See Us\u003c/em>, for DuVernay’s bold work insisting viewers take in the full humanity of these black and brown men and their families.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> achieves quite a lot, asking us all to consider exactly who in America really gets the presumption of innocence when accused of a crime. And what’s the cost — to individuals’ lives and for society as a whole — when prejudice and poverty unduly affects that answer?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This was the toughest TV show for me to watch in a long while.\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> is director/writer/producer Ava DuVernay’s searing, four-part drama about five black and Latino boys who were railroaded into falsely confessing to the most notorious gang rape in New York City history. But it wasn’t difficult viewing for its violence—in fact, the Netflix series is very careful in how it presents many instances of assault, with the most grisly details left to viewers’ imagination.\u003c/p>\n\u003cp>It was tough to watch because DuVernay’s look at the Central Park Five depicts a chilling circumstance that sits in the back of my mind, as a black man in America, pretty much every day. What happens when/if white America decides you are guilty of a horrific crime, partially to confirm its own horrific prejudices about people who look like you? What if that happens regardless of the evidence or circumstance?\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/u3F9n_smGWY\">http://youtu.be/u3F9n_smGWY\u003c/a>\u003c/p>\n\u003cp>And when/if that time comes, what if every institution that is supposed to protect you — police, lawyers, the media, even your parents and family — all turn their backs, pile on, or are too overwhelmed to make a difference?\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 stark picture DuVernay offers, in a masterpiece of a series aimed at humanizing five boys who were vilified for decades and served years in prison for a crime they didn’t commit. When we first meet them, Antron McCray, Kevin Richardson, Yusef Salaam, Raymond Santana and Korey Wise (played as boys by Caleel Harris, Asante Blackk, Ethan Herisse, Marquis Rodriguez, and Jharrel Jerome) are typical teenagers; well-meaning young men focused on music lessons, hanging with friends, chatting up girls and finding a fun way to spend spring break.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But within minutes, it’s obvious they’ve landed in the wrong place at the wrong time when they join a group of young men who pour into Central Park from Harlem during an infamous evening in April 1989. DuVernay shows them mostly laughing and roughhousing with each other when they stumble on a knot of young black men beating up a white man; in the Netflix series, one of the attackers says he was beaten by a group of white men in Bronx and was delivering “payback.”\u003c/p>\n\u003cp>News reports at the time painted a different picture. Those stories reported a group of about 30 youths “wilding” — a term the Netflix series depicts coming from an officer’s report on what one of the youths said — beating up and harassing a number of other people in the park, for no real reason.\u003c/p>\n\u003cp>Then there was the jogger: white, 28-year-old investment banker Trisha Meili. She was discovered bound and bleeding in the park, raped and almost beaten to death that night in an attack that left her in a coma for nearly two weeks. When she recovered, she had no memory of the assault.\u003c/p>\n\u003cp>What followed is a plunge into a nightmare that DuVernay recreates with brutal realism. Police detectives and prosecutor zero in on five boys, aged 14 to 16, who were in the park. They isolate them from parents and guardians and spend long hours coercing confessions out of each of them, promising to send them home if they just admit to participating in the rape.\u003c/p>\n\u003cp>I’ll be honest; I had to stop the episode several times during these scenes, once to wipe away tears. I knew what was coming for these children. They were signing away their futures with no knowledge of what they were admitting. They would be convicted of the rape on the strength of these manipulated statements. The world would assume the tale told by police and prosecutors was the truth. It felt like watching a slow-motion lynching.\u003c/p>\n\u003cp>This feeling only builds when the series features the real-life actions of Donald Trump, then a loud-mouthed, celebrity-chasing real estate mogul, who advocated for the Central Park Five to get the death penalty in newspaper ads. Shown in clips from interviews at the time, Trump insists he would rather be “a well-educated black” because of the advantages such a person supposedly has. This from a guy who \u003ca href=\"http://<<https://www.nytimes.com/interactive/2018/10/02/us/politics/trump-family-wealth.html>>\">the \u003cem>New York Times\u003c/em> has reporte\u003c/a>d received the equivalent of $413 million in today’s dollars from his father’s real estate empire to help build his own businesses.\u003c/p>\n\u003cp>Felicity Huffman, whose public image has already been hurt thanks to her \u003ca href=\"https://www.nbcnews.com/news/us-news/felicity-huffman-pleads-guilty-college-admissions-scandal-n1005056\">guilty plea in a college admissions scandal\u003c/a>, is fortuitously cast as the show’s biggest villain — prosecutor Linda Fairstein. In the Netflix show, she calls the Central Park Five “animals,” pushing cops to coerce confessions and hold back evidence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the series shows, many years later convicted serial rapist and murderer Matias Reyes confessed that he raped Meili alone and DNA evidence found at the scene proves he was there. Still, Huffman’s Fairstein refuses to admit they may have railroaded the wrong people. (The adult men are played by Jovan Adepo, Justin Cunningham, Freddy Miyares, Chris Chalk, and Jharrel Jerome, who plays Wise as both a young man and an older one.)\u003c/p>\n\u003cp>But empathy for the falsely accused can come at a price. Because this show is based on the stories of the Central Park Five, humanizing these black and brown kids caught up the rush to convict, we don’t get a lot of background on the other victims of assaults in the park that night. Even Meili, the most famous victim, isn’t given much substance; she’s showcased best in a powerful moment when she struggles to walk to the witness stand in one of the trials.\u003c/p>\n\u003cp>In combating the prejudice and rush to judgment of the original event, \u003cem>When They See Us\u003c/em> is a mostly sympathetic retelling. The series unwinds the prevailing narrative about the Central Park Five by presenting another one largely in their favor, even when they make unwise decisions.\u003c/p>\n\u003cp>In her Oscar-nominated feature film \u003cem>Selma\u003c/em> and her Oscar-nominated documentary \u003cem>13th\u003c/em>, DuVernay has stood as a principled filmmaker of color whose work wrests control of history’s narrative from white-dominated institutions. I almost felt this story could have been called \u003cem>When WILL They See Us\u003c/em>, for DuVernay’s bold work insisting viewers take in the full humanity of these black and brown men and their families.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> achieves quite a lot, asking us all to consider exactly who in America really gets the presumption of innocence when accused of a crime. And what’s the cost — to individuals’ lives and for society as a whole — when prejudice and poverty unduly affects that answer?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Love Finds Ali Wong And Randall Park In 'Always Be My Maybe'",
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"content": "\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>[aside postID='arts_13812554' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1.jpg' target='_blank']\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \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=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular",
"title": "Elton John Biopic 'Rocketman' Is A Surprising Song-And-Dance Spectacular",
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"content": "\u003cp>The first time we see Elton John in \u003cem>Rocketman\u003c/em>, he’s wearing a spangly red devil costume with sharp horns and enormous wings. It’s one of the many glorious, glittery things we see him wear in the movie, although on this occasion, he isn’t dressed for a concert. It’s around 1990, and Elton, played by Taron Egerton, is attending a group therapy session. He may be one of the world’s most successful rock stars, but he’s also being eaten alive by sex addiction and substance abuse, and also by feelings of abandonment that go back to his childhood.\u003c/p>\n\u003cp>No one who’s seen a movie about a popular musician will be surprised by any of this, or by the way \u003cem>Rocketman\u003c/em> unfolds its story as a series of extended flashbacks. But even within that familiar framework, the movie finds surprising ways to buck convention. The colors are bright and kaleidoscopic, but the tone is beautifully modulated: The operatic excesses are balanced by a powerful sense of melancholy. The group-therapy framing device works especially well: The sight of Elton in all that defiant plumage is ludicrous, marvelous and strangely poignant — all words you might apply to the movie itself.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rocketman (2019) - Official Trailer - Paramount Pictures\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S3vO8E2e6G0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As directed by Dexter Fletcher from a script by Lee Hall, \u003cem>Rocketman\u003c/em> isn’t just a musician’s biopic; it’s a biographical musical. Conceived as a surreal song-and-dance spectacular, it’s a delirious blur of truth and artifice, convention and daring. John’s greatest hits — from “Your Song” and “Tiny Dancer” to “Goodbye Yellow Brick Road” and “I’m Still Standing” — are treated not just as career milestones but as full-blown numbers. The first one is “The Bitch Is Back,” repurposed here as an anthem of boyhood defiance for Elton, born Reginald Dwight, as he grows up in 1950s London with his unhappily married parents. Bryce Dallas Howard plays his mother with a series of exhausted eye-rolls, even when Reggie begins to show signs of prodigious musical talent.\u003c/p>\n\u003cp>Reggie grows up in a flash, rebrands himself as Elton John and meets his lifelong collaborator, the lyricist Bernie Taupin, wonderfully played by Jamie Bell. The movie’s most stirring scene finds Elton improvising at the piano, and the immortal melody to “Your Song” comes pouring out of his fingertips. It’s his song of unrequited love for Bernie, who will stand by him through thick and thin, even after Elton falls into a toxic relationship with a manipulative manager, John Reid, played by Richard Madden of \u003cem>Game of Thrones\u003c/em> fame.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It may be a little reductive to use John’s music as a form of narrative shorthand, but it also works like gangbusters: We’re reminded of just how soulful and emotionally malleable that music is. In one of the more blatant but inspired artistic liberties, Elton makes his stateside debut at the Troubadour in Los Angeles with a gravity-defying performance of “Crocodile Rock” — never mind that it’s 1970, two years before he and Taupin would write that song in real life.\u003c/p>\n\u003cp>Egerton does his own singing as John, and though he’s not a perfect physical match for the character, it hardly matters. Rather than going for showy mimicry, the 29-year-old actor underplays, locating subtle depths of feeling in a figure known for his flamboyance. He retains a firm grip on the character even when John begins his downward spiral, climaxing with his 1975 suicide attempt when he overdoses on Valium and plunges into his swimming pool. It’s here that director Fletcher unleashes the song “Rocket Man” itself, staged as a gorgeously lyrical underwater fantasy.\u003c/p>\n\u003cp>[aside postID='arts_13858037' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>Moments like that give the movie a coherence and fluidity that eluded the much more slapdash \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>\u003c/a>\u003cem>, \u003c/em>which Fletcher completed after its director, Bryan Singer, was fired mid-production. It’s hard not to compare the two: Like \u003cem>Rhapsody\u003c/em>, \u003cem>Rocketman\u003c/em> is a portrait of an LGBT glam-rock icon who repressed his sexuality but ultimately couldn’t keep it out of the spotlight. This movie, to its credit, takes a much more intimate and empathetic view of its subject’s romantic life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s not to say that \u003cem>Rocketman\u003c/em> doesn’t have its overly processed, sanitized moments. You may nod your head somewhat dutifully as the story tumbles through its rise-and-fall-and-rise-again trajectory. But as John’s music itself reminds us, even the most familiar tune can take on new resonance. In the movie’s most aching moments, Elton seems to be singing not to others but to himself, as if to suggest that even the most universal pleasures often have intensely personal roots. Before it was your song, it was his.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elton+John+Biopic+%27Rocketman%27+Is+A+Surprising+Song-And-Dance+Spectacular&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time we see Elton John in \u003cem>Rocketman\u003c/em>, he’s wearing a spangly red devil costume with sharp horns and enormous wings. It’s one of the many glorious, glittery things we see him wear in the movie, although on this occasion, he isn’t dressed for a concert. It’s around 1990, and Elton, played by Taron Egerton, is attending a group therapy session. He may be one of the world’s most successful rock stars, but he’s also being eaten alive by sex addiction and substance abuse, and also by feelings of abandonment that go back to his childhood.\u003c/p>\n\u003cp>No one who’s seen a movie about a popular musician will be surprised by any of this, or by the way \u003cem>Rocketman\u003c/em> unfolds its story as a series of extended flashbacks. But even within that familiar framework, the movie finds surprising ways to buck convention. The colors are bright and kaleidoscopic, but the tone is beautifully modulated: The operatic excesses are balanced by a powerful sense of melancholy. The group-therapy framing device works especially well: The sight of Elton in all that defiant plumage is ludicrous, marvelous and strangely poignant — all words you might apply to the movie itself.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rocketman (2019) - Official Trailer - Paramount Pictures\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S3vO8E2e6G0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As directed by Dexter Fletcher from a script by Lee Hall, \u003cem>Rocketman\u003c/em> isn’t just a musician’s biopic; it’s a biographical musical. Conceived as a surreal song-and-dance spectacular, it’s a delirious blur of truth and artifice, convention and daring. John’s greatest hits — from “Your Song” and “Tiny Dancer” to “Goodbye Yellow Brick Road” and “I’m Still Standing” — are treated not just as career milestones but as full-blown numbers. The first one is “The Bitch Is Back,” repurposed here as an anthem of boyhood defiance for Elton, born Reginald Dwight, as he grows up in 1950s London with his unhappily married parents. Bryce Dallas Howard plays his mother with a series of exhausted eye-rolls, even when Reggie begins to show signs of prodigious musical talent.\u003c/p>\n\u003cp>Reggie grows up in a flash, rebrands himself as Elton John and meets his lifelong collaborator, the lyricist Bernie Taupin, wonderfully played by Jamie Bell. The movie’s most stirring scene finds Elton improvising at the piano, and the immortal melody to “Your Song” comes pouring out of his fingertips. It’s his song of unrequited love for Bernie, who will stand by him through thick and thin, even after Elton falls into a toxic relationship with a manipulative manager, John Reid, played by Richard Madden of \u003cem>Game of Thrones\u003c/em> fame.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may be a little reductive to use John’s music as a form of narrative shorthand, but it also works like gangbusters: We’re reminded of just how soulful and emotionally malleable that music is. In one of the more blatant but inspired artistic liberties, Elton makes his stateside debut at the Troubadour in Los Angeles with a gravity-defying performance of “Crocodile Rock” — never mind that it’s 1970, two years before he and Taupin would write that song in real life.\u003c/p>\n\u003cp>Egerton does his own singing as John, and though he’s not a perfect physical match for the character, it hardly matters. Rather than going for showy mimicry, the 29-year-old actor underplays, locating subtle depths of feeling in a figure known for his flamboyance. He retains a firm grip on the character even when John begins his downward spiral, climaxing with his 1975 suicide attempt when he overdoses on Valium and plunges into his swimming pool. It’s here that director Fletcher unleashes the song “Rocket Man” itself, staged as a gorgeously lyrical underwater fantasy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moments like that give the movie a coherence and fluidity that eluded the much more slapdash \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>\u003c/a>\u003cem>, \u003c/em>which Fletcher completed after its director, Bryan Singer, was fired mid-production. It’s hard not to compare the two: Like \u003cem>Rhapsody\u003c/em>, \u003cem>Rocketman\u003c/em> is a portrait of an LGBT glam-rock icon who repressed his sexuality but ultimately couldn’t keep it out of the spotlight. This movie, to its credit, takes a much more intimate and empathetic view of its subject’s romantic life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s not to say that \u003cem>Rocketman\u003c/em> doesn’t have its overly processed, sanitized moments. You may nod your head somewhat dutifully as the story tumbles through its rise-and-fall-and-rise-again trajectory. But as John’s music itself reminds us, even the most familiar tune can take on new resonance. In the movie’s most aching moments, Elton seems to be singing not to others but to himself, as if to suggest that even the most universal pleasures often have intensely personal roots. Before it was your song, it was his.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elton+John+Biopic+%27Rocketman%27+Is+A+Surprising+Song-And-Dance+Spectacular&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Leon Redbone, the perpetually anachronistic, famously mysterious artist who rose to prominence as a performer on Toronto’s folk circuit in the early ’70s, died Thursday while in hospice care in Bucks County, Pa.\u003c/p>\n\u003cp>Redbone’s family confirmed his death through a publicist. No cause was given, and Redbone’s age was a subject of speculation for decades.\u003c/p>\n\u003cp>“I’ve heard he’s anywhere from 25 to 60,” Bob Dylan \u003ca href=\"https://www.rollingstone.com/music/music-news/knockin-on-bob-dylans-door-191025/\">told\u003c/a> \u003cem>Rolling Stone\u003c/em> in 1974, “and I can’t tell, but you gotta see him.” That same year, when asked about his age by \u003cem>Rolling Stone,\u003c/em> Redbone replied: “Of course I don’t know. It’s just something I vaguely recall. I can’t say for sure.” In the news release announcing his death, Redbone’s age was cited as 127.\u003c/p>\n\u003cp>The only things known — ostensibly — of Redbone’s origins were \u003ca href=\"https://www.thestar.com/entertainment/2007/06/13/redbone_careful_to_preserve_the_mystery.html\">revealed\u003c/a> by \u003cem>Toronto Star\u003c/em> columnist George Gamester in the 1980s: that he was a Cypriot named Dickran Gobalian, who emigrated to Ontario in the 1960s and changed his name after arriving in Canada.\u003c/p>\n\u003cp>Redbone’s obscurantist tendencies, including his ever-present, masking uniform of sunglasses, bushy mustache and Panama hat, gave Redbone the aura of a quixotic time-traveler, someone who simply stepped onto the stage fully formed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And Redbone was a man happily — or at least, authentically — out-of-time. He played dusty classics — from Tin Pan Alley and ragtime to blues and country — with a loose fidelity, always anchored by his casually lovely and always wry voice.\u003c/p>\n\u003cp>Dylan’s endorsement, made at the apex of his and \u003cem>Rolling Stone\u003c/em>‘s cultural footprints, was a defining moment for Redbone and helped widened interest in him from stars of the era, including Bonnie Raitt and John Prine.\u003c/p>\n\u003cp>His commercial success, according to the \u003cem>Billboard\u003c/em> charts, peaked in 1977 when the album \u003cem>Double Time\u003c/em> \u003ca href=\"https://www.billboard.com/music/leon-redbone/chart-history/billboard-200\">reached\u003c/a> the top 50 — helped, in part, by two performances during \u003cem>Saturday Night Live\u003c/em>‘s debut season. But Redbone remained a cultural presence for decades, singing the theme song for ’80s sitcom \u003cem>Mr. Belvedere\u003c/em> and appearing as “Leon the Snowman” in the now-classic Christmas film \u003cem>Elf \u003c/em>in 2003.\u003c/p>\n\u003cp>In 2015, Redbone announced his retirement from touring, with a rep \u003ca href=\"https://www.rollingstone.com/music/music-news/leon-redbone-announces-retirement-new-third-man-compilation-72505/\">citing\u003c/a> health concerns. He followed that retirement up with another album, \u003cem>Long Way Home, \u003c/em>composed of his earliest recordings and released by Jack White’s label, Third Man Records.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When \u003ca href=\"https://soundcloud.com/ahsilverman/redbone-leon-dec-10-1984\">asked by NPR’s Lynn Neary in 1984\u003c/a> whether he enjoyed his performances, Redbone responded with a wink: “I never have a good time … but I try.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leon Redbone, the perpetually anachronistic, famously mysterious artist who rose to prominence as a performer on Toronto’s folk circuit in the early ’70s, died Thursday while in hospice care in Bucks County, Pa.\u003c/p>\n\u003cp>Redbone’s family confirmed his death through a publicist. No cause was given, and Redbone’s age was a subject of speculation for decades.\u003c/p>\n\u003cp>“I’ve heard he’s anywhere from 25 to 60,” Bob Dylan \u003ca href=\"https://www.rollingstone.com/music/music-news/knockin-on-bob-dylans-door-191025/\">told\u003c/a> \u003cem>Rolling Stone\u003c/em> in 1974, “and I can’t tell, but you gotta see him.” That same year, when asked about his age by \u003cem>Rolling Stone,\u003c/em> Redbone replied: “Of course I don’t know. It’s just something I vaguely recall. I can’t say for sure.” In the news release announcing his death, Redbone’s age was cited as 127.\u003c/p>\n\u003cp>The only things known — ostensibly — of Redbone’s origins were \u003ca href=\"https://www.thestar.com/entertainment/2007/06/13/redbone_careful_to_preserve_the_mystery.html\">revealed\u003c/a> by \u003cem>Toronto Star\u003c/em> columnist George Gamester in the 1980s: that he was a Cypriot named Dickran Gobalian, who emigrated to Ontario in the 1960s and changed his name after arriving in Canada.\u003c/p>\n\u003cp>Redbone’s obscurantist tendencies, including his ever-present, masking uniform of sunglasses, bushy mustache and Panama hat, gave Redbone the aura of a quixotic time-traveler, someone who simply stepped onto the stage fully formed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And Redbone was a man happily — or at least, authentically — out-of-time. He played dusty classics — from Tin Pan Alley and ragtime to blues and country — with a loose fidelity, always anchored by his casually lovely and always wry voice.\u003c/p>\n\u003cp>Dylan’s endorsement, made at the apex of his and \u003cem>Rolling Stone\u003c/em>‘s cultural footprints, was a defining moment for Redbone and helped widened interest in him from stars of the era, including Bonnie Raitt and John Prine.\u003c/p>\n\u003cp>His commercial success, according to the \u003cem>Billboard\u003c/em> charts, peaked in 1977 when the album \u003cem>Double Time\u003c/em> \u003ca href=\"https://www.billboard.com/music/leon-redbone/chart-history/billboard-200\">reached\u003c/a> the top 50 — helped, in part, by two performances during \u003cem>Saturday Night Live\u003c/em>‘s debut season. But Redbone remained a cultural presence for decades, singing the theme song for ’80s sitcom \u003cem>Mr. Belvedere\u003c/em> and appearing as “Leon the Snowman” in the now-classic Christmas film \u003cem>Elf \u003c/em>in 2003.\u003c/p>\n\u003cp>In 2015, Redbone announced his retirement from touring, with a rep \u003ca href=\"https://www.rollingstone.com/music/music-news/leon-redbone-announces-retirement-new-third-man-compilation-72505/\">citing\u003c/a> health concerns. He followed that retirement up with another album, \u003cem>Long Way Home, \u003c/em>composed of his earliest recordings and released by Jack White’s label, Third Man Records.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When \u003ca href=\"https://soundcloud.com/ahsilverman/redbone-leon-dec-10-1984\">asked by NPR’s Lynn Neary in 1984\u003c/a> whether he enjoyed his performances, Redbone responded with a wink: “I never have a good time … but I try.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 10:47 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>A new pilot is set to take the helm at the Smithsonian Institution.\u003c/p>\n\u003cp>The organization, a public-private partnership that has established and maintains many of the best-known museums in the U.S., unveiled its next secretary at a news conference Tuesday: \u003ca href=\"https://www.si.edu/about/bios/lonnie-g-bunch-iii\">Lonnie G. Bunch III\u003c/a>, the founding director of the \u003ca href=\"https://nmaahc.si.edu/\">National Museum of African American History and Culture\u003c/a>, will take over the day-to-day administration of the Smithsonian’s 19 museums, 21 libraries and the National Zoo — \u003ca href=\"https://www.si.edu/about/museums\">among other operations\u003c/a>.\u003c/p>\n\u003cp>Bunch’s selection, made by unanimous vote of the organization’s \u003ca href=\"https://www.si.edu/regents/members\">17-member Board of Regents\u003c/a>, makes him the first African American to serve in the role of secretary in \u003ca href=\"https://siarchives.si.edu/history/secretaries-smithsonian\">its 173-year history\u003c/a>. He will take over for the outgoing secretary, \u003ca href=\"https://www.si.edu/about/secretary-david-skorton\">David Skorton\u003c/a>, in roughly three weeks.\u003c/p>\n\u003cp>Shortly after his name was announced, Bunch stepped to the lectern to reflect on just what this move means to him — and to acknowledge the “challenges that the institution faces during the next decade.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“But more importantly,” he said, “I’m excited by the potential to meet those challenges.”\u003c/p>\n\u003cp>Bunch represents a new leader for the Smithsonian, but in many ways he is something of an old hand. He took over the African American history museum in 2005, steering it from the early days of its inception through its 2016 opening and beyond. Before that, he worked at the \u003ca href=\"https://americanhistory.si.edu/\">National Museum of American History\u003c/a> for over a decade.\u003c/p>\n\u003cp>Yet for all his work in history, Bunch said Tuesday that he’s got his eyes trained squarely on the future.\u003c/p>\n\u003cp>“It is important for the public to view the Smithsonian not simply as an addict of nostalgia, but as a cauldron of ideas of innovation and understanding that can be transformative for our country,” he said at the news conference.\u003c/p>\n\u003cp>“To accomplish this, though, the Smithsonian must become a much more nimble entity,” he added. “It must be an institution that is ripe with technology, an institution better suited to serve 21st century audiences, and an institution of research, of great collections, and of wonder that helps America understand itself and its world. This will ensure that the Smithsonian will always be what it once was. It will always ensure that the Smithsonian will be a place where scholarship, creativity, education and service come together for the greater good.”\u003c/p>\n\u003cp>Within the Smithsonian Institution’s leadership structure, the secretary is akin to a private company’s CEO — the executive responsible for the umbrella organization’s general vision and daily direction.\u003c/p>\n\u003cp>Under Skorton, a cardiologist and former president of both the \u003ca href=\"https://www.thegazette.com/2014/03/10/former-ui-president-david-skorton-to-lead-smithsonian\">University of Iowa\u003c/a> and \u003ca href=\"http://president.cornell.edu/david-j-skorton/\">Cornell University\u003c/a>, the Smithsonian \u003ca href=\"https://www.npr.org/2019/01/09/682925400/as-shutdown-crawls-on-artists-and-nonprofits-fear-for-their-fragile-industry\">weathered the federal shutdown\u003c/a> earlier this year and opened the long-awaited National Museum of African American History and Culture in 2016.\u003c/p>\n\u003cp>Later this summer Skorton \u003ca href=\"https://news.aamc.org/press-releases/article/aamc-names-next-president-and-ceo/\">plans to move on\u003c/a> to the Association of American Medical Colleges, where he will become president and CEO.\u003c/p>\n\u003cp>“The Regents, and the Smithsonian, are fortunate to have had Secretary Skorton’s leadership, vision and commitment during a crucial period when the Smithsonian is expanding its reach and focusing its research and educational efforts,” John Roberts, chief justice of the U.S. Supreme Court and Smithsonian chancellor, said in a statement after Skorton \u003ca href=\"https://www.si.edu/newsdesk/releases/secretary-david-skorton-depart-smithsonian\">announced his departure\u003c/a> late last year. “He has laid a solid foundation for the Institution’s future.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bunch will assume the role of secretary on June 16.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 10:47 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>A new pilot is set to take the helm at the Smithsonian Institution.\u003c/p>\n\u003cp>The organization, a public-private partnership that has established and maintains many of the best-known museums in the U.S., unveiled its next secretary at a news conference Tuesday: \u003ca href=\"https://www.si.edu/about/bios/lonnie-g-bunch-iii\">Lonnie G. Bunch III\u003c/a>, the founding director of the \u003ca href=\"https://nmaahc.si.edu/\">National Museum of African American History and Culture\u003c/a>, will take over the day-to-day administration of the Smithsonian’s 19 museums, 21 libraries and the National Zoo — \u003ca href=\"https://www.si.edu/about/museums\">among other operations\u003c/a>.\u003c/p>\n\u003cp>Bunch’s selection, made by unanimous vote of the organization’s \u003ca href=\"https://www.si.edu/regents/members\">17-member Board of Regents\u003c/a>, makes him the first African American to serve in the role of secretary in \u003ca href=\"https://siarchives.si.edu/history/secretaries-smithsonian\">its 173-year history\u003c/a>. He will take over for the outgoing secretary, \u003ca href=\"https://www.si.edu/about/secretary-david-skorton\">David Skorton\u003c/a>, in roughly three weeks.\u003c/p>\n\u003cp>Shortly after his name was announced, Bunch stepped to the lectern to reflect on just what this move means to him — and to acknowledge the “challenges that the institution faces during the next decade.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But more importantly,” he said, “I’m excited by the potential to meet those challenges.”\u003c/p>\n\u003cp>Bunch represents a new leader for the Smithsonian, but in many ways he is something of an old hand. He took over the African American history museum in 2005, steering it from the early days of its inception through its 2016 opening and beyond. Before that, he worked at the \u003ca href=\"https://americanhistory.si.edu/\">National Museum of American History\u003c/a> for over a decade.\u003c/p>\n\u003cp>Yet for all his work in history, Bunch said Tuesday that he’s got his eyes trained squarely on the future.\u003c/p>\n\u003cp>“It is important for the public to view the Smithsonian not simply as an addict of nostalgia, but as a cauldron of ideas of innovation and understanding that can be transformative for our country,” he said at the news conference.\u003c/p>\n\u003cp>“To accomplish this, though, the Smithsonian must become a much more nimble entity,” he added. “It must be an institution that is ripe with technology, an institution better suited to serve 21st century audiences, and an institution of research, of great collections, and of wonder that helps America understand itself and its world. This will ensure that the Smithsonian will always be what it once was. It will always ensure that the Smithsonian will be a place where scholarship, creativity, education and service come together for the greater good.”\u003c/p>\n\u003cp>Within the Smithsonian Institution’s leadership structure, the secretary is akin to a private company’s CEO — the executive responsible for the umbrella organization’s general vision and daily direction.\u003c/p>\n\u003cp>Under Skorton, a cardiologist and former president of both the \u003ca href=\"https://www.thegazette.com/2014/03/10/former-ui-president-david-skorton-to-lead-smithsonian\">University of Iowa\u003c/a> and \u003ca href=\"http://president.cornell.edu/david-j-skorton/\">Cornell University\u003c/a>, the Smithsonian \u003ca href=\"https://www.npr.org/2019/01/09/682925400/as-shutdown-crawls-on-artists-and-nonprofits-fear-for-their-fragile-industry\">weathered the federal shutdown\u003c/a> earlier this year and opened the long-awaited National Museum of African American History and Culture in 2016.\u003c/p>\n\u003cp>Later this summer Skorton \u003ca href=\"https://news.aamc.org/press-releases/article/aamc-names-next-president-and-ceo/\">plans to move on\u003c/a> to the Association of American Medical Colleges, where he will become president and CEO.\u003c/p>\n\u003cp>“The Regents, and the Smithsonian, are fortunate to have had Secretary Skorton’s leadership, vision and commitment during a crucial period when the Smithsonian is expanding its reach and focusing its research and educational efforts,” John Roberts, chief justice of the U.S. Supreme Court and Smithsonian chancellor, said in a statement after Skorton \u003ca href=\"https://www.si.edu/newsdesk/releases/secretary-david-skorton-depart-smithsonian\">announced his departure\u003c/a> late last year. “He has laid a solid foundation for the Institution’s future.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bunch will assume the role of secretary on June 16.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> was in fifth grade when it came time to choose instruments for band. The choice was made for her when the music teacher paired her with the flute.\u003c/p>\n\u003cp>It turned out to be a good match: The singer and rapper fell in love with the instrument and went on to pursue a degree in music performance and music theory with the hopes of becoming a professional flutist. “I saw a life of concert black and Boston Pops and traveling the world,” Lizzo says. “When that didn’t pan out for me, I was very depressed.”\u003c/p>\n\u003cp>But Lizzo, who grew up in Detroit then Houston and found her footing in the \u003ca href=\"https://www.npr.org/sections/world-cafe/2015/12/08/458917692/sense-of-place-minneapolis-lizzo\">Minneapolis music scene\u003c/a>, was also a natural at freestyle rapping. She began working with local R&B and soul artists, eventually meeting and collaborating with Prince.\u003c/p>\n\u003cp>A self-described “showgirl at its finest,” Lizzo began touring even before she had albums. She says the high energy “hallelujah moments” of her shows reflect a childhood listening primarily to gospel music.\u003c/p>\n\u003cp>But Lizzo’s musical persona isn’t all flash. Her third studio album, \u003ca href=\"https://www.npr.org/2019/05/01/719013062/lizzo-proves-shes-ready-for-the-big-time-with-cuz-i-love-you\">Cuz I Love You\u003c/a> \u003cem>— \u003c/em>her major label debut under Atlantic Records — reveals a deep vulnerability, especially as she sings about self-love and body positivity. It’s a message born from Lizzo’s own long journey toward body acceptance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“About 10 years ago, I made the decision that I just wanted to be happy with my body and I just wanted to be happy with who I am,” the artist says. “That was the beginning of my journey with learning how to love my body. … You have to find that love for yourself deep down inside, underneath all of that questioning and ickiness.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her role in producing \u003c/strong>\u003cem>\u003cstrong>Cuz I Love You\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I am classically trained in music theory and music performance, so I have an innate ear and actually a highly skilled ear when it comes to frequency and harmony and dissonance and melody. So for me, it’s this thing that I can feel in my body. I’m almost like a tuning fork where if I hear the beat and I vibrate at the level that I’m supposed to, I know that that’s what I want to get on. And from being trained, I think it’s easier for me to speak a language to producers, and I can speak engineer to the engineers. I think we all just have so much fun nerding out. … I’m credited as a producer on a couple of the songs because I was there, and my DNA is in there as well.\u003c/p>\n\u003cp>\u003cstrong>On the idea that it’s odd to have a flute in rap music\u003c/strong>\u003c/p>\n\u003cp>You hear a lot of flute in rap! Have y’all heard of \u003ca href=\"https://www.npr.org/artists/15119741/j-dilla\">J Dilla\u003c/a>? Have y’all heard of Metro Boomin? Like, these producers use flute all the time. One of the biggest hits was “\u003ca href=\"https://www.npr.org/sections/allsongs/2017/05/23/529678820/perceived-extremes-kendrick-lamar-takes-his-mask-off-on-new-future-remix\">Mask Off,\u003c/a>” and … the chorus was just a flute solo. I think we don’t see rappers play flute. We hear it and we don’t subconsciously put two and two together. I think it would have been way more impactful to see \u003ca href=\"https://www.npr.org/artists/516952037/future\">Future\u003c/a> actually playing the line on the flute to “Mask Off,” but he wasn’t.\u003c/p>\n\u003cp>https://youtu.be/Wh4j5MY-4s0\u003c/p>\n\u003cp>I think that flute and hip-hop are very sexy. I think that flute and hip-hop have gone together for a long time. I think this is just the first time you actually see the artist actually playing the flute. There wasn’t a disconnect. Growing up in Houston, freestyle rapping was very first nature to me. That was what I wanted to do. That’s what you had to do as a rite of passage. I was very nerdy, and the fact that I knew how to freestyle on a bus, or freestyle in the cafeteria and bang on the desk, just gave me a little get-out-of-being-a-nerd-free pass.\u003c/p>\n\u003cp>Houston … that’s the city that freestyle really found its swag, and I’m just lucky that I was a part of that while it was happening — and also a classically trained flute player. I think it’s just weird to everybody else, but it’s not weird to me!\u003c/p>\n\u003cp>\u003cstrong>On writing \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=WfEhyi8N__Q\">\u003cstrong>“My Skin,”\u003c/strong>\u003c/a>\u003cstrong> her first body positive song \u003c/strong>\u003c/p>\n\u003cp>Someone asked a question. … They asked me what’s my favorite thing about myself? And I told them my personality. And they said, “OK, but physically, what’s your favorite thing about yourself?” And I did not have an answer.\u003c/p>\n\u003cp>For the first time in my life I had to actually think about something that I liked about myself physically, and because it was so difficult, I was moved to tears.\u003c/p>\n\u003cp>In that moment, I remembered that I’d just fallen off a cliff. … I was rope swinging into the river, and I am just so heavy, and I fell off the rope and fell on the ground. It was really scary and traumatizing. I’ll never do anything like that again, but I scraped up my skin and I remember my friend was like, “Look what you did to your beautiful skin!”\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “The thing that I like about myself the most is the thing that’s weaponized against us.” — Lizzo [/pullquote]\u003c/p>\n\u003cp>I still had the cane and I had the bandages on my legs during this interview. And I looked down and I was like, “Oh, my God. My skin. That is my favorite thing about myself.” And it was in that moment where I realized I damaged my skin where I saw the value in it. That was the first time I’d ever discovered my body love, and I just started with my skin and moved on from there. I wrote this song to celebrate that moment because it literally changed my life.\u003c/p>\n\u003cp>The thing that I like about myself the most is the thing that’s weaponized against us. People with black skin, you know, we get that weaponized, and this was [during] the beginning of #\u003ca href=\"https://www.npr.org/tags/428150615/black-lives-matter\">BlackLivesMatter\u003c/a>, when there was such a public amount of executions of unarmed black people by police officers. And so, I think that it was almost oxymoronic to be like, “I love my black skin,” when that was the thing that’s held against me the most in this society. I wanted to write a song about that too, and talk about how I’m proud of it no matter what.\u003c/p>\n\u003cp>\u003cstrong>On posing naked for her album cover\u003c/strong>\u003c/p>\n\u003cp>We had done a lot of poses that day, and I was tooting my butt up and then my back was hurting a little bit, so I just kind of relaxed and leaned forward and then the photographer, he was like, “Look at me,” and I looked at him, and that was the shot. So that was me just so comfortable not trying to cover anything up. But, you know, that’s just how the magic happens.\u003c/p>\n\u003cfigure id=\"attachment_13858113\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13858113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg\" alt='\"That was me just so comfortable not trying to cover anything up,\" Lizzo says of the cover photo for Cuz I Love You.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c.jpg 1410w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“That was me just so comfortable not trying to cover anything up,” Lizzo says of the cover photo for Cuz I Love You. \u003ccite>(Atlantic Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how her wearing sexy clothing is seen as a feminist statement \u003c/strong>\u003c/p>\n\u003cp>I feel like if I were a thin woman, maybe that wouldn’t be the case. I feel like women who are smaller aren’t really given the opportunities to be body positive or role models either, because we’ve been conditioned to believe that women are using their bodies for the male gaze. … And I think if I were slimmer I don’t think people would look to me with the same type of like, “Oh wow, she’s so brave she’s doing this and representing everyone!” [the way they do,] because I’m big.\u003c/p>\n\u003cp>I think what’s happening here is that there’s different waves of feminism. It’s like a generational thing. … Like, one generation asks one thing, and then that next generation is going to ask the complete opposite of it.\u003c/p>\n\u003cp>So where there was a wave of feminism where we were burning bras, now I’m like, “Bitch, my bra is in your f****** face!” And I think that that is just a testament to human beings and how we evolve. … I think that the wave of feminism right now that’s overtly sexual and in your face I think is just the response to where we were. Like, I’m going to wear a suit and I’m going to boss up on you. … You-can’t-tell-me-what-to-do type vibes, and [I’m] like, “No, I’m gonna tell \u003cem>you\u003c/em> what to do!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amy Salit and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Sidney Madden adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lizzo+On+Feminism%2C+Self-Love+And+Bringing+%27Hallelujah+Moments%27+To+Stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> was in fifth grade when it came time to choose instruments for band. The choice was made for her when the music teacher paired her with the flute.\u003c/p>\n\u003cp>It turned out to be a good match: The singer and rapper fell in love with the instrument and went on to pursue a degree in music performance and music theory with the hopes of becoming a professional flutist. “I saw a life of concert black and Boston Pops and traveling the world,” Lizzo says. “When that didn’t pan out for me, I was very depressed.”\u003c/p>\n\u003cp>But Lizzo, who grew up in Detroit then Houston and found her footing in the \u003ca href=\"https://www.npr.org/sections/world-cafe/2015/12/08/458917692/sense-of-place-minneapolis-lizzo\">Minneapolis music scene\u003c/a>, was also a natural at freestyle rapping. She began working with local R&B and soul artists, eventually meeting and collaborating with Prince.\u003c/p>\n\u003cp>A self-described “showgirl at its finest,” Lizzo began touring even before she had albums. She says the high energy “hallelujah moments” of her shows reflect a childhood listening primarily to gospel music.\u003c/p>\n\u003cp>But Lizzo’s musical persona isn’t all flash. Her third studio album, \u003ca href=\"https://www.npr.org/2019/05/01/719013062/lizzo-proves-shes-ready-for-the-big-time-with-cuz-i-love-you\">Cuz I Love You\u003c/a> \u003cem>— \u003c/em>her major label debut under Atlantic Records — reveals a deep vulnerability, especially as she sings about self-love and body positivity. It’s a message born from Lizzo’s own long journey toward body acceptance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“About 10 years ago, I made the decision that I just wanted to be happy with my body and I just wanted to be happy with who I am,” the artist says. “That was the beginning of my journey with learning how to love my body. … You have to find that love for yourself deep down inside, underneath all of that questioning and ickiness.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her role in producing \u003c/strong>\u003cem>\u003cstrong>Cuz I Love You\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I am classically trained in music theory and music performance, so I have an innate ear and actually a highly skilled ear when it comes to frequency and harmony and dissonance and melody. So for me, it’s this thing that I can feel in my body. I’m almost like a tuning fork where if I hear the beat and I vibrate at the level that I’m supposed to, I know that that’s what I want to get on. And from being trained, I think it’s easier for me to speak a language to producers, and I can speak engineer to the engineers. I think we all just have so much fun nerding out. … I’m credited as a producer on a couple of the songs because I was there, and my DNA is in there as well.\u003c/p>\n\u003cp>\u003cstrong>On the idea that it’s odd to have a flute in rap music\u003c/strong>\u003c/p>\n\u003cp>You hear a lot of flute in rap! Have y’all heard of \u003ca href=\"https://www.npr.org/artists/15119741/j-dilla\">J Dilla\u003c/a>? Have y’all heard of Metro Boomin? Like, these producers use flute all the time. One of the biggest hits was “\u003ca href=\"https://www.npr.org/sections/allsongs/2017/05/23/529678820/perceived-extremes-kendrick-lamar-takes-his-mask-off-on-new-future-remix\">Mask Off,\u003c/a>” and … the chorus was just a flute solo. I think we don’t see rappers play flute. We hear it and we don’t subconsciously put two and two together. I think it would have been way more impactful to see \u003ca href=\"https://www.npr.org/artists/516952037/future\">Future\u003c/a> actually playing the line on the flute to “Mask Off,” but he wasn’t.\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/Wh4j5MY-4s0'\n title='//www.youtube.com/embed/Wh4j5MY-4s0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I think that flute and hip-hop are very sexy. I think that flute and hip-hop have gone together for a long time. I think this is just the first time you actually see the artist actually playing the flute. There wasn’t a disconnect. Growing up in Houston, freestyle rapping was very first nature to me. That was what I wanted to do. That’s what you had to do as a rite of passage. I was very nerdy, and the fact that I knew how to freestyle on a bus, or freestyle in the cafeteria and bang on the desk, just gave me a little get-out-of-being-a-nerd-free pass.\u003c/p>\n\u003cp>Houston … that’s the city that freestyle really found its swag, and I’m just lucky that I was a part of that while it was happening — and also a classically trained flute player. I think it’s just weird to everybody else, but it’s not weird to me!\u003c/p>\n\u003cp>\u003cstrong>On writing \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=WfEhyi8N__Q\">\u003cstrong>“My Skin,”\u003c/strong>\u003c/a>\u003cstrong> her first body positive song \u003c/strong>\u003c/p>\n\u003cp>Someone asked a question. … They asked me what’s my favorite thing about myself? And I told them my personality. And they said, “OK, but physically, what’s your favorite thing about yourself?” And I did not have an answer.\u003c/p>\n\u003cp>For the first time in my life I had to actually think about something that I liked about myself physically, and because it was so difficult, I was moved to tears.\u003c/p>\n\u003cp>In that moment, I remembered that I’d just fallen off a cliff. … I was rope swinging into the river, and I am just so heavy, and I fell off the rope and fell on the ground. It was really scary and traumatizing. I’ll never do anything like that again, but I scraped up my skin and I remember my friend was like, “Look what you did to your beautiful skin!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": " “The thing that I like about myself the most is the thing that’s weaponized against us.” — Lizzo ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I still had the cane and I had the bandages on my legs during this interview. And I looked down and I was like, “Oh, my God. My skin. That is my favorite thing about myself.” And it was in that moment where I realized I damaged my skin where I saw the value in it. That was the first time I’d ever discovered my body love, and I just started with my skin and moved on from there. I wrote this song to celebrate that moment because it literally changed my life.\u003c/p>\n\u003cp>The thing that I like about myself the most is the thing that’s weaponized against us. People with black skin, you know, we get that weaponized, and this was [during] the beginning of #\u003ca href=\"https://www.npr.org/tags/428150615/black-lives-matter\">BlackLivesMatter\u003c/a>, when there was such a public amount of executions of unarmed black people by police officers. And so, I think that it was almost oxymoronic to be like, “I love my black skin,” when that was the thing that’s held against me the most in this society. I wanted to write a song about that too, and talk about how I’m proud of it no matter what.\u003c/p>\n\u003cp>\u003cstrong>On posing naked for her album cover\u003c/strong>\u003c/p>\n\u003cp>We had done a lot of poses that day, and I was tooting my butt up and then my back was hurting a little bit, so I just kind of relaxed and leaned forward and then the photographer, he was like, “Look at me,” and I looked at him, and that was the shot. So that was me just so comfortable not trying to cover anything up. But, you know, that’s just how the magic happens.\u003c/p>\n\u003cfigure id=\"attachment_13858113\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13858113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg\" alt='\"That was me just so comfortable not trying to cover anything up,\" Lizzo says of the cover photo for Cuz I Love You.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c.jpg 1410w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“That was me just so comfortable not trying to cover anything up,” Lizzo says of the cover photo for Cuz I Love You. \u003ccite>(Atlantic Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how her wearing sexy clothing is seen as a feminist statement \u003c/strong>\u003c/p>\n\u003cp>I feel like if I were a thin woman, maybe that wouldn’t be the case. I feel like women who are smaller aren’t really given the opportunities to be body positive or role models either, because we’ve been conditioned to believe that women are using their bodies for the male gaze. … And I think if I were slimmer I don’t think people would look to me with the same type of like, “Oh wow, she’s so brave she’s doing this and representing everyone!” [the way they do,] because I’m big.\u003c/p>\n\u003cp>I think what’s happening here is that there’s different waves of feminism. It’s like a generational thing. … Like, one generation asks one thing, and then that next generation is going to ask the complete opposite of it.\u003c/p>\n\u003cp>So where there was a wave of feminism where we were burning bras, now I’m like, “Bitch, my bra is in your f****** face!” And I think that that is just a testament to human beings and how we evolve. … I think that the wave of feminism right now that’s overtly sexual and in your face I think is just the response to where we were. Like, I’m going to wear a suit and I’m going to boss up on you. … You-can’t-tell-me-what-to-do type vibes, and [I’m] like, “No, I’m gonna tell \u003cem>you\u003c/em> what to do!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Amy Salit and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Sidney Madden adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lizzo+On+Feminism%2C+Self-Love+And+Bringing+%27Hallelujah+Moments%27+To+Stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Filth Elder' John Waters Says There Are Still 'Plenty Of Rules' Left To Break",
"headTitle": "‘Filth Elder’ John Waters Says There Are Still ‘Plenty Of Rules’ Left To Break | KQED",
"content": "\u003cp>Cult filmmaker and self-described “filth elder” John Waters, 73, has plenty of ideas about what older people should and shouldn’t do.\u003c/p>\n\u003cp>The worst thing, he says, is to get a convertible: “Because believe me, old age and windswept do not go hand in hand. It’s really a bad look! You can’t be trying too hard to rebel [when] you’re older.”\u003c/p>\n\u003cp>Waters knows about being a rebel. He became famous for his 1972 film \u003cem>Pink Flamingos,\u003c/em> in which the characters compete for the title of filthiest person alive. That film became a midnight movie classic and led to other films, including \u003cem>Female Trouble\u003c/em> and \u003cem>Hairspray\u003c/em>.\u003c/p>\n\u003cp>Along the way, Waters became accepted in the mainstream more than he ever expected. \u003cem>Hairspray \u003c/em>was adapted into a Broadway musical, and he has also given a\u003ca href=\"https://vimeo.com/129312307\"> commencement address\u003c/a> and had museum retrospectives.\u003c/p>\n\u003cp>Though he jokes that he can’t be anarchist — “I have three homes!” — he adds, “There’s plenty of rules that you can still break. … I think you have to use humor and you can’t be so angry about it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Waters looks back on his unlikely path to respectability in his new book, \u003cem>Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder.\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13857743\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13857743\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg\" alt='Cover of \"Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder\" by John Waters.' width=\"640\" height=\"982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-800x1227.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-782x1200.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall.jpg 1335w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cover of “Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder” by John Waters.\u003c/figcaption>\u003c/figure>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On growing up in Baltimore and being inspired by “bad kids”\u003c/strong>\u003c/p>\n\u003cp>It was the opposite of me, and I still like to be around people that are the opposites of me. … We didn’t have juvenile delinquents in my school, in my preppy grade school. … But I always was kind of just amazed to see these supposedly “bad kids” hanging out. I went to the Elvis movies, Jerry Lee Lewis — all that stuff. So I knew about juvenile delinquency.\u003c/p>\n\u003cp>I was always corrupted by \u003cem>Life \u003c/em>magazine because we got it every week and it always covered beatniks, drug addicts. Everything that I was interested in I would read every word of it. And then my parents got the encyclopedia — the W\u003cem>orld Book Encyclopedia, \u003c/em>I think — and that had everything in it! I would look up everything in there that you weren’t supposed to. So I was corrupted by the things that my parents brought in for educational reasons in our house — but not for the educational reasons they had in mind. … Everything about trouble in the arts I looked up.\u003c/p>\n\u003cp>\u003cstrong>On whether his parents’ death changed him\u003c/strong>\u003c/p>\n\u003cp>I don’t think I’ve ever changed, Terry. I think I’m the same as when I first started. I mean, my first film was called \u003cem>Hag in a Black Leather Jacket\u003c/em> and it was about a black man and a white woman being married by a Ku Klux Klan preacher on the roof of my parents’ house. And the last film I made was \u003cem>A Dirty Shame,\u003c/em> which was this sexploitation movie that got an NC-17 rating. …\u003c/p>\n\u003cp>The only thing I could think about my parents dying [was] thank God my mother doesn’t have to read [my book]. … But my parents had a happy marriage for 70 years. They both lived to be about 90. I’m wondering why I’m kind of as nuts as I am, really, because I had … pretty good role models from them.\u003c/p>\n\u003cp>\u003cstrong>On how his parents reacted to his being an eccentric child \u003c/strong>\u003c/p>\n\u003cp>I was obsessed by car accidents, and I “played” car accidents. My mother would take me to junkyards and walk around with me and I’d be like, “There’s been a terrible one over here! Look at this!” And I think [now], what did the junkyard or junk man think? What is this little ghoul? … I don’t know [what my mother thought]. That wasn’t in the Dr. Spock book of “What to Do if Your Kid is Obsessed By Car Accidents.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “… what parent would be happy their child made ‘Pink Flamingos’? Really, none.”—John Waters [/pullquote]\u003c/p>\n\u003cp>[My parents] didn’t know what to do, really, but they didn’t freak out too much. They were confused by it. And what parent would be happy their child made \u003cem>Pink Flamingos\u003c/em>? Really, none. …\u003c/p>\n\u003cp>Some of the people that I would bring home, my friends, [my mother] would be horrified, but she was polite. I remember when we made \u003cem>Multiple Maniacs\u003c/em> [a 1970 film about psychotic killers who perform in a traveling sideshow] at my parents’ house and filmed the “Cavalcade of Perversion” [the sideshow act] on the front lawn. Divine came in afterwards in a bloody one-piece white woman’s bathing suit carrying an ax, and my mother served us tea, as if Princess Di had come over!\u003c/p>\n\u003cp>\u003cstrong>On getting paid for work that doesn’t get made \u003c/strong>\u003c/p>\n\u003cp>I have been paid three times to write sequels to \u003cem>Hairspray — \u003c/em>real Hollywood money. I was paid to do a children’s movie called \u003cem>Fruitcake \u003c/em>that I never got made, but I was paid to write it. So I keep getting paid to do them, but they don’t get made — which I feel fine about.\u003c/p>\n\u003cp>I’ve made 17 movies. It’s not like I haven’t spoken. … And at the same time, the books do better than the movies and I just need a way to tell stories. … But mostly with independent movies, a movie that routinely used to cost $7 million now they want you to do it for $2 million or $1 million. And I can’t go backwards! I don’t want to be an underground filmmaker at 73. I did that. I went through all that. And Hollywood treated me fairly. I don’t have any real complaints.\u003c/p>\n\u003cp>\u003cstrong>On collecting unusual contemporary art \u003c/strong>\u003c/p>\n\u003cp>I bought a painting — if you could call it that — by Karin Sander, a German artist I like, and what she did, she has never touched this painting or seen it. She gave her American art dealer a blank canvas, and told him to leave it outside in the Hamptons until it got mold all over it. And then the mold dried in kind of a beautiful way. It looks like a Robert Ryman white painting. But then the dealer said, “I can’t bring it in the gallery. And if you want to buy it, I have to get it treated.” So he got it treated, and then for me to buy it, which I did, I thought, “Isn’t this great? If I don’t have it treated it could wreck my house. It could make me sick. It could maybe kill my guests. It might disappear one day. It’s ugly, and it’s really expensive. And this is perfect! This is the perfect contemporary art!” … It hasn’t spread. None of my guests have been rushed to the hospital from it. But I liked the idea that it’s a dangerous painting.\u003c/p>\n\u003cp>[aside postID='arts_10137298' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2014/06/notpsycho.jpg' target='_blank']\u003c/p>\n\u003cp>\u003cstrong>On his plans to be buried in Baltimore, in the same cemetery as his friends\u003c/strong>\u003c/p>\n\u003cp>It’s a small little graveyard. They handled Divine’s funeral very well. … Mink [Stole] is going to get buried there, Pat Moran … all my friends, so we call it “Disgraceland,” and really I like the idea of being buried with your friends. Most people do not do that.\u003c/p>\n\u003cp>Vincent Peranio, who does all the set designs for my movies, I said, “Maybe you could design [a tombstone] for me that looks old. That has moss on it or something,” but I don’t want any jokes on it, no. I just want the day I was born and the day I died and my name. I don’t want like, “That’s all, folks!” or anything like that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Mooj Zadie produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Filth+Elder%27+John+Waters+Says+There+Are+Still+%27Plenty+Of+Rules%27+Left+To+Break&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Waters looks back on his unlikely path to respectability in his new book, \u003cem>Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder.\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13857743\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13857743\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg\" alt='Cover of \"Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder\" by John Waters.' width=\"640\" height=\"982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-800x1227.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-782x1200.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall.jpg 1335w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cover of “Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder” by John Waters.\u003c/figcaption>\u003c/figure>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On growing up in Baltimore and being inspired by “bad kids”\u003c/strong>\u003c/p>\n\u003cp>It was the opposite of me, and I still like to be around people that are the opposites of me. … We didn’t have juvenile delinquents in my school, in my preppy grade school. … But I always was kind of just amazed to see these supposedly “bad kids” hanging out. I went to the Elvis movies, Jerry Lee Lewis — all that stuff. So I knew about juvenile delinquency.\u003c/p>\n\u003cp>I was always corrupted by \u003cem>Life \u003c/em>magazine because we got it every week and it always covered beatniks, drug addicts. Everything that I was interested in I would read every word of it. And then my parents got the encyclopedia — the W\u003cem>orld Book Encyclopedia, \u003c/em>I think — and that had everything in it! I would look up everything in there that you weren’t supposed to. So I was corrupted by the things that my parents brought in for educational reasons in our house — but not for the educational reasons they had in mind. … Everything about trouble in the arts I looked up.\u003c/p>\n\u003cp>\u003cstrong>On whether his parents’ death changed him\u003c/strong>\u003c/p>\n\u003cp>I don’t think I’ve ever changed, Terry. I think I’m the same as when I first started. I mean, my first film was called \u003cem>Hag in a Black Leather Jacket\u003c/em> and it was about a black man and a white woman being married by a Ku Klux Klan preacher on the roof of my parents’ house. And the last film I made was \u003cem>A Dirty Shame,\u003c/em> which was this sexploitation movie that got an NC-17 rating. …\u003c/p>\n\u003cp>The only thing I could think about my parents dying [was] thank God my mother doesn’t have to read [my book]. … But my parents had a happy marriage for 70 years. They both lived to be about 90. I’m wondering why I’m kind of as nuts as I am, really, because I had … pretty good role models from them.\u003c/p>\n\u003cp>\u003cstrong>On how his parents reacted to his being an eccentric child \u003c/strong>\u003c/p>\n\u003cp>I was obsessed by car accidents, and I “played” car accidents. My mother would take me to junkyards and walk around with me and I’d be like, “There’s been a terrible one over here! Look at this!” And I think [now], what did the junkyard or junk man think? What is this little ghoul? … I don’t know [what my mother thought]. That wasn’t in the Dr. Spock book of “What to Do if Your Kid is Obsessed By Car Accidents.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": " “… what parent would be happy their child made ‘Pink Flamingos’? Really, none.”—John Waters ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>[My parents] didn’t know what to do, really, but they didn’t freak out too much. They were confused by it. And what parent would be happy their child made \u003cem>Pink Flamingos\u003c/em>? Really, none. …\u003c/p>\n\u003cp>Some of the people that I would bring home, my friends, [my mother] would be horrified, but she was polite. I remember when we made \u003cem>Multiple Maniacs\u003c/em> [a 1970 film about psychotic killers who perform in a traveling sideshow] at my parents’ house and filmed the “Cavalcade of Perversion” [the sideshow act] on the front lawn. Divine came in afterwards in a bloody one-piece white woman’s bathing suit carrying an ax, and my mother served us tea, as if Princess Di had come over!\u003c/p>\n\u003cp>\u003cstrong>On getting paid for work that doesn’t get made \u003c/strong>\u003c/p>\n\u003cp>I have been paid three times to write sequels to \u003cem>Hairspray — \u003c/em>real Hollywood money. I was paid to do a children’s movie called \u003cem>Fruitcake \u003c/em>that I never got made, but I was paid to write it. So I keep getting paid to do them, but they don’t get made — which I feel fine about.\u003c/p>\n\u003cp>I’ve made 17 movies. It’s not like I haven’t spoken. … And at the same time, the books do better than the movies and I just need a way to tell stories. … But mostly with independent movies, a movie that routinely used to cost $7 million now they want you to do it for $2 million or $1 million. And I can’t go backwards! I don’t want to be an underground filmmaker at 73. I did that. I went through all that. And Hollywood treated me fairly. I don’t have any real complaints.\u003c/p>\n\u003cp>\u003cstrong>On collecting unusual contemporary art \u003c/strong>\u003c/p>\n\u003cp>I bought a painting — if you could call it that — by Karin Sander, a German artist I like, and what she did, she has never touched this painting or seen it. She gave her American art dealer a blank canvas, and told him to leave it outside in the Hamptons until it got mold all over it. And then the mold dried in kind of a beautiful way. It looks like a Robert Ryman white painting. But then the dealer said, “I can’t bring it in the gallery. And if you want to buy it, I have to get it treated.” So he got it treated, and then for me to buy it, which I did, I thought, “Isn’t this great? If I don’t have it treated it could wreck my house. It could make me sick. It could maybe kill my guests. It might disappear one day. It’s ugly, and it’s really expensive. And this is perfect! This is the perfect contemporary art!” … It hasn’t spread. None of my guests have been rushed to the hospital from it. But I liked the idea that it’s a dangerous painting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"perspectives": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
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