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"content": "\u003cp>Like any good origin story, poet and critic Hanif Abdurraqib’s \u003cem>Go Ahead in the Rain: Notes to a Tribe Called Quest\u003c/em> begins \u003cem>in the beginning: \u003c/em>“In the beginning, somewhere south of anywhere I come from, lips pressed the edge of a horn…. In the beginning before the beginning, there were drums, and hymns, and a people carried here.”\u003c/p>\n\u003cfigure id=\"attachment_13850148\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13850148 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr.png\" alt=\"'Go Ahead in the Rain: Notes to a Tribe Called Quest' by Hanif Abdurraqib\" width=\"300\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr-160x218.png 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Go Ahead in the Rain: Notes to a Tribe Called Quest’ by Hanif Abdurraqib\u003c/figcaption>\u003c/figure>\n\u003cp>Abdurraqib unspools history from here, carrying the reader through centuries of African-American music-making in a capacious few pages that end with the 1990 release of A Tribe Called Quest’s first album, \u003cem>People’s Instinctive Travels and the Paths of Rhythm\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Go Ahead in the Rain \u003c/em>is at once an extended critical essay, a hip-hop history, and a series of love letters to A Tribe Called Quest, and particularly to the group’s two star MCs, Q-Tip and Phife Dawg. In his two previous books, \u003cem>The Crown Ain’t Worth Much \u003c/em>and \u003cem>They Can’t Kill Us Until They Kill Us\u003c/em>, Abdurraqib demonstrated his expertise at compressing massive emotions into minimal space. Here, he takes that skill up yet another notch. He has a seemingly limitless capacity to share what moves him, which means that to read \u003cem>Go Ahead in the Rain\u003c/em>, you don’t need to be a Tribe Called Quest fan: Abdurraqib will make you one. His love for the group is infectious, even when it breaks his heart.\u003c/p>\n\u003cp>[contextly_sidebar id=”mSFh9cXrIsdfUVtAj1opXnxe9aFsfPMl”]\u003c/p>\n\u003cp>The story of A Tribe Called Quest is, from a certain vantage, heartbreaking. From most, it’s mythic. Childhood friends Q-Tip and Phife Dawg began rapping as high schoolers in Queens, using music “as a bridge to each other.” By the time they were 25, they had become one of hip-hop’s greatest groups. They rooted their sound in jazz like few rappers before them, creating a sound that both honored and transformed the past. They were crucial members of the Afrocentric hip-hop collective Native Tongues, and Q-Tip and producer Ali Shaheed Muhammad became two-thirds of The Ummah, a production collective that made songs for Janet Jackson, Whitney Houston, and many more. Meanwhile, their own albums made them undisputed stars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Q-Tip overshadowed Phife Dawg, and tensions between the two rose until 1999, when A Tribe Called Quest released their fifth album and then broke up. When the group reunited in 2016, Phife Dawg was suffering from the diabetes that had long plagued him — on \u003cem>Midnight Marauders\u003c/em>, Tribe’s third album, he rapped, “When’s the last time you heard a funky diabetic?” — and before A Tribe Called Quest’s final album came out, Phife was dead.\u003c/p>\n\u003cp>[contextly_sidebar id=”0mPsHAzxO82dniZHQCvtkMBjwccrfA51″]\u003c/p>\n\u003cp>Abdurraqib does not shy from his sadness over the group’s breakup or Phife Dawg’s death, but \u003cem>Go Ahead in the Rain \u003c/em>is not a sad book. Instead, it’s steeped in gratitude and joy. Abdurraqib celebrates Tribe’s invocation of jazz, their “rap music for our parents and theirs [that] left the door open wide enough for anyone to sneak through.” He weaves his own memories of A Tribe Called Quest with the group’s history, imbuing music history with empathy and locating his past self in music history. A particular standout on that front is the third chapter, in which Abdurraqib moves smoothly from his own teenage friendships to how he imagines it felt to be in Native Tongues. “The thing about Native Tongues,” he concludes, “is that they were like my crew, or potentially your crew. They were uncool enough to define a new type of cool on their own terms… The Native Tongues briefly built a world in which they knew themselves as each other’s people.”\u003c/p>\n\u003cp>\u003cem>Potentially your crew \u003c/em>is the key to that passage, and to Abdurraqib’s critical approach. Without fail or hesitation, he invites the reader into the text. Even his deepest dives into history and technique have a come-with-me spirit. Take his chapter on production, which he roots equally in technique and philosophy. When A Tribe Called Quest emerged, hip-hop beats were made through the painstaking process of sampling other songs’ rhythms and riffs. In \u003cem>Black Noise\u003c/em>, her seminal study of rap music, Tricia Rose used Tribe to demonstrate the power of sampling: “A Tribe Called Quest’s ‘Verses from the Abstract’ features Ron Carter on bass but the hip hop drum lines completely recontextualize Carter’s jazz sound.” To Abdurraqib, Tribe’s production did more than recontextualize. He calls it “the art of resurrection,” and he admires it with all his huge heart. In a letter to Q-Tip, he writes, “I love the sample as you love the sample, Tip — for how it can be extracted from the past and stretched over a sound reaching for the future.”\u003c/p>\n\u003cp>[contextly_sidebar id=”OMS8qNWxkgDsSQcgIZhuO9sFhmyUwzj0″]\u003c/p>\n\u003cp>You don’t need to be a Tribe Called Quest fan to read \u003cem>Go Ahead in the Rain\u003c/em>, and I envy the reader who comes to their music through Abdurraqib’s prose, but this is not (or not only) a book for beginners. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like any good origin story, poet and critic Hanif Abdurraqib’s \u003cem>Go Ahead in the Rain: Notes to a Tribe Called Quest\u003c/em> begins \u003cem>in the beginning: \u003c/em>“In the beginning, somewhere south of anywhere I come from, lips pressed the edge of a horn…. In the beginning before the beginning, there were drums, and hymns, and a people carried here.”\u003c/p>\n\u003cfigure id=\"attachment_13850148\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13850148 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr.png\" alt=\"'Go Ahead in the Rain: Notes to a Tribe Called Quest' by Hanif Abdurraqib\" width=\"300\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr-160x218.png 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Go Ahead in the Rain: Notes to a Tribe Called Quest’ by Hanif Abdurraqib\u003c/figcaption>\u003c/figure>\n\u003cp>Abdurraqib unspools history from here, carrying the reader through centuries of African-American music-making in a capacious few pages that end with the 1990 release of A Tribe Called Quest’s first album, \u003cem>People’s Instinctive Travels and the Paths of Rhythm\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Go Ahead in the Rain \u003c/em>is at once an extended critical essay, a hip-hop history, and a series of love letters to A Tribe Called Quest, and particularly to the group’s two star MCs, Q-Tip and Phife Dawg. In his two previous books, \u003cem>The Crown Ain’t Worth Much \u003c/em>and \u003cem>They Can’t Kill Us Until They Kill Us\u003c/em>, Abdurraqib demonstrated his expertise at compressing massive emotions into minimal space. Here, he takes that skill up yet another notch. He has a seemingly limitless capacity to share what moves him, which means that to read \u003cem>Go Ahead in the Rain\u003c/em>, you don’t need to be a Tribe Called Quest fan: Abdurraqib will make you one. His love for the group is infectious, even when it breaks his heart.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The story of A Tribe Called Quest is, from a certain vantage, heartbreaking. From most, it’s mythic. Childhood friends Q-Tip and Phife Dawg began rapping as high schoolers in Queens, using music “as a bridge to each other.” By the time they were 25, they had become one of hip-hop’s greatest groups. They rooted their sound in jazz like few rappers before them, creating a sound that both honored and transformed the past. They were crucial members of the Afrocentric hip-hop collective Native Tongues, and Q-Tip and producer Ali Shaheed Muhammad became two-thirds of The Ummah, a production collective that made songs for Janet Jackson, Whitney Houston, and many more. Meanwhile, their own albums made them undisputed stars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Q-Tip overshadowed Phife Dawg, and tensions between the two rose until 1999, when A Tribe Called Quest released their fifth album and then broke up. When the group reunited in 2016, Phife Dawg was suffering from the diabetes that had long plagued him — on \u003cem>Midnight Marauders\u003c/em>, Tribe’s third album, he rapped, “When’s the last time you heard a funky diabetic?” — and before A Tribe Called Quest’s final album came out, Phife was dead.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Abdurraqib does not shy from his sadness over the group’s breakup or Phife Dawg’s death, but \u003cem>Go Ahead in the Rain \u003c/em>is not a sad book. Instead, it’s steeped in gratitude and joy. Abdurraqib celebrates Tribe’s invocation of jazz, their “rap music for our parents and theirs [that] left the door open wide enough for anyone to sneak through.” He weaves his own memories of A Tribe Called Quest with the group’s history, imbuing music history with empathy and locating his past self in music history. A particular standout on that front is the third chapter, in which Abdurraqib moves smoothly from his own teenage friendships to how he imagines it felt to be in Native Tongues. “The thing about Native Tongues,” he concludes, “is that they were like my crew, or potentially your crew. They were uncool enough to define a new type of cool on their own terms… The Native Tongues briefly built a world in which they knew themselves as each other’s people.”\u003c/p>\n\u003cp>\u003cem>Potentially your crew \u003c/em>is the key to that passage, and to Abdurraqib’s critical approach. Without fail or hesitation, he invites the reader into the text. Even his deepest dives into history and technique have a come-with-me spirit. Take his chapter on production, which he roots equally in technique and philosophy. When A Tribe Called Quest emerged, hip-hop beats were made through the painstaking process of sampling other songs’ rhythms and riffs. In \u003cem>Black Noise\u003c/em>, her seminal study of rap music, Tricia Rose used Tribe to demonstrate the power of sampling: “A Tribe Called Quest’s ‘Verses from the Abstract’ features Ron Carter on bass but the hip hop drum lines completely recontextualize Carter’s jazz sound.” To Abdurraqib, Tribe’s production did more than recontextualize. He calls it “the art of resurrection,” and he admires it with all his huge heart. In a letter to Q-Tip, he writes, “I love the sample as you love the sample, Tip — for how it can be extracted from the past and stretched over a sound reaching for the future.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>You don’t need to be a Tribe Called Quest fan to read \u003cem>Go Ahead in the Rain\u003c/em>, and I envy the reader who comes to their music through Abdurraqib’s prose, but this is not (or not only) a book for beginners. I have been listening to A Tribe Called Quest my whole musically conscious life, and yet \u003cem>Go Ahead in the Rain \u003c/em>made their records sound new. Listening to \u003cem>People’s Instinctive Travels \u003c/em>now, I hear the introduction to “After Hours” as a warm cavern of sound. The first bars of “Push It Along” glitter like geodes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This comes from deepened knowledge and understanding, but it also comes from absorbing Abdurraqib’s love, which reinvigorated my own. This, too, is a way of reaching for the future: to write about music so beautifully and intelligently that readers are moved to love it, or reminded to love it more.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Go+Ahead+In+The+Rain%2C%27+The+Love+For+A+Tribe+Called+Quest+Is+Infectious&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Grammy-nominated rapper 21 Savage, who has long been associated with Atlanta, has been arrested by U.S. Immigration and Customs Enforcement. The agency says he is actually a U.K. citizen who overstayed his visa and that he now faces deportation.\u003c/p>\n\u003cp>The news has come as a surprise to fans, who assumed the rapper was from Atlanta, as he has often talked about his tough childhood in the city’s Eastside. As The \u003ca href=\"https://www.ajc.com/news/breaking-ice-arrests-rapper-savage-says-actually-british-and-overstayed-visa/HgORJxcJCckHjlMdzlqwKM/\">Atlanta Journal Constitution put it\u003c/a>, 21 Savage — whose real name is Sha Yaa Bin Abraham-Joseph — “has long been considered a local act.”\u003c/p>\n\u003cp>The 26-year-old first appeared on the rap scene in 2015 and has since rocketed to success. In December, he scored \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8491748/21-savages-i-am-i-was-album-debuts-at-no-1-on-billboard-200\">his first No. 1 \u003c/a>on the Billboard charts for his latest album, \u003cem>I Am > I Was.\u003c/em>\u003c/p>\n\u003cp>It turns out he was a U.K. national who came to the U.S. as a child but then overstayed his visa, federal officials say. He was taken into custody Sunday morning during a “targeted operation” in metro Atlanta, ICE spokesman Bryan Cox said, as reported by the \u003ca href=\"https://www.apnews.com/5775521aeeed48c0ba981e2ddb985ec0\">Associated Press\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/watch?v=opKizJadkzA\">http://www.youtube.com/watch?v=opKizJadkzA\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"font-size: 14px\">\u003cem>Just five days before his arrest, 21 Savage rapped about the children being detained along the U.S.-Mexico border and the Flint Michigan water crisis on ‘The Tonight Show.’ \u003c/em>\u003c/p>\n\u003cp>In July 2005, when he was 13, Abraham-Joseph entered the U.S. legally but stayed in the country after his visa expired a year later, Cox told the AP.\u003c/p>\n\u003cp>The rapper was convicted of felony drug charges in 2014, Cox said. But ICE was not aware of his immigration status at the time and only learned later, an ICE official told the \u003cem>Journal.\u003c/em>\u003c/p>\n\u003cp>According to CNN correspondent Nick Valencia, Abraham-Joseph “was in the car with another rapper who was the target of a criminal arrest.” After law enforcement learned about his immigration status, Abraham-Joseph was taken into custody. His lawyer, Dina LaPolt, \u003ca href=\"https://apnews.com/c03183435b974482ae8ec8877765f44c\">told \u003c/a>the AP she has been working to get him out, saying her client is a role model to young people.\u003c/p>\n\u003cp>As 21 Savage, Abraham-Joseph had a “commitment to telling the stories of life in Atlanta’s Zone 6,” \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8491003/21-savage-previews-pop-up-motel-21\">Billboard wrote \u003c/a>last month, referring to the Eastside of Atlanta. “The East Atlanta rapper has been repping the neighborhood he grew up in, and rapping about the violence and pain that he’s encountered (and inflicted) since he first stepped into a recording booth.” Abraham-Joseph has said the “21” in his name refers to a street gang in Decatur, Ga., \u003ca href=\"https://www.cnn.com/2019/02/03/us/rapper-21-savage-arrest-ice/index.html\">CNN reported\u003c/a>. At the time of his arrest, his Wikipedia page had said he was born in Atlanta in 1992, according to The \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2019/02/03/rapper-savage-arrested-by-ice-agents-who-say-hes-united-kingdom-not-atlanta/?utm_term=.00776a105b42\">Washington Post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://twitter.com/NickyBeachh/status/1092266997155618818\">http://twitter.com/NickyBeachh/status/1092266997155618818\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rapper+21+Savage+Arrested+By+ICE+For+Allegedly+Overstaying+Visa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Grammy-nominated rapper 21 Savage, who has long been associated with Atlanta, has been arrested by U.S. Immigration and Customs Enforcement. The agency says he is actually a U.K. citizen who overstayed his visa and that he now faces deportation.\u003c/p>\n\u003cp>The news has come as a surprise to fans, who assumed the rapper was from Atlanta, as he has often talked about his tough childhood in the city’s Eastside. As The \u003ca href=\"https://www.ajc.com/news/breaking-ice-arrests-rapper-savage-says-actually-british-and-overstayed-visa/HgORJxcJCckHjlMdzlqwKM/\">Atlanta Journal Constitution put it\u003c/a>, 21 Savage — whose real name is Sha Yaa Bin Abraham-Joseph — “has long been considered a local act.”\u003c/p>\n\u003cp>The 26-year-old first appeared on the rap scene in 2015 and has since rocketed to success. In December, he scored \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8491748/21-savages-i-am-i-was-album-debuts-at-no-1-on-billboard-200\">his first No. 1 \u003c/a>on the Billboard charts for his latest album, \u003cem>I Am > I Was.\u003c/em>\u003c/p>\n\u003cp>It turns out he was a U.K. national who came to the U.S. as a child but then overstayed his visa, federal officials say. He was taken into custody Sunday morning during a “targeted operation” in metro Atlanta, ICE spokesman Bryan Cox said, as reported by the \u003ca href=\"https://www.apnews.com/5775521aeeed48c0ba981e2ddb985ec0\">Associated Press\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/watch?v=opKizJadkzA\">http://www.youtube.com/watch?v=opKizJadkzA\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"font-size: 14px\">\u003cem>Just five days before his arrest, 21 Savage rapped about the children being detained along the U.S.-Mexico border and the Flint Michigan water crisis on ‘The Tonight Show.’ \u003c/em>\u003c/p>\n\u003cp>In July 2005, when he was 13, Abraham-Joseph entered the U.S. legally but stayed in the country after his visa expired a year later, Cox told the AP.\u003c/p>\n\u003cp>The rapper was convicted of felony drug charges in 2014, Cox said. But ICE was not aware of his immigration status at the time and only learned later, an ICE official told the \u003cem>Journal.\u003c/em>\u003c/p>\n\u003cp>According to CNN correspondent Nick Valencia, Abraham-Joseph “was in the car with another rapper who was the target of a criminal arrest.” After law enforcement learned about his immigration status, Abraham-Joseph was taken into custody. His lawyer, Dina LaPolt, \u003ca href=\"https://apnews.com/c03183435b974482ae8ec8877765f44c\">told \u003c/a>the AP she has been working to get him out, saying her client is a role model to young people.\u003c/p>\n\u003cp>As 21 Savage, Abraham-Joseph had a “commitment to telling the stories of life in Atlanta’s Zone 6,” \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8491003/21-savage-previews-pop-up-motel-21\">Billboard wrote \u003c/a>last month, referring to the Eastside of Atlanta. “The East Atlanta rapper has been repping the neighborhood he grew up in, and rapping about the violence and pain that he’s encountered (and inflicted) since he first stepped into a recording booth.” Abraham-Joseph has said the “21” in his name refers to a street gang in Decatur, Ga., \u003ca href=\"https://www.cnn.com/2019/02/03/us/rapper-21-savage-arrest-ice/index.html\">CNN reported\u003c/a>. At the time of his arrest, his Wikipedia page had said he was born in Atlanta in 1992, according to The \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2019/02/03/rapper-savage-arrested-by-ice-agents-who-say-hes-united-kingdom-not-atlanta/?utm_term=.00776a105b42\">Washington Post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://twitter.com/NickyBeachh/status/1092266997155618818\">http://twitter.com/NickyBeachh/status/1092266997155618818\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rapper+21+Savage+Arrested+By+ICE+For+Allegedly+Overstaying+Visa&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Many may know \u003ca href=\"https://www.npr.org/artists/16302592/wanda-jackson\">Wanda Jackson\u003c/a>‘s 1960s hit “\u003ca href=\"https://www.youtube.com/watch?v=ip_rNAASt6I\">Let’s Have a Party\u003c/a>,” or even the versions performed by \u003ca href=\"https://www.npr.org/artists/15396553/led-zeppelin\">Led Zeppelin\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>, but most will not recognize the name of the woman who wrote it: Jessie Mae Robinson.\u003c/p>\n\u003cp>Whether she was composing party songs or heartbreak songs, Robinson wrote with the concise, evocative language of a journalist. She gave her characters dignity no matter who they were or what they were doing.\u003c/p>\n\u003cp>Born in Texas in 1918 and raised in California, Robinson’s songs have been recorded by hundreds of artists, from \u003ca href=\"https://www.npr.org/artists/15404400/louis-jordan\">Louis Jordan\u003c/a> to \u003ca href=\"https://www.npr.org/artists/145913023/lana-del-rey\">Lana Del Rey\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”wG4bQWyv4SVZes0v9saOts3pZRAiAmoW”]\u003c/p>\n\u003cp>Growing up in the Watts neighborhood of Los Angeles, Robinson found a supportive community, and plenty of opportunities to explore her creative interests. She became a champion tap dancer, competing at the old Largo Theater. As a teenager, she wrote a column for the \u003ca href=\"https://www.pbs.org/blackpress/news_bios/ca_eagle.html\">\u003cem>California Eagle\u003c/em>\u003c/a> newspaper. She earned an \u003ca href=\"https://www.actorsequity.org/join/\">Actors’ Equity\u003c/a> card, performing in WPA musicals like \u003cem>Show Boat\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Robinson also had a penchant for making up melodies and writing poetry. She was encouraged to become a songwriter by neighborhood friend Joe Adams, who’d go on to manage \u003ca href=\"https://www.npr.org/artists/14951033/ray-charles\">Ray Charles\u003c/a> and Dootsie Williams. Williams owned a local studio, where Robinson got her songwriting start. She caught a break in 1945, when a young \u003ca href=\"https://www.npr.org/artists/15404991/dinah-washington\">Dinah Washington\u003c/a> released “Mellow Mama Blues.”\u003c/p>\n\u003cp>Robinson was an African American woman working mostly on her own in the 1940s and 50s, but she challenged a music industry determined to pigeonhole her into writing only blues and R&B. She loved\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=103402874\"> Tin Pan Alley \u003c/a>and show tunes, and refused to be confined by genre.\u003c/p>\n\u003cp>[contextly_sidebar id=”ct1SmKSyDNDH3nDUThOhnHL6UQMjkK8m”]\u003c/p>\n\u003cp>In 1952, Robinson had her first pop music crossover success when \u003ca href=\"https://www.npr.org/sections/therecord/2013/01/03/168488929/patti-page-who-dominated-the-50s-pop-charts-dies\">Patti Page\u003c/a> recorded her song, “I Went To Your Wedding,” about watching the love of your life marry someone else.\u003c/p>\n\u003cp>A self-taught musician, Robinson wrote songs even when she had no access to an instrument. She’d hum melodies into a tape recorder, and scribble lyrics on random pieces of paper. She didn’t learn to drive until age 30, so early in her career, she’d take a bus to Hollywood, and have her songs transcribed onto sheet music that the studio musicians could read.\u003c/p>\n\u003cp>[contextly_sidebar id=”Nkp42ZQ5aAQPxYVtFnMbN4bi1oVEbWQc”]\u003c/p>\n\u003cp>In the early 1960s, Robinson started her own record labels, naming the first one after her daughter, June. Though she loved music, Robinson had grown tired of the industry. She was physically tired, too. Robinson’s health was in decline, and in 1966 she sought treatment for a chronic throat problem. The doctors suggested surgery, but she said no, fearful of permanently losing her voice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Robinson died in 1966 at age 48, leaving behind a body of work that reflects who she was: soft-spoken yet self-possessed, imaginative and ambitious. She was a uniquely gifted composer with an eye for detail that most people overlook and the ability to pack so much emotion into just a few words.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Women+Behind+The+Songs%3A+Jessie+Mae+Robinson&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Robinson also had a penchant for making up melodies and writing poetry. She was encouraged to become a songwriter by neighborhood friend Joe Adams, who’d go on to manage \u003ca href=\"https://www.npr.org/artists/14951033/ray-charles\">Ray Charles\u003c/a> and Dootsie Williams. Williams owned a local studio, where Robinson got her songwriting start. She caught a break in 1945, when a young \u003ca href=\"https://www.npr.org/artists/15404991/dinah-washington\">Dinah Washington\u003c/a> released “Mellow Mama Blues.”\u003c/p>\n\u003cp>Robinson was an African American woman working mostly on her own in the 1940s and 50s, but she challenged a music industry determined to pigeonhole her into writing only blues and R&B. She loved\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=103402874\"> Tin Pan Alley \u003c/a>and show tunes, and refused to be confined by genre.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In 1952, Robinson had her first pop music crossover success when \u003ca href=\"https://www.npr.org/sections/therecord/2013/01/03/168488929/patti-page-who-dominated-the-50s-pop-charts-dies\">Patti Page\u003c/a> recorded her song, “I Went To Your Wedding,” about watching the love of your life marry someone else.\u003c/p>\n\u003cp>A self-taught musician, Robinson wrote songs even when she had no access to an instrument. She’d hum melodies into a tape recorder, and scribble lyrics on random pieces of paper. She didn’t learn to drive until age 30, so early in her career, she’d take a bus to Hollywood, and have her songs transcribed onto sheet music that the studio musicians could read.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the early 1960s, Robinson started her own record labels, naming the first one after her daughter, June. Though she loved music, Robinson had grown tired of the industry. She was physically tired, too. Robinson’s health was in decline, and in 1966 she sought treatment for a chronic throat problem. The doctors suggested surgery, but she said no, fearful of permanently losing her voice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Robinson died in 1966 at age 48, leaving behind a body of work that reflects who she was: soft-spoken yet self-possessed, imaginative and ambitious. She was a uniquely gifted composer with an eye for detail that most people overlook and the ability to pack so much emotion into just a few words.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Women+Behind+The+Songs%3A+Jessie+Mae+Robinson&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oh Yes Son, They're Talking To You: 20 Years Of 'No Scrubs'",
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"headTitle": "Oh Yes Son, They’re Talking To You: 20 Years Of ‘No Scrubs’ | KQED",
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"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\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>In 1998, songwriter Kandi Burruss — on hiatus from her R&B group, Xscape — took a drive around Atlanta with a girlfriend, looking for inspiration. In the car, Burruss was playing tracks she’d gotten from a fellow songwriter, Kevin “She’kspere” Briggs, a few days earlier.\u003c/p>\n\u003cp>“No lyrics, no melody, just the music,” Burruss says. “I always like to listen to tracks in my car because I come up with my best ideas when I’m driving.”\u003c/p>\n\u003cp>As Burruss tells it, she and her friend were also trash-talking the guys they were dating at the time. “So I started freestylin’ over the track,” she says. “And I was just like, ‘\u003cem>A scrub is a guy who thinks he’s fly, and is also known as a busta / Always talking about what he wants, and just sits on his fat ass\u003c/em>.’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”JZv1mmAiy8qO5eD59P5YMiOuSBAKIk8z”]\u003c/p>\n\u003cp>She knew she had something there. For a title, she remembered something she’d scribbled in her songwriting notebook. The phrase “No Scrubs” came from a term popular in Atlanta at the time, slang for a guy with no purpose, no prospects, no couth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burruss took her idea to fellow Xscape member Tameka “Tiny” Cottle, who loved the freestyle. Together, they quickly fleshed out the entire song and recorded a demo, thinking they’d keep it for their own upcoming joint project. But once the demo was passed to a few other industry figures, the two were persuaded to sell the song to a bigger group — who would end up running with it.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"TLC - No Scrubs (Official HD Video)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/FrLequ6dUdM?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>\u003ca href=\"https://www.npr.org/artists/15807876/tlc\">TLC\u003c/a>, also from Atlanta, already had its own formula for success. Early hits like “\u003ca href=\"https://www.youtube.com/watch?v=LlZydtG3xqI\">Creep\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=8WEtxJ4-sh4\">Waterfalls\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=XmH4_pr6mH0\">Ain’t 2 Proud 2 Beg\u003c/a>” cultivated an image of being socially aware, and Rozonda “Chilli” Thomas, Tionne “T-Boz” Watkins and Lisa “Left Eye” Lopes were known as bold, confident, independent young women. So when “No Scrubs” landed in their court, a few words were changed to suit that image and make the song their own. (Among them, “fat ass” became “broke ass,” making clear the group’s problem was with men who lacked not just coin, but ambition.)\u003c/p>\n\u003cp>“No Scrubs” was released in early 1999 as the lead single of TLC’s third studio album, \u003cem>FanMail\u003c/em>. The track locked up the No. 1 position on Billboard’s Hot 100 for four weeks and stayed on the chart for months. Chilli Thomas says she knew it would be a hit the first time she heard it, because even though the term was regional, the idea was universal. “A scrub is just a bum guy, you know?” she says. “You don’t want to bring him home.”\u003c/p>\n\u003cp>[contextly_sidebar id=”xuLhWTJpOFn0gzJRyeRcgiHk38kJye3Y”]\u003c/p>\n\u003cp>At the time TLC hadn’t dropped an album in over four years, but two things helped “No Scrubs” take off commercially. For one, it was bolstered by a dope, futuristic \u003ca href=\"https://www.youtube.com/watch?v=FrLequ6dUdM\">video\u003c/a> helmed by director Hype Williams. The visual found the trio in a cruising spaceship and each lady, decked out in a swishy space suit, got the chance to show her individual personality. Chilli remembers the challenges of that now-iconic shoot, in which she performed her verses on a giant swinging platform.\u003c/p>\n\u003cp>“I was looking at it and it’s ginormous — I’m like, ‘Who’s supposed to get on the swing?’ ” Chilli says. “I was so intimidated, but eventually, I did it. I mean, I got on there and I got comfortable, and then I got \u003cem>real\u003c/em> comfortable.” The video would earn TLC a MTV Video Music Award for best group video, \u003ca href=\"https://www.youtube.com/watch?v=4TYosRJA0FU\">beating out\u003c/a> the all-male competition in a category that included both ‘NSync and the Backstreet Boys at their height.\u003c/p>\n\u003cp>Second, LaFace Records was smart about marketing the single. “No Scrubs” was released in two versions, one with Left Eye’s rap verse and one without. This strategy ensured the song would get airplay on a variety of radio stations, regardless of format.\u003c/p>\n\u003cp>[contextly_sidebar id=”lE9sp0yLHtaDLT7BQNVfMGlWTArlXtSH”]\u003c/p>\n\u003cp>While some of the most popular late ’90s hip-hop and R&B tracks were saturated with misogyny and damsel-in-distress plotlines, Burruss says, “No Scrubs” helped flip the script. “This song almost made it to where guys felt they couldn’t ride to an event together anymore,” she remembers.\u003c/p>\n\u003cp>And men weren’t just stopping short of carpooling to the club. “No Scrubs” was a wake-up call for guys like Sean Armstrong, aka DJ Face of the radio station \u003ca href=\"https://mymajicdc.com/\">Majic 102.3\u003c/a>. He remembers hearing the song for the first time at a Baltimore record store and spinning it at D.C.-area clubs when it first came out.\u003c/p>\n\u003cp>“Guys started checking themselves, like, ‘Am I a scrub?,’ ” Face remembers. “You had to really think: ‘I don’t really lean out the window, you know, hollerin’ at women. I have my own car. I got a job. I’m not a scrub.’ Like, you had to take yourself off the list.”\u003c/p>\n\u003cp>Chilli says it’s not guys like DJ Face who have to worry. “I always say, the guys getting upset are the scrubs. If you’re not a scrub, then … a hit dog will holler, right?” she laughs. “So, if that’s not who you are, then you shouldn’t be getting upset.”\u003c/p>\n\u003cp>The feathers of Yonkers, N.Y. rap group Sporty Thievz were so ruffled, the trio released its own response track, “No Pigeons,” in May 1999, a month after “No Scrubs” hit No. 1. But even if some perceived “No Pigeons” as a diss to the song’s originators, it used the same melody as “No Scrubs” — so Burruss, Briggs and Cottle still got paid.\u003c/p>\n\u003cp>“That was a check,” Burruss says. “I thought it was clever. I love the fact that they flipped the song and gave the male point of view. And plus, we ended up getting all the royalties from it.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sporty Thievz - No Pigeons (Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/pP33_uFlzTM?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>In the two decades since the song was released, it’s never really gone away. In 2017, Ed Sheeran added the songwriters of “No Scrubs” to the credits of his own No. 1 hit, “Shape of You,” after some \u003ca href=\"https://www.billboard.com/articles/columns/pop/7735550/ed-sheeran-tlc-no-scrubs-writers-shape-of-you-credits\">drew comparisons\u003c/a> between the two songs’ \u003ca href=\"https://www.youtube.com/watch?v=8OrT52ZToUk\">melodies\u003c/a>. And it’s inspired covers across all genres. British R&B singer Jorja Smith keeps her version \u003ca href=\"https://www.youtube.com/watch?v=XoD8smiAXPI\">stripped down\u003c/a>, while country star Kacey Musgraves adds \u003ca href=\"https://www.youtube.com/watch?v=kdlAZHdAfZc\">a bit of twang\u003c/a>. In January, the four men of Weezer released a \u003ca href=\"https://www.youtube.com/watch?v=55UtG-1os_s\">rock cover\u003c/a>, with all gender pronouns left intact.\u003c/p>\n\u003cp>But at the end of the day, the original is still popular. On Spotify, “No Scrubs” has over 300 million streams to date. NPR intern Sophie Fouladi was born in the early 2000s and says the song was a hit at her junior prom in Northern Virginia just last spring.\u003c/p>\n\u003cp>“I thought it was really interesting that a throwback song was something that got everyone really excited,” Fouladi says. “There was just screams of recognition from a bunch of girls, and they were pulling each other to the dance floor. These are people who were born after the song was released.”\u003c/p>\n\u003cp>[contextly_sidebar id=”05CiLETtYYTrisZV6xEJxG5nBa6jYZQj”]\u003c/p>\n\u003cp>Will Eastman hosts a recurring \u003ca href=\"https://www.930.com/event/1717617-no-scrubs-90s-dance-party-washington/\">90’s dance party\u003c/a> called “No Scrubs” at Washington, D.C.’s 9:30 Club, and says he knows exactly the response he’ll get when he drops the song. “There’s an electricity that exists in the room,” he says. “You can feel it wash over the crowd, and for that three or four minutes, we’re all in it together.”\u003c/p>\n\u003cp>After playing the song for years, Eastman says he finally gets its message: “It’s a pop song, it’s an R&B song, but there’s also a subversive element to ‘No Scrubs’ which is taken from a position of, ‘Look, you are not in charge here. I’m in charge. I have agency here.’ That resonates with people.’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”JWY1bRLv8Jd3JIZYbWKW5i0sQKHllZ7Z”]\u003c/p>\n\u003cp>Chilli says she recognized the power of “No Scrubs” back when TLC first recorded it, and she’s proud of its legacy. “I feel really happy because I know that — even though you can jam to it, you dance to it — lyrically, I know that the girls are listening, you know? And the guys are, too,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Kandi Burruss agrees. “As women, we go through things every day, \u003cem>all day\u003c/em>,” she says. “No matter where we go, somebody is gonna try to push up or try to holler at you, and they’re not always a gentleman about it. So I feel like this song put it out there … and it just made women be a little bit more outspoken.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oh+Yes+Son%2C+They%27re+Talking+To+You%3A+20+Years+Of+%27No+Scrubs%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>In 1998, songwriter Kandi Burruss — on hiatus from her R&B group, Xscape — took a drive around Atlanta with a girlfriend, looking for inspiration. In the car, Burruss was playing tracks she’d gotten from a fellow songwriter, Kevin “She’kspere” Briggs, a few days earlier.\u003c/p>\n\u003cp>“No lyrics, no melody, just the music,” Burruss says. “I always like to listen to tracks in my car because I come up with my best ideas when I’m driving.”\u003c/p>\n\u003cp>As Burruss tells it, she and her friend were also trash-talking the guys they were dating at the time. “So I started freestylin’ over the track,” she says. “And I was just like, ‘\u003cem>A scrub is a guy who thinks he’s fly, and is also known as a busta / Always talking about what he wants, and just sits on his fat ass\u003c/em>.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She knew she had something there. For a title, she remembered something she’d scribbled in her songwriting notebook. The phrase “No Scrubs” came from a term popular in Atlanta at the time, slang for a guy with no purpose, no prospects, no couth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burruss took her idea to fellow Xscape member Tameka “Tiny” Cottle, who loved the freestyle. Together, they quickly fleshed out the entire song and recorded a demo, thinking they’d keep it for their own upcoming joint project. But once the demo was passed to a few other industry figures, the two were persuaded to sell the song to a bigger group — who would end up running with it.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"TLC - No Scrubs (Official HD Video)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/FrLequ6dUdM?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>\u003ca href=\"https://www.npr.org/artists/15807876/tlc\">TLC\u003c/a>, also from Atlanta, already had its own formula for success. Early hits like “\u003ca href=\"https://www.youtube.com/watch?v=LlZydtG3xqI\">Creep\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=8WEtxJ4-sh4\">Waterfalls\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=XmH4_pr6mH0\">Ain’t 2 Proud 2 Beg\u003c/a>” cultivated an image of being socially aware, and Rozonda “Chilli” Thomas, Tionne “T-Boz” Watkins and Lisa “Left Eye” Lopes were known as bold, confident, independent young women. So when “No Scrubs” landed in their court, a few words were changed to suit that image and make the song their own. (Among them, “fat ass” became “broke ass,” making clear the group’s problem was with men who lacked not just coin, but ambition.)\u003c/p>\n\u003cp>“No Scrubs” was released in early 1999 as the lead single of TLC’s third studio album, \u003cem>FanMail\u003c/em>. The track locked up the No. 1 position on Billboard’s Hot 100 for four weeks and stayed on the chart for months. Chilli Thomas says she knew it would be a hit the first time she heard it, because even though the term was regional, the idea was universal. “A scrub is just a bum guy, you know?” she says. “You don’t want to bring him home.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the time TLC hadn’t dropped an album in over four years, but two things helped “No Scrubs” take off commercially. For one, it was bolstered by a dope, futuristic \u003ca href=\"https://www.youtube.com/watch?v=FrLequ6dUdM\">video\u003c/a> helmed by director Hype Williams. The visual found the trio in a cruising spaceship and each lady, decked out in a swishy space suit, got the chance to show her individual personality. Chilli remembers the challenges of that now-iconic shoot, in which she performed her verses on a giant swinging platform.\u003c/p>\n\u003cp>“I was looking at it and it’s ginormous — I’m like, ‘Who’s supposed to get on the swing?’ ” Chilli says. “I was so intimidated, but eventually, I did it. I mean, I got on there and I got comfortable, and then I got \u003cem>real\u003c/em> comfortable.” The video would earn TLC a MTV Video Music Award for best group video, \u003ca href=\"https://www.youtube.com/watch?v=4TYosRJA0FU\">beating out\u003c/a> the all-male competition in a category that included both ‘NSync and the Backstreet Boys at their height.\u003c/p>\n\u003cp>Second, LaFace Records was smart about marketing the single. “No Scrubs” was released in two versions, one with Left Eye’s rap verse and one without. This strategy ensured the song would get airplay on a variety of radio stations, regardless of format.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While some of the most popular late ’90s hip-hop and R&B tracks were saturated with misogyny and damsel-in-distress plotlines, Burruss says, “No Scrubs” helped flip the script. “This song almost made it to where guys felt they couldn’t ride to an event together anymore,” she remembers.\u003c/p>\n\u003cp>And men weren’t just stopping short of carpooling to the club. “No Scrubs” was a wake-up call for guys like Sean Armstrong, aka DJ Face of the radio station \u003ca href=\"https://mymajicdc.com/\">Majic 102.3\u003c/a>. He remembers hearing the song for the first time at a Baltimore record store and spinning it at D.C.-area clubs when it first came out.\u003c/p>\n\u003cp>“Guys started checking themselves, like, ‘Am I a scrub?,’ ” Face remembers. “You had to really think: ‘I don’t really lean out the window, you know, hollerin’ at women. I have my own car. I got a job. I’m not a scrub.’ Like, you had to take yourself off the list.”\u003c/p>\n\u003cp>Chilli says it’s not guys like DJ Face who have to worry. “I always say, the guys getting upset are the scrubs. If you’re not a scrub, then … a hit dog will holler, right?” she laughs. “So, if that’s not who you are, then you shouldn’t be getting upset.”\u003c/p>\n\u003cp>The feathers of Yonkers, N.Y. rap group Sporty Thievz were so ruffled, the trio released its own response track, “No Pigeons,” in May 1999, a month after “No Scrubs” hit No. 1. But even if some perceived “No Pigeons” as a diss to the song’s originators, it used the same melody as “No Scrubs” — so Burruss, Briggs and Cottle still got paid.\u003c/p>\n\u003cp>“That was a check,” Burruss says. “I thought it was clever. I love the fact that they flipped the song and gave the male point of view. And plus, we ended up getting all the royalties from it.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sporty Thievz - No Pigeons (Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/pP33_uFlzTM?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>In the two decades since the song was released, it’s never really gone away. In 2017, Ed Sheeran added the songwriters of “No Scrubs” to the credits of his own No. 1 hit, “Shape of You,” after some \u003ca href=\"https://www.billboard.com/articles/columns/pop/7735550/ed-sheeran-tlc-no-scrubs-writers-shape-of-you-credits\">drew comparisons\u003c/a> between the two songs’ \u003ca href=\"https://www.youtube.com/watch?v=8OrT52ZToUk\">melodies\u003c/a>. And it’s inspired covers across all genres. British R&B singer Jorja Smith keeps her version \u003ca href=\"https://www.youtube.com/watch?v=XoD8smiAXPI\">stripped down\u003c/a>, while country star Kacey Musgraves adds \u003ca href=\"https://www.youtube.com/watch?v=kdlAZHdAfZc\">a bit of twang\u003c/a>. In January, the four men of Weezer released a \u003ca href=\"https://www.youtube.com/watch?v=55UtG-1os_s\">rock cover\u003c/a>, with all gender pronouns left intact.\u003c/p>\n\u003cp>But at the end of the day, the original is still popular. On Spotify, “No Scrubs” has over 300 million streams to date. NPR intern Sophie Fouladi was born in the early 2000s and says the song was a hit at her junior prom in Northern Virginia just last spring.\u003c/p>\n\u003cp>“I thought it was really interesting that a throwback song was something that got everyone really excited,” Fouladi says. “There was just screams of recognition from a bunch of girls, and they were pulling each other to the dance floor. These are people who were born after the song was released.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Will Eastman hosts a recurring \u003ca href=\"https://www.930.com/event/1717617-no-scrubs-90s-dance-party-washington/\">90’s dance party\u003c/a> called “No Scrubs” at Washington, D.C.’s 9:30 Club, and says he knows exactly the response he’ll get when he drops the song. “There’s an electricity that exists in the room,” he says. “You can feel it wash over the crowd, and for that three or four minutes, we’re all in it together.”\u003c/p>\n\u003cp>After playing the song for years, Eastman says he finally gets its message: “It’s a pop song, it’s an R&B song, but there’s also a subversive element to ‘No Scrubs’ which is taken from a position of, ‘Look, you are not in charge here. I’m in charge. I have agency here.’ That resonates with people.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Chilli says she recognized the power of “No Scrubs” back when TLC first recorded it, and she’s proud of its legacy. “I feel really happy because I know that — even though you can jam to it, you dance to it — lyrically, I know that the girls are listening, you know? And the guys are, too,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kandi Burruss agrees. “As women, we go through things every day, \u003cem>all day\u003c/em>,” she says. “No matter where we go, somebody is gonna try to push up or try to holler at you, and they’re not always a gentleman about it. So I feel like this song put it out there … and it just made women be a little bit more outspoken.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oh+Yes+Son%2C+They%27re+Talking+To+You%3A+20+Years+Of+%27No+Scrubs%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Art-Horror-Comedy 'Velvet Buzzsaw' Paints In Broad But Colorful Strokes",
"headTitle": "Art-Horror-Comedy ‘Velvet Buzzsaw’ Paints In Broad But Colorful Strokes | KQED",
"content": "\u003cp>\u003cstrong>“Critique is so limiting and emotionally draining.” — Morf\u003c/strong>\u003c/p>\n\u003cp>Say this much about L.A. art critic Morf Vandewalt (Jake Gyllenhaal) — he’s right about the act of criticism. It’s reductive by nature, and it can take a psychic toll on the critic, who, if they’re any damn good at all, worries that their zeal for identifying the essence of a work may prove inadequate, if not flat-out wrong.\u003c/p>\n\u003cp>The critic, for example, who sets out to critique the pleasantly bananapants Netflix film \u003cem>Velvet Buzzsaw\u003c/em>, in which Morf (look, the character’s name is Morf, get over it) intones the above opinion, must take care not to leave readers with the wrong impression. The film attempts to be many things at once; each of those attempts must be addressed, in turn.\u003c/p>\n\u003cp>So here goes:\u003c/p>\n\u003cp>\u003cem>Velvet Buzzsaw \u003c/em>follows the general, well-worn contours of supernatural horror, replete with:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>1. Those Who Transgress And Must Thus Learn Deadly Lessons;\u003c/p>\n\u003cp>2. A Sinister Force That Metes Out Said Lessons;\u003c/p>\n\u003cp>3. A Set Of Creepy Escalating Circumstances That Cause Characters Who Should Really Just Start \u003cem>Freaking The Hell Out And Stop Doing The Bad Thing They’re Doing\u003c/em> (Which Would End The Film Early, Admittedly) To Instead Idly Observe, “It’s The Damndest Thing,” Like They’re All Sitting Around At High Tea In Big Floppy Hats And Have Just Been Served Some Frickin’ Cucumber Sandwiches When They Were Expecting Watercress;\u003c/p>\n\u003cp>4. At Least One (1) Jump Scare Involving A Cat; and\u003c/p>\n\u003cp>5. \u003cem>Some \u003c/em>Blood, But Not Too Much, Because You See It’s More About The \u003cem>Psychological \u003c/em>Horror, Get It?\u003c/p>\n\u003cp>\u003cstrong>“It’s a bit baroque, don’t you think?” — Rhodora\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Velvet Buzzsaw\u003c/em> is also an arch comedy. A very good one, in point of fact, filled with dialogue and performances so gleefully mannered they make this quirky little concoction one of the more quotable — and, not for nothing, gif-able — films in recent memory.\u003c/p>\n\u003cp>“It’s called ‘Sphere’,” breathes Rene Russo’s imperious gallery owner Rhodora (the \u003cem>names \u003c/em>in this flick, you guys), explaining one particular installation — a silver sphere adorned with holes that visitors are encouraged to stick their hands in. “It creates this … unique sensation, depending upon the person … and whichever hole they decide to explore.” A beat, a minuscule one, then, “Just like life.”\u003c/p>\n\u003cp>(No, you’re absolutely right, you don’t \u003cem>need \u003c/em>that kicker … but you’re still happy it showed up.)\u003c/p>\n\u003cp>You’ve got Gyllenhaal having a ball, playing a variation on the feckless, effete intellectual he’s played several times before, most recently in last year’s \u003cem>The Sisters Brothers.\u003c/em> It’s a mode he seems to relish, and here, under the eye of writer-director Dan Gilroy, with whom he first teamed in \u003cem>Nightcrawler\u003c/em>, he gets a chance to go bigger and bigger as the film progresses — slathering some spicy mustard atop all that relish. Maybe not the ghost-pepper Scoville units that a Nicolas Cage, say, would bring to the table, but a coarse, intensely vinegary Dijon.\u003c/p>\n\u003cp>“This is my life,” Morf pontificates to Toni Collette’s scheming museum curator Gretchen, “How I \u003cem>connect \u003c/em>with some sort of \u003cem>spirituality \u003c/em>and the actual present. I \u003cem>assess \u003c/em>out of \u003cem>adoration\u003c/em>! I \u003cem>further \u003c/em>the realm I analyze!”\u003c/p>\n\u003cp>An aside: Any critic who tells you they “further the realm [they] analyze” deserves everything Morf gets here. (They may \u003cem>believe \u003c/em>it — many do — but if they ever say it aloud in your vicinity, find the nearest exit and get as far away from the building as possible.)\u003c/p>\n\u003cp>\u003cstrong>“Don’t you know? All art is dangerous.” — Gretchen\u003c/strong>\u003c/p>\n\u003cp>Finally, \u003cem>Velvet Buzzsaw\u003c/em> is a satire of the world of art collection, and it sets out to map the crossroads where high art meets commerce. It throws many things at the wall in this yeomanlike attempt, including but not limited to John Malkovich as a fading, embittered genius, Daveed Diggs as a promising newcomer and Tom Sturridge as an oleaginous gallery owner given to terrible shirts.\u003c/p>\n\u003cp>The overriding conceit of the film — the thing that fuses its horror and comedic elements, albeit a bit too neatly — finds a young, striving gallery employee named Josephina (Zawe Ashton) discovering a cache of disturbing but hauntingly (heh) beautiful work from a recently deceased and unknown artist. The art becomes a sensation; soon people around it start dying in odd ways. It may not surprise you to learn these two facts are related.\u003c/p>\n\u003cp>The film has some fun with its big, broad, art-as-murder metaphor — Collette’s Gretchen is disarmingly vicious as she cynically wheels and deals to promote her client’s work (“So move Banyo’s horse penis! Or the jeweled vagina! Put one inside the other for all I care!”), and Russo gets to savor languorous sips of champagne on a pretty balcony and say things like, “All this? Is just a safari to hunt the next new thing and eat it.”\u003c/p>\n\u003cp>But if you’re looking for a truly insightful and unflinching critique of the way artists and wealthy patrons and museums feed off one other, you’d be better served with last year’s \u003cem>The Square, \u003c/em>from Sweden. That film’s satire was merciless and grimly hilarious, this one’s much less pointed. \u003cem>Velvet Buzzsaw\u003c/em> is \u003cem>The Square \u003c/em>with the hard edges sanded down. Beveled. More of a squircle really.\u003c/p>\n\u003cp>\u003cstrong>“I do a lot of Pilates and Peloton.” — Morf\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Velvet Buzzsaw\u003c/em>‘s sense of humor, and the fact that Gyllenhaal plays a gender-fluid character, will likely lead some to dub it “campy”; it’s not, particularly.\u003c/p>\n\u003cp>It’s \u003cem>arch\u003c/em>, yes. Mannered, to be sure. But the film’s sensibility is too normative, in the way many horror films tend to be — greedy characters get punished; virtuous characters get rewarded — to evince much of a truly transgressive, outsider, queer vibe.\u003c/p>\n\u003cp>If, for example, it gave Gyllenhaal as many shirtless scenes as it does, without acknowledging how ridiculously jacked his character — an \u003cem>art critic\u003c/em>! — just happened to be, \u003cem>that \u003c/em>would be silly. \u003cem>That \u003c/em>would be camp.\u003c/p>\n\u003cp>Instead, the film is careful to carve out a scene in which one character comments on Morf’s … morphology, allowing him to explain his workout routine. It follows this up with another scene showing him leaving a workout in a clingy white tank top.\u003c/p>\n\u003cp>Which only makes sense. Horror needs clearly defined rules to work; \u003cem>Velvet Buzzsaw\u003c/em> knows this. It knows audiences will only too happily believe that creepy oil paintings can eat people. But what they won’t believe, what defies logic, what flies in the face of all laws of God and Science, is that a critic could get that \u003cem>shredded\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Velvet Buzzsaw \u003c/strong>\u003cem>\u003cstrong>premieres on Netflix Friday, February 1st.\u003c/strong>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Art-Horror-Comedy+%27Velvet+Buzzsaw%27+Paints+In+Broad+But+Colorful+Strokes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>“Critique is so limiting and emotionally draining.” — Morf\u003c/strong>\u003c/p>\n\u003cp>Say this much about L.A. art critic Morf Vandewalt (Jake Gyllenhaal) — he’s right about the act of criticism. It’s reductive by nature, and it can take a psychic toll on the critic, who, if they’re any damn good at all, worries that their zeal for identifying the essence of a work may prove inadequate, if not flat-out wrong.\u003c/p>\n\u003cp>The critic, for example, who sets out to critique the pleasantly bananapants Netflix film \u003cem>Velvet Buzzsaw\u003c/em>, in which Morf (look, the character’s name is Morf, get over it) intones the above opinion, must take care not to leave readers with the wrong impression. The film attempts to be many things at once; each of those attempts must be addressed, in turn.\u003c/p>\n\u003cp>So here goes:\u003c/p>\n\u003cp>\u003cem>Velvet Buzzsaw \u003c/em>follows the general, well-worn contours of supernatural horror, replete with:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>1. Those Who Transgress And Must Thus Learn Deadly Lessons;\u003c/p>\n\u003cp>2. A Sinister Force That Metes Out Said Lessons;\u003c/p>\n\u003cp>3. A Set Of Creepy Escalating Circumstances That Cause Characters Who Should Really Just Start \u003cem>Freaking The Hell Out And Stop Doing The Bad Thing They’re Doing\u003c/em> (Which Would End The Film Early, Admittedly) To Instead Idly Observe, “It’s The Damndest Thing,” Like They’re All Sitting Around At High Tea In Big Floppy Hats And Have Just Been Served Some Frickin’ Cucumber Sandwiches When They Were Expecting Watercress;\u003c/p>\n\u003cp>4. At Least One (1) Jump Scare Involving A Cat; and\u003c/p>\n\u003cp>5. \u003cem>Some \u003c/em>Blood, But Not Too Much, Because You See It’s More About The \u003cem>Psychological \u003c/em>Horror, Get It?\u003c/p>\n\u003cp>\u003cstrong>“It’s a bit baroque, don’t you think?” — Rhodora\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Velvet Buzzsaw\u003c/em> is also an arch comedy. A very good one, in point of fact, filled with dialogue and performances so gleefully mannered they make this quirky little concoction one of the more quotable — and, not for nothing, gif-able — films in recent memory.\u003c/p>\n\u003cp>“It’s called ‘Sphere’,” breathes Rene Russo’s imperious gallery owner Rhodora (the \u003cem>names \u003c/em>in this flick, you guys), explaining one particular installation — a silver sphere adorned with holes that visitors are encouraged to stick their hands in. “It creates this … unique sensation, depending upon the person … and whichever hole they decide to explore.” A beat, a minuscule one, then, “Just like life.”\u003c/p>\n\u003cp>(No, you’re absolutely right, you don’t \u003cem>need \u003c/em>that kicker … but you’re still happy it showed up.)\u003c/p>\n\u003cp>You’ve got Gyllenhaal having a ball, playing a variation on the feckless, effete intellectual he’s played several times before, most recently in last year’s \u003cem>The Sisters Brothers.\u003c/em> It’s a mode he seems to relish, and here, under the eye of writer-director Dan Gilroy, with whom he first teamed in \u003cem>Nightcrawler\u003c/em>, he gets a chance to go bigger and bigger as the film progresses — slathering some spicy mustard atop all that relish. Maybe not the ghost-pepper Scoville units that a Nicolas Cage, say, would bring to the table, but a coarse, intensely vinegary Dijon.\u003c/p>\n\u003cp>“This is my life,” Morf pontificates to Toni Collette’s scheming museum curator Gretchen, “How I \u003cem>connect \u003c/em>with some sort of \u003cem>spirituality \u003c/em>and the actual present. I \u003cem>assess \u003c/em>out of \u003cem>adoration\u003c/em>! I \u003cem>further \u003c/em>the realm I analyze!”\u003c/p>\n\u003cp>An aside: Any critic who tells you they “further the realm [they] analyze” deserves everything Morf gets here. (They may \u003cem>believe \u003c/em>it — many do — but if they ever say it aloud in your vicinity, find the nearest exit and get as far away from the building as possible.)\u003c/p>\n\u003cp>\u003cstrong>“Don’t you know? All art is dangerous.” — Gretchen\u003c/strong>\u003c/p>\n\u003cp>Finally, \u003cem>Velvet Buzzsaw\u003c/em> is a satire of the world of art collection, and it sets out to map the crossroads where high art meets commerce. It throws many things at the wall in this yeomanlike attempt, including but not limited to John Malkovich as a fading, embittered genius, Daveed Diggs as a promising newcomer and Tom Sturridge as an oleaginous gallery owner given to terrible shirts.\u003c/p>\n\u003cp>The overriding conceit of the film — the thing that fuses its horror and comedic elements, albeit a bit too neatly — finds a young, striving gallery employee named Josephina (Zawe Ashton) discovering a cache of disturbing but hauntingly (heh) beautiful work from a recently deceased and unknown artist. The art becomes a sensation; soon people around it start dying in odd ways. It may not surprise you to learn these two facts are related.\u003c/p>\n\u003cp>The film has some fun with its big, broad, art-as-murder metaphor — Collette’s Gretchen is disarmingly vicious as she cynically wheels and deals to promote her client’s work (“So move Banyo’s horse penis! Or the jeweled vagina! Put one inside the other for all I care!”), and Russo gets to savor languorous sips of champagne on a pretty balcony and say things like, “All this? Is just a safari to hunt the next new thing and eat it.”\u003c/p>\n\u003cp>But if you’re looking for a truly insightful and unflinching critique of the way artists and wealthy patrons and museums feed off one other, you’d be better served with last year’s \u003cem>The Square, \u003c/em>from Sweden. That film’s satire was merciless and grimly hilarious, this one’s much less pointed. \u003cem>Velvet Buzzsaw\u003c/em> is \u003cem>The Square \u003c/em>with the hard edges sanded down. Beveled. More of a squircle really.\u003c/p>\n\u003cp>\u003cstrong>“I do a lot of Pilates and Peloton.” — Morf\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Velvet Buzzsaw\u003c/em>‘s sense of humor, and the fact that Gyllenhaal plays a gender-fluid character, will likely lead some to dub it “campy”; it’s not, particularly.\u003c/p>\n\u003cp>It’s \u003cem>arch\u003c/em>, yes. Mannered, to be sure. But the film’s sensibility is too normative, in the way many horror films tend to be — greedy characters get punished; virtuous characters get rewarded — to evince much of a truly transgressive, outsider, queer vibe.\u003c/p>\n\u003cp>If, for example, it gave Gyllenhaal as many shirtless scenes as it does, without acknowledging how ridiculously jacked his character — an \u003cem>art critic\u003c/em>! — just happened to be, \u003cem>that \u003c/em>would be silly. \u003cem>That \u003c/em>would be camp.\u003c/p>\n\u003cp>Instead, the film is careful to carve out a scene in which one character comments on Morf’s … morphology, allowing him to explain his workout routine. It follows this up with another scene showing him leaving a workout in a clingy white tank top.\u003c/p>\n\u003cp>Which only makes sense. Horror needs clearly defined rules to work; \u003cem>Velvet Buzzsaw\u003c/em> knows this. It knows audiences will only too happily believe that creepy oil paintings can eat people. But what they won’t believe, what defies logic, what flies in the face of all laws of God and Science, is that a critic could get that \u003cem>shredded\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Velvet Buzzsaw \u003c/strong>\u003cem>\u003cstrong>premieres on Netflix Friday, February 1st.\u003c/strong>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Art-Horror-Comedy+%27Velvet+Buzzsaw%27+Paints+In+Broad+But+Colorful+Strokes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Instant Photos Capture Tiny Desk Artists Offstage, 'Flaws, Dust Specks and All'",
"headTitle": "Instant Photos Capture Tiny Desk Artists Offstage, ‘Flaws, Dust Specks and All’ | KQED",
"content": "\u003cp>\u003cem>When musicians visit NPR to perform in our Tiny Desk concert series, we occasionally use the opportunity to have a little fun. Eslah Attar created this series of instant film portraits during her time working at NPR in 2018.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Creating a moment of connection is often the most difficult part of making a photograph: It has to happen in the instant the shutter clicks. Photographing performers can be even harder, since they naturally create personas as part of their work. So in photographing some of the musicians who have come to NPR to play \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk concerts\u003c/a>, I wanted to find a way to capture them in a more natural state.\u003c/p>\n\u003cfigure id=\"attachment_13849828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/myoussef1_polaroidportrait043_custom-e6622b2964a4f592292ba2b7fddae286ce1f691d-800x506.jpg\" alt=\"Maimouna Youssef aka Mumu Fresh.\" width=\"800\" height=\"506\">\u003cfigcaption class=\"wp-caption-text\">Maimouna Youssef aka Mumu Fresh. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I find that using an instant film camera often disarms the people I photograph. It’s familiar, nostalgic, almost a toy, so it doesn’t intimidate in the same way a professional camera does — which helps break down some of the barriers that usually exist between photographers and their subjects. It is also limiting: For these portraits I took only one or two shots of each artist, leaving little time to warm up to the situation or try out different poses. The moment happens quickly, and the imperfections are part of the result.\u003c/p>\n\u003cfigure id=\"attachment_13849824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-2_custom-59bcddf6758649fe93b5fa58a36667a6c91b441b-800x1246.jpg\" alt=\"Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018's Tiny Desk Contest).\" width=\"800\" height=\"1246\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018’s Tiny Desk Contest). \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing these artists perform at the Tiny Desk before I photographed them helped me get a more intimate idea of who they were. The setting is so simple — no bright lights or huge crowds, just the artist and a few onlookers — and through it I was able to see more of their personalities: sometimes awkward, sometimes confident, sometimes quiet, sometimes very normal.\u003c/p>\n\u003cfigure id=\"attachment_13849825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/rhye_polaroidportrait065_custom-8d8f000c58c068ec8f52389b2d3c909584383688-800x1254.jpg\" alt=\"Mike Milosh of Rhye.\" width=\"800\" height=\"1254\">\u003cfigcaption class=\"wp-caption-text\">Mike Milosh of Rhye. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the desk, \u003ca href=\"https://www.npr.org/2018/06/11/618198232/jorja-smith-tiny-desk-concert\">Jorja Smith\u003c/a> was reserved and thoughtful. In front of the camera she needed no direction, immediately tilting her head back and staring directly into the lens, confident and sophisticated. \u003ca href=\"https://www.npr.org/2018/06/18/619945249/khalid-tiny-desk-concert\">Khalid\u003c/a> gave a gentle and soft-spoken performance at the desk, hands resting in his lap, sometimes chatting quietly with his guitarist. In his portrait he stands with his eyes closed, leaves from a nearby plant spilling gently over his shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13849829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg\" alt=\"Mac Miller.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1200x768.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Miller. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/08/06/635054748/mac-miller-tiny-desk-concert\">Mac Miller\u003c/a>, who visited the Tiny Desk just two months before his death on Sept. 7, 2018, had a playfulness to him that spread throughout the audience the minute his set began, and he filled the silence between songs with warm, self-deprecating chatter. He doesn’t engage the camera here: Instead, he looks down with his hands on his head, showing his arms full of dark tattoos and a hat reading “Don’t Trip.”\u003c/p>\n\u003cfigure id=\"attachment_13849826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-3_custom-ef19e060fb4941a9cce5af9b25810f685a28a585-800x637.jpg\" alt=\"Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans, we are often so familiar with an artist’s public self that we sometimes forget there’s a real person underneath. I hope these images — flaws, dust specks and all — help the viewer see those real people a little more clearly.\u003c/p>\n\u003cfigure id=\"attachment_13849830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849830 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg\" alt=\"Left to right: Big K.R.I.T., DAWN, PJ Morton.\" width=\"800\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1200x628.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1920x1005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Big K.R.I.T., DAWN, PJ Morton. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Instant+Photos+Capture+Tiny+Desk+Artists+Offstage%2C+%27Flaws%2C+Dust+Specks+and+All%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "See intimate moments with Thundercat, Jorja Smith, the late Mac Miller and other musicians from NPR's Tiny Desk concert series, captured just moments after they performed.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>When musicians visit NPR to perform in our Tiny Desk concert series, we occasionally use the opportunity to have a little fun. Eslah Attar created this series of instant film portraits during her time working at NPR in 2018.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Creating a moment of connection is often the most difficult part of making a photograph: It has to happen in the instant the shutter clicks. Photographing performers can be even harder, since they naturally create personas as part of their work. So in photographing some of the musicians who have come to NPR to play \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk concerts\u003c/a>, I wanted to find a way to capture them in a more natural state.\u003c/p>\n\u003cfigure id=\"attachment_13849828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/myoussef1_polaroidportrait043_custom-e6622b2964a4f592292ba2b7fddae286ce1f691d-800x506.jpg\" alt=\"Maimouna Youssef aka Mumu Fresh.\" width=\"800\" height=\"506\">\u003cfigcaption class=\"wp-caption-text\">Maimouna Youssef aka Mumu Fresh. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I find that using an instant film camera often disarms the people I photograph. It’s familiar, nostalgic, almost a toy, so it doesn’t intimidate in the same way a professional camera does — which helps break down some of the barriers that usually exist between photographers and their subjects. It is also limiting: For these portraits I took only one or two shots of each artist, leaving little time to warm up to the situation or try out different poses. The moment happens quickly, and the imperfections are part of the result.\u003c/p>\n\u003cfigure id=\"attachment_13849824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-2_custom-59bcddf6758649fe93b5fa58a36667a6c91b441b-800x1246.jpg\" alt=\"Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018's Tiny Desk Contest).\" width=\"800\" height=\"1246\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018’s Tiny Desk Contest). \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing these artists perform at the Tiny Desk before I photographed them helped me get a more intimate idea of who they were. The setting is so simple — no bright lights or huge crowds, just the artist and a few onlookers — and through it I was able to see more of their personalities: sometimes awkward, sometimes confident, sometimes quiet, sometimes very normal.\u003c/p>\n\u003cfigure id=\"attachment_13849825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/rhye_polaroidportrait065_custom-8d8f000c58c068ec8f52389b2d3c909584383688-800x1254.jpg\" alt=\"Mike Milosh of Rhye.\" width=\"800\" height=\"1254\">\u003cfigcaption class=\"wp-caption-text\">Mike Milosh of Rhye. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the desk, \u003ca href=\"https://www.npr.org/2018/06/11/618198232/jorja-smith-tiny-desk-concert\">Jorja Smith\u003c/a> was reserved and thoughtful. In front of the camera she needed no direction, immediately tilting her head back and staring directly into the lens, confident and sophisticated. \u003ca href=\"https://www.npr.org/2018/06/18/619945249/khalid-tiny-desk-concert\">Khalid\u003c/a> gave a gentle and soft-spoken performance at the desk, hands resting in his lap, sometimes chatting quietly with his guitarist. In his portrait he stands with his eyes closed, leaves from a nearby plant spilling gently over his shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13849829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg\" alt=\"Mac Miller.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1200x768.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Miller. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/08/06/635054748/mac-miller-tiny-desk-concert\">Mac Miller\u003c/a>, who visited the Tiny Desk just two months before his death on Sept. 7, 2018, had a playfulness to him that spread throughout the audience the minute his set began, and he filled the silence between songs with warm, self-deprecating chatter. He doesn’t engage the camera here: Instead, he looks down with his hands on his head, showing his arms full of dark tattoos and a hat reading “Don’t Trip.”\u003c/p>\n\u003cfigure id=\"attachment_13849826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-3_custom-ef19e060fb4941a9cce5af9b25810f685a28a585-800x637.jpg\" alt=\"Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans, we are often so familiar with an artist’s public self that we sometimes forget there’s a real person underneath. I hope these images — flaws, dust specks and all — help the viewer see those real people a little more clearly.\u003c/p>\n\u003cfigure id=\"attachment_13849830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849830 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg\" alt=\"Left to right: Big K.R.I.T., DAWN, PJ Morton.\" width=\"800\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1200x628.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1920x1005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Big K.R.I.T., DAWN, PJ Morton. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Instant+Photos+Capture+Tiny+Desk+Artists+Offstage%2C+%27Flaws%2C+Dust+Specks+and+All%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It seems to be a big week for The \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">Beatles\u003c/a>: Director Peter Jackson is working on a documentary chronicling the recording process of the band’s final album with cooperation from Paul McCartney, Ringo Starr, Yoko Ono Lennon and Olivia Harrison.\u003c/p>\n\u003cp>[contextly_sidebar id=”Q1VMeIWecLL7zMCUgHagsbREjENGczcw”]\u003c/p>\n\u003cp>As was the case with \u003cem>They Shall Not Grow Old\u003c/em>, which found Jackson reviving a trove of archival World War I footage, the \u003cem>Lord of the Rings\u003c/em> filmmaker is mining 55 hours of unreleased footage of the band, using restoration techniques to render it in modern quality. The footage was originally intended for Michael Lindsay-Hogg’s 1970 documentary \u003cem>Let it Be\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=”3G3S3V6JeGizHg9Ems42a1ch3wTQcOax”]\u003c/p>\n\u003cp>Jackson claims that the footage he’s working from reveals a dynamic counter to the prevailing narrative that tensions ran high during the creation of \u003cem>Let it Be\u003c/em>, which was released after The Beatles had broken up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was relieved to discover the reality is very different to the myth,” says Jackson in press material. “After reviewing all the footage and audio that Michael Lindsay-Hogg shot 18 months before they broke up, it’s simply an amazing historical treasure-trove. Sure, there’s moments of drama — but none of the discord this project has long been associated with. Watching John, Paul, George, and Ringo work together, creating now-classic songs from scratch, is not only fascinating — it’s funny, uplifting and surprisingly intimate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film, currently in production, does not yet have a release date set.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Peter+Jackson+To+Direct+Documentary+On+The+Beatles+Recording+%27Let+It+Be%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "Watch New Order Perform 'Ceremony' In Rare Footage From 1981",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" title=\"New Order - Ceremony (Live at CoManCHE Student Union, Manchester on 6th February 1981)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/NAmyMqL1AkI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>New Order, one of the most influential U.K. bands of the 20th century, formed in the long shadow of Joy Division, which disbanded following the 1980 death of singer Ian Curtis. Joy Division’s surviving members — Bernard Sumner, Peter Hook and Stephen Morris — formed New Order the same year and soon began carving out their own rich creative legacy, which spanned several decades and a string of massive singles.\u003c/p>\n\u003cp>[contextly_sidebar id=”9q4pj3iVxOaIzJywEkidmTQOPqNzVaeI”]\u003c/p>\n\u003cp>The first of those singles, “Ceremony,” was actually written with Joy Division prior to Curtis’ suicide. It popped up as a single in advance of New Order’s 1981 debut album, \u003cem>Movement\u003c/em>, which is about to receive the deluxe-reissue treatment; to commemorate the occasion, the band is circulating a little-seen performance of “Ceremony,” recorded live at Manchester’s CoManCHE Student Union.\u003c/p>\n\u003cp>[contextly_sidebar id=”QCF5XIZFj2kVzAbYmY41CMmzjiFOmIpp”]\u003c/p>\n\u003cp>Recorded on Feb. 6, 1981, it’s a marvelous document of New Order’s early years — steeped in tragedy but alive with possibility.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Watch+New+Order+Perform+%27Ceremony%27+In+Rare+Footage+From+1981&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Jada Pinkett-Smith has been on a lot of screens.\u003c/p>\n\u003cp>She’s been a steady presence on television since the early ’90s: Think \u003cem>A Different World\u003c/em> or \u003cem>Gotham\u003c/em>. Her movie roles have varied widely: \u003cem>Set It Off\u003c/em>, or the \u003cem>Matrix\u003c/em> sequels, or \u003ca href=\"https://www.npr.org/2017/07/23/538825576/jada-pinkett-smith-on-girls-trip\">\u003cem>Girls Trip\u003c/em>\u003c/a>. She has produced a new film, \u003cem>Hala, \u003c/em>set to premiere this weekend at the Sundance Film Festival.\u003c/p>\n\u003cp>She’s also on the screen of your laptop or smartphone.\u003c/p>\n\u003cp>Her Facebook Watch series, \u003ca href=\"https://www.facebook.com/redtabletalk\">\u003cem>Red Table Talk\u003c/em>\u003c/a>, is now more than 20 episodes into its first season. Every week, she and her mother Adrienne Banfield-Norris, and daughter Willow Smith, sit down for discussions on often complex and emotional topics. This season alone has covered mental health, race relations, addiction, divorce and forgiveness.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/redtabletalk/videos/564337010632445/\">http://www.facebook.com/redtabletalk/videos/564337010632445/\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I guess at this point in my life, I’ve really been doing a lot of interior work,” Pinkett-Smith says in an interview. “And I just realized that in part of my growth, the women and the people who had the courage to be very transparent with me with certain aspects of their journey really, really helped my journey tremendously. I was like: Why don’t we talk about this more often? Why is it such a secret of what people go through?\u003c/p>\n\u003cp>“And so I was like: I really want to create conversation where people don’t have to feel like they’re alone. And whatever pieces individuals can take with them to make whatever changes they might feel is necessary for more happiness, more joy, more peace — I want to be part of that journey.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/688338768/688548989\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the open discussions of the show compared to her reputation as a private person\u003c/strong>\u003c/p>\n\u003cp>People have a lot of romantic and fantasy ideas around relationships. And considering the powerful journey that [husband Will Smith] and I have been taking together, I really thought it was important to shatter, you know, whatever façade had been out there. Now that I’m older, and with all the work that I’ve done, I feel like I have the capacity to be more transparent — and luckily enough, so does my family. So just because there are certain things that we talk about on the \u003cem>Red Table\u003c/em> doesn’t mean that we don’t have boundaries. But I don’t see the necessity to hold on to knowledge of certain experiences that we’ve had.\u003c/p>\n\u003cp>\u003cstrong>On the disagreements in the episode titled \u003c/strong>\u003ca href=\"https://www.facebook.com/redtabletalk/videos/the-racial-divide-women-of-color-white-women/343064719835818/\">\u003cstrong>“The Racial Divide: Women of Color & White Women”\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Considering the era in which [my mother] grew up, as well, that she had to experience very different things than what Willow and I have had to experience … The idea that even though Willow hasn’t had the same experiences as my mother, that some of her views were pretty similar.\u003c/p>\n\u003cp>They had this concept as if it was not our responsibility as women of color to educate white women — the idea being that they need to educate themselves. And that’s true too. But at the same time, I do believe that we as women of color have to have a certain openness in having conversations to help white women understand our experience.\u003c/p>\n\u003cp>\u003cstrong>On the episode \u003c/strong>\u003ca href=\"https://www.facebook.com/jada/videos/surviving-loss/566078240458322/\">\u003cstrong>“Surviving Loss”\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>You know, I had literally lost a friend on that tape day. A friend died literally before we started taping that day. And that particular episode, I got to learn, you know, about some struggles that Willow had been going through. So I lost a friend, but I also gained some really deep insight about love and child-rearing, and that was that we can’t always be with our children in their darkest moments, but that if we pour as much love as we can into them, that love remains, and that love can help them pull through dark moments. And that’s what’s important. And at the \u003cem>Red Table\u003c/em>, that’s what we try to share.\u003c/p>\n\u003cp>\u003cstrong>On a topic the show is still trying to figure out\u003c/strong>\u003c/p>\n\u003cp>There’s a couple topics on infidelity. … We’re looking at different doctors and different specialists to come and talk about infidelity, you know, and how to actually produce it, and who will be willing to come and talk about experiences of infidelity. It’s tough, it’s tough. And it’s sensitive. There’s far more complex explanations than sex-crazed men who don’t know how to control themselves or blah blah blah blah. So … I think we have a very interesting perspective about it, and I think that it’ll be a fiery show, to say the least.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sydney Harper and Ashley Brown produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jada+Pinkett-Smith%2C+And+Her+Mom+And+Daughter%2C+Get+Candid+On+%27Red+Table+Talk%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I guess at this point in my life, I’ve really been doing a lot of interior work,” Pinkett-Smith says in an interview. “And I just realized that in part of my growth, the women and the people who had the courage to be very transparent with me with certain aspects of their journey really, really helped my journey tremendously. I was like: Why don’t we talk about this more often? Why is it such a secret of what people go through?\u003c/p>\n\u003cp>“And so I was like: I really want to create conversation where people don’t have to feel like they’re alone. And whatever pieces individuals can take with them to make whatever changes they might feel is necessary for more happiness, more joy, more peace — I want to be part of that journey.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/688338768/688548989\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the open discussions of the show compared to her reputation as a private person\u003c/strong>\u003c/p>\n\u003cp>People have a lot of romantic and fantasy ideas around relationships. And considering the powerful journey that [husband Will Smith] and I have been taking together, I really thought it was important to shatter, you know, whatever façade had been out there. Now that I’m older, and with all the work that I’ve done, I feel like I have the capacity to be more transparent — and luckily enough, so does my family. So just because there are certain things that we talk about on the \u003cem>Red Table\u003c/em> doesn’t mean that we don’t have boundaries. But I don’t see the necessity to hold on to knowledge of certain experiences that we’ve had.\u003c/p>\n\u003cp>\u003cstrong>On the disagreements in the episode titled \u003c/strong>\u003ca href=\"https://www.facebook.com/redtabletalk/videos/the-racial-divide-women-of-color-white-women/343064719835818/\">\u003cstrong>“The Racial Divide: Women of Color & White Women”\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Considering the era in which [my mother] grew up, as well, that she had to experience very different things than what Willow and I have had to experience … The idea that even though Willow hasn’t had the same experiences as my mother, that some of her views were pretty similar.\u003c/p>\n\u003cp>They had this concept as if it was not our responsibility as women of color to educate white women — the idea being that they need to educate themselves. And that’s true too. But at the same time, I do believe that we as women of color have to have a certain openness in having conversations to help white women understand our experience.\u003c/p>\n\u003cp>\u003cstrong>On the episode \u003c/strong>\u003ca href=\"https://www.facebook.com/jada/videos/surviving-loss/566078240458322/\">\u003cstrong>“Surviving Loss”\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>You know, I had literally lost a friend on that tape day. A friend died literally before we started taping that day. And that particular episode, I got to learn, you know, about some struggles that Willow had been going through. So I lost a friend, but I also gained some really deep insight about love and child-rearing, and that was that we can’t always be with our children in their darkest moments, but that if we pour as much love as we can into them, that love remains, and that love can help them pull through dark moments. And that’s what’s important. And at the \u003cem>Red Table\u003c/em>, that’s what we try to share.\u003c/p>\n\u003cp>\u003cstrong>On a topic the show is still trying to figure out\u003c/strong>\u003c/p>\n\u003cp>There’s a couple topics on infidelity. … We’re looking at different doctors and different specialists to come and talk about infidelity, you know, and how to actually produce it, and who will be willing to come and talk about experiences of infidelity. It’s tough, it’s tough. And it’s sensitive. There’s far more complex explanations than sex-crazed men who don’t know how to control themselves or blah blah blah blah. So … I think we have a very interesting perspective about it, and I think that it’ll be a fiery show, to say the least.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sydney Harper and Ashley Brown produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jada+Pinkett-Smith%2C+And+Her+Mom+And+Daughter%2C+Get+Candid+On+%27Red+Table+Talk%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Call it the M. Night Shyamalan problem: Should a film distinguished by howlingly tin-eared dialogue, emaciated characters and a plodding, easily guessed plot be pardoned its crimes when its maker reveals after 90 or so minutes that he’s made his illusion less than fully persuasive … on purpose?\u003c/p>\n\u003cp>There are a million potential answers to this insoluble aesthetic quandary, but the only correct one is: \u003cem>Nnnnnnnnope!\u003c/em> \u003c/p>\n\u003cp>https://youtu.be/FXYK3U0UxT0\u003c/p>\n\u003cp>Certainly not when the movie comes to us from a proven storyteller like Steven Knight, screenwriter of the fine thrillers \u003cem>Eastern Promises\u003c/em> and \u003cem>Allied\u003c/em>, and the writer-director of \u003cem>Locke\u003c/em>—a drama in which he and Tom Hardy, owner of the only face seen in the entire film, held us rapt for 85 minutes without ever leaving the confines of an SUV. A filmmaker who can pull off something that formally audacious ought to be able to handle a seemingly conventional neo-noir like the new \u003cem>Serenity\u003c/em>, but the underwhelming results indicate Knight might’ve laid out in the sun for too long. (“I had so much bad [expletive] rum I lost my grease,” drawls its hero, diagnosing both himself and the movie.)\u003c/p>\n\u003cp>Knight’s daylight mystery is not without its soapy, dopey pleasures, and it would likely be more satisfying were it simply content to be the vaguely Caribbean-set, deeply McConaughey’d retread of \u003cem>Body Heat\u003c/em> its initial hour-plus suggests. The picture opens as so many episodes of \u003cem>Miami Vice\u003c/em> have, the camera skimming low across emerald waters towards a boat. On the deck salty sea captain Baker Dill (!!!)—Matthew McConaughey, as though any other movie star would be walking around under that moniker—has just pulled a knife on the two drunken tourists who hired him to take them on a fishing cruise. They’ve hooked one, all right, but Captain Dill refuses to hand over the line so one of his customers can reel ‘er in. That’s because—as Dill explains to his first mate, Djimon Hounsou, playing a character whose only job is to be the sounding board and conscience for the white star—this is the quarry he’s been chasing. “I can \u003cem>feel\u003c/em> it,” Dill says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But his white whale gets away, leaving Baker Dill even broker and more agitated than he was before. He really wants to catch a big fish, but as one character tells him, “That’s a tuna that’s only in your mind.”\u003c/p>\n\u003cp>So Dill is in a dissipated state when Anne Hathaway, playing the ex-wife by whom Dill fathered a now-adolescent son, swoops in from Miami and offers him $10 million to arrange for her abusive current husband (Jason Clarke) to perish in an accident at sea. On the one hand, Baker Dill is not for sale, and his ethical code does not permit murder. On the other hand, Clarke’s character is a mobster and a violent sexual predator who’s fairly begging the star of \u003cem>Free State of Jones\u003c/em> to bury him in Davy Jones’ Locker. What’s Baker Dill to do?\u003c/p>\n\u003cp>Frankly, it’s the least interesting question that \u003cem>Serenity\u003c/em> asks. But Knight is dead set on stacking up the questions, and worse, supplying answers. Eventually, he covers everything—why every last resident of the sparsely populated fantasy island of Plymouth (the film was shot on Mauritius, in the Indian Ocean) is obsessed with Baker Dill’s personal beeswax; how they know things about him and his former spouse they could not possibly know; why Baker Dill is called “Baker Dill” instead of, say, “Mike Johnson” or “Candlestick Maker Sandalwood.”\u003c/p>\n\u003cp>Knight even gives himself an \u003cem>in situ\u003c/em> story reason for photographing the always-wet McConaughey in various states of sodden undress, his chin rough and his smooth chest toned and gleaming despite the fact that Baker Dill lives in a shipping container and subsists on a diet of rum and cigarettes. He always looks as though he’s just hopped off a VersaClimber instead of Hathaway or Diane Lane, both of whom are eager, nay, \u003cem>begging\u003c/em> recipients of Baker Dill’s furious open-water lovemaking. (Lane, the actor least served by Knight’s script, hands him a big wad of cash after one of their morning trysts.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a little charge that comes simply from seeing McConaughey and Hathaway, the star-crossed lovers from Christopher Nolan’s cosmic odyssey \u003ca href=\"https://www.npr.org/2014/11/06/361442269/interstellar-stunning-and-bold-with-lots-of-corn\">\u003cem>Interstellar\u003c/em>\u003c/a>, reunited. Too bad it’s in a movie that executes its Nolanesque ambition with middle-period Shyamalanesque skill. At least \u003cem>Interstellar\u003c/em> blasted us across the galaxy and gave us a half-dozen jaw-dropping set pieces before letting us down with its muddled, sentimental payoff. \u003cem>Serenity\u003c/em> barely leaves the harbor. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Serenity%27+Is+All+Wet.+Literally.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Call it the M. Night Shyamalan problem: Should a film distinguished by howlingly tin-eared dialogue, emaciated characters and a plodding, easily guessed plot be pardoned its crimes when its maker reveals after 90 or so minutes that he’s made his illusion less than fully persuasive … on purpose?\u003c/p>\n\u003cp>There are a million potential answers to this insoluble aesthetic quandary, but the only correct one is: \u003cem>Nnnnnnnnope!\u003c/em> \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FXYK3U0UxT0'\n title='//www.youtube.com/embed/FXYK3U0UxT0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Certainly not when the movie comes to us from a proven storyteller like Steven Knight, screenwriter of the fine thrillers \u003cem>Eastern Promises\u003c/em> and \u003cem>Allied\u003c/em>, and the writer-director of \u003cem>Locke\u003c/em>—a drama in which he and Tom Hardy, owner of the only face seen in the entire film, held us rapt for 85 minutes without ever leaving the confines of an SUV. A filmmaker who can pull off something that formally audacious ought to be able to handle a seemingly conventional neo-noir like the new \u003cem>Serenity\u003c/em>, but the underwhelming results indicate Knight might’ve laid out in the sun for too long. (“I had so much bad [expletive] rum I lost my grease,” drawls its hero, diagnosing both himself and the movie.)\u003c/p>\n\u003cp>Knight’s daylight mystery is not without its soapy, dopey pleasures, and it would likely be more satisfying were it simply content to be the vaguely Caribbean-set, deeply McConaughey’d retread of \u003cem>Body Heat\u003c/em> its initial hour-plus suggests. The picture opens as so many episodes of \u003cem>Miami Vice\u003c/em> have, the camera skimming low across emerald waters towards a boat. On the deck salty sea captain Baker Dill (!!!)—Matthew McConaughey, as though any other movie star would be walking around under that moniker—has just pulled a knife on the two drunken tourists who hired him to take them on a fishing cruise. They’ve hooked one, all right, but Captain Dill refuses to hand over the line so one of his customers can reel ‘er in. That’s because—as Dill explains to his first mate, Djimon Hounsou, playing a character whose only job is to be the sounding board and conscience for the white star—this is the quarry he’s been chasing. “I can \u003cem>feel\u003c/em> it,” Dill says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But his white whale gets away, leaving Baker Dill even broker and more agitated than he was before. He really wants to catch a big fish, but as one character tells him, “That’s a tuna that’s only in your mind.”\u003c/p>\n\u003cp>So Dill is in a dissipated state when Anne Hathaway, playing the ex-wife by whom Dill fathered a now-adolescent son, swoops in from Miami and offers him $10 million to arrange for her abusive current husband (Jason Clarke) to perish in an accident at sea. On the one hand, Baker Dill is not for sale, and his ethical code does not permit murder. On the other hand, Clarke’s character is a mobster and a violent sexual predator who’s fairly begging the star of \u003cem>Free State of Jones\u003c/em> to bury him in Davy Jones’ Locker. What’s Baker Dill to do?\u003c/p>\n\u003cp>Frankly, it’s the least interesting question that \u003cem>Serenity\u003c/em> asks. But Knight is dead set on stacking up the questions, and worse, supplying answers. Eventually, he covers everything—why every last resident of the sparsely populated fantasy island of Plymouth (the film was shot on Mauritius, in the Indian Ocean) is obsessed with Baker Dill’s personal beeswax; how they know things about him and his former spouse they could not possibly know; why Baker Dill is called “Baker Dill” instead of, say, “Mike Johnson” or “Candlestick Maker Sandalwood.”\u003c/p>\n\u003cp>Knight even gives himself an \u003cem>in situ\u003c/em> story reason for photographing the always-wet McConaughey in various states of sodden undress, his chin rough and his smooth chest toned and gleaming despite the fact that Baker Dill lives in a shipping container and subsists on a diet of rum and cigarettes. He always looks as though he’s just hopped off a VersaClimber instead of Hathaway or Diane Lane, both of whom are eager, nay, \u003cem>begging\u003c/em> recipients of Baker Dill’s furious open-water lovemaking. (Lane, the actor least served by Knight’s script, hands him a big wad of cash after one of their morning trysts.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a little charge that comes simply from seeing McConaughey and Hathaway, the star-crossed lovers from Christopher Nolan’s cosmic odyssey \u003ca href=\"https://www.npr.org/2014/11/06/361442269/interstellar-stunning-and-bold-with-lots-of-corn\">\u003cem>Interstellar\u003c/em>\u003c/a>, reunited. Too bad it’s in a movie that executes its Nolanesque ambition with middle-period Shyamalanesque skill. At least \u003cem>Interstellar\u003c/em> blasted us across the galaxy and gave us a half-dozen jaw-dropping set pieces before letting us down with its muddled, sentimental payoff. \u003cem>Serenity\u003c/em> barely leaves the harbor. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Serenity%27+Is+All+Wet.+Literally.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Roma' And 'The Favourite' Lead Oscar Nominations",
"headTitle": "‘Roma’ And ‘The Favourite’ Lead Oscar Nominations | KQED",
"content": "\u003cp>Eight best picture nominations emerged on Tuesday morning: \u003cem>Black Panther\u003c/em>, \u003cem>BlacKkKlansman\u003c/em>, \u003cem>The Favourite\u003c/em>, \u003cem>Vice\u003c/em>, \u003cem>Green Book\u003c/em>, \u003cem>Bohemian Rhapsody\u003c/em>, \u003cem>Roma\u003c/em> and \u003cem>A Star Is Born\u003c/em>. They are comedic and dramatic, based on real events and conjured from the pages of comics, in color and in black and white.\u003c/p>\n\u003cp>If you wanted to take the nominations as a whole as a sign of the exciting year that 2018 was, you might focus on the best actress nomination for Yalitza Aparicio, the first-time actress who anchors Alfonso Cuaron’s beautiful \u003cem>Roma\u003c/em>, a black-and-white subtitled film widely available on Netflix. You might focus on the seven nominations for \u003cem>Black Panther\u003c/em>, the best director nomination for Paweł Pawlikowski for Poland’s \u003cem>Cold War\u003c/em>, or the fact that both of the most-nominated films with ten nods apiece, \u003cem>Roma \u003c/em>and \u003cem>The Favourite\u003c/em>, are stories of women not oriented around their relationships to men. You might thrill to the best animated feature nomination for \u003cem>Spider-Man: Into The Spider-Verse\u003c/em>, which reimagined the superhero film — narratively, visually and culturally.\u003c/p>\n\u003cp>On the other hand, if you wanted to see those nominations through the lens of their considerable disappointments, you might note the lack of best picture or best director nominations for Barry Jenkins’ beautiful and unforgettable \u003cem>If Beale Street Could Talk\u003c/em>; the failure to nominate Ryan Coogler, one of Hollywood’s best rising directors, for the triumph of \u003cem>Black Panther\u003c/em>; the failure to nominate any women directors at all \u003cem>again\u003c/em> and very few women screenwriters \u003cem>again\u003c/em>; or the complete shutout of spectacular achievements like Bo Burnham’s \u003cem>Eighth Grade \u003c/em>and Debra Granik’s \u003cem>Leave No Trace. \u003c/em>It would have been lovely to see a nod for Michelle Yeoh for \u003cem>Crazy Rich Asians\u003c/em> in a year in which the film was such a powerful force.\u003c/p>\n\u003cp>There are always delights and there is always dismay. It’s lovely to see Melissa McCarthy and Richard E. Grant nominated for their work in \u003cem>Can You Ever Forgive Me?\u003c/em>, and to see the script from Nicole Holofcener and Jeff Whitty nominated. But where is the director, Marielle Heller? Where is the film’s best picture nomination? It’s thrilling to see \u003cem>Free Solo\u003c/em>, an exciting and unconventional rock-climbing documentary, nominated for best documentary feature. But nothing for \u003cem>Won’t You Be My Neighbor\u003c/em>, a fine film that also \u003ca href=\"https://www.hollywoodreporter.com/news/wont-you-be-my-neighbor-is-top-grossing-biodoc-all-time-1130122\">resonated beautifully with audiences\u003c/a>?\u003c/p>\n\u003cp>The eye of the beholder is a tricky thing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nominations rarely come as a big surprise. There were some genuine upsets (or reverse upsets) on this day, like the lack of a best director nomination for Bradley Cooper for \u003cem>A Star Is Born\u003c/em>, despite the film’s best picture nomination and nominations for acting, cinematography, original song, sound mixing and adapted screenplay. There was not even a nomination for Justin Hurwitz’s original score for \u003cem>First Man\u003c/em>, which just won the Golden Globe. But for the most part, it went as expected: big hauls for Adam McKay’s \u003cem>Vice \u003c/em>(eight nominations), \u003cem>Black Panther \u003c/em>(seven nominations), Spike Lee’s \u003cem>BlacKkKlansman \u003c/em>(six nominations), and \u003cem>Bohemian Rhapsody\u003c/em> and \u003cem>Green Book\u003c/em> — the two recent Golden Globe best film winners in drama and comedy respectively — with five.\u003c/p>\n\u003cp>Now and again, the Oscars are legitimately exciting. It may take a misread best picture envelope to make it so, but it does happen. Whether it happened on Tuesday morning may depend on just how many advances and retreats in a given year you have come to expect from the Academy.\u003c/p>\n\u003cp>\u003cstrong>Updated 10:15 a.m. ET \u003c/strong>\u003c/p>\n\u003cp>This year’s Academy Award nominations were announced Tuesday morning. Below is the complete list.\u003c/p>\n\u003cp>\u003cstrong>Best picture\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing\u003c/strong>\u003c/p>\n\u003cp>Spike Lee (\u003cem>BlacKkKlansman\u003c/em>)\u003c/p>\n\u003cp>Paweł Pawlikowski (\u003cem>Cold War\u003c/em>)\u003c/p>\n\u003cp>Yorgos Lanthimos (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Alfonso Cuarón (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Adam McKay (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/p>\n\u003cp>Yalitza Aparicio (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Glenn Close (\u003cem>The Wife\u003c/em>)\u003c/p>\n\u003cp>Olivia Colman (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Lady Gaga (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Melissa McCarthy (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/p>\n\u003cp>Christian Bale (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>Bradley Cooper (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Willem Dafoe (\u003cem>At Eternity’s Gate\u003c/em>)\u003c/p>\n\u003cp>Rami Malek (\u003cem>Bohemian Rhapsody\u003c/em>)\u003c/p>\n\u003cp>Viggo Mortensen (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Amy Adams (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>Marina de Tavira (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Regina King (\u003cem>If Beale Street Could Talk\u003c/em>)\u003c/p>\n\u003cp>Emma Stone (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Rachel Weisz (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Mahershala Ali (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>Adam Driver (\u003cem>BlacKkKlansman\u003c/em>)\u003c/p>\n\u003cp>Sam Elliott (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Richard E. Grant (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>Sam Rockwell (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Animated feature film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Incredibles 2\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle Of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mirai\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ralph Breaks The Internet\u003c/em>\u003c/p>\n\u003cp>\u003cem>Spider-Man: Into The Spider-Verse\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cinematography\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Costume design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs \u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (feature)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Free Solo\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hale County This Morning, This Evening\u003c/em>\u003c/p>\n\u003cp>\u003cem>Minding The Gap\u003c/em>\u003c/p>\n\u003cp>\u003cem>Of Fathers And Sons\u003c/em>\u003c/p>\n\u003cp>\u003cem>RBG\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (short subject)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Sheep\u003c/em>\u003c/p>\n\u003cp>\u003cem>End Game\u003c/em>\u003c/p>\n\u003cp>\u003cem>Lifeboat\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Night At The Garden\u003c/em>\u003c/p>\n\u003cp>\u003cem>Period. End of Sentence.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Film editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Foreign language film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Capernaum \u003c/em>(Lebanon)\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em> (Poland)\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em> (Germany)\u003c/p>\n\u003cp>\u003cem>Roma \u003c/em>(Mexico)\u003c/p>\n\u003cp>\u003cem>Shoplifters \u003c/em>(Japan)\u003c/p>\n\u003cp>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Border\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original score)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original song)\u003c/strong>\u003c/p>\n\u003cp>“When A Cowboy Trades His Spurs For Wings” (\u003cem>The Ballad Of Buster Scruggs\u003c/em>)\u003c/p>\n\u003cp>“All The Stars” (\u003cem>Black Panther\u003c/em>)\u003c/p>\n\u003cp>“The Place Where Lost Things Go” (\u003cem>Mary Poppins Returns\u003c/em>)\u003c/p>\n\u003cp>“I’ll Fight” (\u003cem>RBG\u003c/em>)\u003c/p>\n\u003cp>“Shallow” (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Production design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (animated)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Animal Behaviour\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bao\u003c/em>\u003c/p>\n\u003cp>\u003cem>Late Afternoon\u003c/em>\u003c/p>\n\u003cp>\u003cem>One Small Step\u003c/em>\u003c/p>\n\u003cp>\u003cem>Weekends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (live action)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Detainment\u003c/em>\u003c/p>\n\u003cp>\u003cem>Fauve\u003c/em>\u003c/p>\n\u003cp>\u003cem>Marguerite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mother\u003c/em>\u003c/p>\n\u003cp>\u003cem>Skin\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Quiet Place\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound mixing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Visual effects\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Avengers: Infinity War\u003c/em>\u003c/p>\n\u003cp>\u003cem>Christopher Robin\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ready Player One\u003c/em>\u003c/p>\n\u003cp>\u003cem>Solo: A Star Wars Story\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Can You Ever Forgive Me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Reformed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Roma%27+And+%27The+Favourite%27+Lead+Oscar+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eight best picture nominations emerged on Tuesday morning: \u003cem>Black Panther\u003c/em>, \u003cem>BlacKkKlansman\u003c/em>, \u003cem>The Favourite\u003c/em>, \u003cem>Vice\u003c/em>, \u003cem>Green Book\u003c/em>, \u003cem>Bohemian Rhapsody\u003c/em>, \u003cem>Roma\u003c/em> and \u003cem>A Star Is Born\u003c/em>. They are comedic and dramatic, based on real events and conjured from the pages of comics, in color and in black and white.\u003c/p>\n\u003cp>If you wanted to take the nominations as a whole as a sign of the exciting year that 2018 was, you might focus on the best actress nomination for Yalitza Aparicio, the first-time actress who anchors Alfonso Cuaron’s beautiful \u003cem>Roma\u003c/em>, a black-and-white subtitled film widely available on Netflix. You might focus on the seven nominations for \u003cem>Black Panther\u003c/em>, the best director nomination for Paweł Pawlikowski for Poland’s \u003cem>Cold War\u003c/em>, or the fact that both of the most-nominated films with ten nods apiece, \u003cem>Roma \u003c/em>and \u003cem>The Favourite\u003c/em>, are stories of women not oriented around their relationships to men. You might thrill to the best animated feature nomination for \u003cem>Spider-Man: Into The Spider-Verse\u003c/em>, which reimagined the superhero film — narratively, visually and culturally.\u003c/p>\n\u003cp>On the other hand, if you wanted to see those nominations through the lens of their considerable disappointments, you might note the lack of best picture or best director nominations for Barry Jenkins’ beautiful and unforgettable \u003cem>If Beale Street Could Talk\u003c/em>; the failure to nominate Ryan Coogler, one of Hollywood’s best rising directors, for the triumph of \u003cem>Black Panther\u003c/em>; the failure to nominate any women directors at all \u003cem>again\u003c/em> and very few women screenwriters \u003cem>again\u003c/em>; or the complete shutout of spectacular achievements like Bo Burnham’s \u003cem>Eighth Grade \u003c/em>and Debra Granik’s \u003cem>Leave No Trace. \u003c/em>It would have been lovely to see a nod for Michelle Yeoh for \u003cem>Crazy Rich Asians\u003c/em> in a year in which the film was such a powerful force.\u003c/p>\n\u003cp>There are always delights and there is always dismay. It’s lovely to see Melissa McCarthy and Richard E. Grant nominated for their work in \u003cem>Can You Ever Forgive Me?\u003c/em>, and to see the script from Nicole Holofcener and Jeff Whitty nominated. But where is the director, Marielle Heller? Where is the film’s best picture nomination? It’s thrilling to see \u003cem>Free Solo\u003c/em>, an exciting and unconventional rock-climbing documentary, nominated for best documentary feature. But nothing for \u003cem>Won’t You Be My Neighbor\u003c/em>, a fine film that also \u003ca href=\"https://www.hollywoodreporter.com/news/wont-you-be-my-neighbor-is-top-grossing-biodoc-all-time-1130122\">resonated beautifully with audiences\u003c/a>?\u003c/p>\n\u003cp>The eye of the beholder is a tricky thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nominations rarely come as a big surprise. There were some genuine upsets (or reverse upsets) on this day, like the lack of a best director nomination for Bradley Cooper for \u003cem>A Star Is Born\u003c/em>, despite the film’s best picture nomination and nominations for acting, cinematography, original song, sound mixing and adapted screenplay. There was not even a nomination for Justin Hurwitz’s original score for \u003cem>First Man\u003c/em>, which just won the Golden Globe. But for the most part, it went as expected: big hauls for Adam McKay’s \u003cem>Vice \u003c/em>(eight nominations), \u003cem>Black Panther \u003c/em>(seven nominations), Spike Lee’s \u003cem>BlacKkKlansman \u003c/em>(six nominations), and \u003cem>Bohemian Rhapsody\u003c/em> and \u003cem>Green Book\u003c/em> — the two recent Golden Globe best film winners in drama and comedy respectively — with five.\u003c/p>\n\u003cp>Now and again, the Oscars are legitimately exciting. It may take a misread best picture envelope to make it so, but it does happen. Whether it happened on Tuesday morning may depend on just how many advances and retreats in a given year you have come to expect from the Academy.\u003c/p>\n\u003cp>\u003cstrong>Updated 10:15 a.m. ET \u003c/strong>\u003c/p>\n\u003cp>This year’s Academy Award nominations were announced Tuesday morning. 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Grant (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>Sam Rockwell (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Animated feature film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Incredibles 2\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle Of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mirai\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ralph Breaks The Internet\u003c/em>\u003c/p>\n\u003cp>\u003cem>Spider-Man: Into The Spider-Verse\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cinematography\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Costume design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs \u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (feature)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Free Solo\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hale County This Morning, This Evening\u003c/em>\u003c/p>\n\u003cp>\u003cem>Minding The Gap\u003c/em>\u003c/p>\n\u003cp>\u003cem>Of Fathers And Sons\u003c/em>\u003c/p>\n\u003cp>\u003cem>RBG\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (short subject)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Sheep\u003c/em>\u003c/p>\n\u003cp>\u003cem>End Game\u003c/em>\u003c/p>\n\u003cp>\u003cem>Lifeboat\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Night At The Garden\u003c/em>\u003c/p>\n\u003cp>\u003cem>Period. End of Sentence.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Film editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Foreign language film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Capernaum \u003c/em>(Lebanon)\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em> (Poland)\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em> (Germany)\u003c/p>\n\u003cp>\u003cem>Roma \u003c/em>(Mexico)\u003c/p>\n\u003cp>\u003cem>Shoplifters \u003c/em>(Japan)\u003c/p>\n\u003cp>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Border\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original score)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original song)\u003c/strong>\u003c/p>\n\u003cp>“When A Cowboy Trades His Spurs For Wings” (\u003cem>The Ballad Of Buster Scruggs\u003c/em>)\u003c/p>\n\u003cp>“All The Stars” (\u003cem>Black Panther\u003c/em>)\u003c/p>\n\u003cp>“The Place Where Lost Things Go” (\u003cem>Mary Poppins Returns\u003c/em>)\u003c/p>\n\u003cp>“I’ll Fight” (\u003cem>RBG\u003c/em>)\u003c/p>\n\u003cp>“Shallow” (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Production design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (animated)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Animal Behaviour\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bao\u003c/em>\u003c/p>\n\u003cp>\u003cem>Late Afternoon\u003c/em>\u003c/p>\n\u003cp>\u003cem>One Small Step\u003c/em>\u003c/p>\n\u003cp>\u003cem>Weekends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (live action)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Detainment\u003c/em>\u003c/p>\n\u003cp>\u003cem>Fauve\u003c/em>\u003c/p>\n\u003cp>\u003cem>Marguerite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mother\u003c/em>\u003c/p>\n\u003cp>\u003cem>Skin\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Quiet Place\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound mixing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Visual effects\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Avengers: Infinity War\u003c/em>\u003c/p>\n\u003cp>\u003cem>Christopher Robin\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ready Player One\u003c/em>\u003c/p>\n\u003cp>\u003cem>Solo: A Star Wars Story\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Can You Ever Forgive Me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Reformed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Roma%27+And+%27The+Favourite%27+Lead+Oscar+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Russian authorities tolerated the music videos of \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">zombie babushkas\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">gothic maidens\u003c/a>, even as the ghoulish songs racked up millions of hits on YouTube. But when the Moscow-based electronic music duo IC3PEAK ventured into politics with their latest track, “\u003ca href=\"https://www.youtube.com/watch?v=MBG3Gdt5OGs\">Death No More\u003c/a>,” trouble began.\u003c/p>\n\u003cp>“In my gold chains, I’m drowning in this swamp,” Kreslina sings. “My blood is purer than the purest drugs.”\u003c/p>\n\u003cp>In the comically macabre video, lead singer Anastasiya Kreslina describes setting herself on fire on the steps of a Russian government building, indulges in a piece of raw meat at Vladimir Lenin’s tomb and plays patty-cake with her partner, Nikolai Kostylev, while they sit on the shoulders of two riot policemen in front of the Lubyanka secret police headquarters.\u003c/p>\n\u003cp>The members of IC3PEAK (pronounced “ice peak”), who describe their work as “audiovisual terror,” had crossed a line.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"IC3PEAK - Смерти Больше Нет\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/MBG3Gdt5OGs?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>[ad fullwidth]\u003c/p>\n\u003cp>In December of 2018, when Kreslina and Kostylev, both in their mid-twenties, arrived in the Siberian city of Novosibirsk to give a concert, police detained them right at the train station. No charges were pressed, but the pair was held long enough to miss their gig.\u003c/p>\n\u003cp>Half of IC3PEAK’s concerts on the duo’s last tour through the Russian provinces ended up being cancelled after pressure from local authorities.\u003c/p>\n\u003cp>The crackdown on a new generation of Russian musicians began in late November of 2018, when Dmitry Kuznetsov, a 25-year-old rapper known as \u003ca href=\"https://www.youtube.com/watch?v=xUCjugNH1BI\">Husky\u003c/a>, was \u003ca href=\"https://www.bbc.com/news/world-europe-46309271\">prevented from performing\u003c/a> in the southern city of Krasnodar and arrested. His arrest set off a wave of protest by fellow rappers that eventually came to the attention of Russian President \u003ca href=\"https://www.npr.org/tags/291193893/president-vladimir-putin\">Vladimir Putin\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13848940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe\" alt=\"Last December, IC3PEAK's Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-520x292.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last December, IC3PEAK’s Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police. \u003ccite>(Lucian Kim/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kreslina of IC3PEAK says the government lacks a sense of humor. She says their scandalous new video is essentially political satire.\u003c/p>\n\u003cp>“It’s a descriptive video, we’re not revealing anything new in it,” she says. “We’re just saying out loud what people would like to say but are afraid to. We’re describing the state of mind of a person of our generation, who really has nothing to look forward to and can’t expect any changes.”\u003c/p>\n\u003cp>[contextly_sidebar id=”E8dcgti8t3snQOl5snGiGnYKvBvvpBDH”]\u003c/p>\n\u003cp>Kostylev says that young people who may not have cared about politics before are now paying attention because their music is being targeted.\u003c/p>\n\u003cp>At the heart of the generational clash is the digital connectivity of Russian youth versus the largely offline existence of their elders, who spent their formative years in the Soviet Union, where the government controlled everything from the way young people dressed to the kind of music they listened to.\u003c/p>\n\u003cp>“We all watch YouTube, listen to the same American rappers and follow the same TV shows,” Kostylev says. “We have a lot in common with people our age around the world. I’m more like some guy my age in Mexico than my neighbor who’s two generations older.”\u003c/p>\n\u003cp>Kostylev might as well have been speaking about Putin, who is 66 and famously analog.\u003c/p>\n\u003cp>The president made his first comment on the banned concerts during a meeting with cultural leaders \u003ca href=\"https://www.bbc.com/news/world-europe-46584554\">last month\u003c/a>. “Rap and other modern [forms of art] are rested upon three pillars: sex, drugs and protest,” Putin said, going on to explain that simply banning concerts would be counterproductive, but that the government’s job is to lead youth culture.\u003c/p>\n\u003cp>“If it’s not possible to stop something, then you have to lead and guide it,” Putin said. “The worst you can do is suppress it, because you’ll get exactly the opposite effect.”\u003c/p>\n\u003cp>How to deal with the first generation of Russians born after the collapse of communism is a growing headache for the Kremlin. While older generations still watch state-run TV channels, young people are increasingly forming their views and expectations via the Internet.\u003c/p>\n\u003cp>Two years ago, Russians were surprised when young protesters turned out in masses for anti-government demonstrations, called for by opposition leader \u003ca href=\"https://www.npr.org/tags/203276320/alexei-navalny\">Alexei Navalny\u003c/a>, who communicates directly with his supporters via YouTube and Twitter.\u003c/p>\n\u003cp>“Many young Russians are alienated because they feel their government doesn’t respect their rights and is limiting their opportunities,” says Yelena Omelchenko, a sociologist at the Higher School of Economics in St. Petersburg.\u003c/p>\n\u003cp>Omelchenko believes there’s been a breakdown in communication.\u003c/p>\n\u003cp>“[It’s] as if there were two parallel worlds,” she explains. “The government still follows a post-Soviet policy of regulation and tries to control processes which are pointless to try to control.”\u003c/p>\n\u003cp>Omelchenko’s research shows that young people in Russia’s largest cities are already culturally oriented toward Western Europe and follow global trends. “Attempts to regulate Russia’s youth culture are bound to fail,” she says. “Because it is too diverse and beyond any control.”\u003c/p>\n\u003cp>Kostylev can confirm that observation after the outpouring of support when their concerts were cancelled. “We returned home from our last tour with new inspiration,” he said. “Our fans really want to do something and change something for the better.”\u003c/p>\n\u003cp>The duo doesn’t want to reveal whether their next video will touch on politics again. “No, it could be something really nice and bright,” Kreslina says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“With kittens and little kids and Putin as the sun,” Kostylev adds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Young+Russian+Musicians+Struggle+Under+Government+Scrutiny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Russian authorities tolerated the music videos of \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">zombie babushkas\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">gothic maidens\u003c/a>, even as the ghoulish songs racked up millions of hits on YouTube. But when the Moscow-based electronic music duo IC3PEAK ventured into politics with their latest track, “\u003ca href=\"https://www.youtube.com/watch?v=MBG3Gdt5OGs\">Death No More\u003c/a>,” trouble began.\u003c/p>\n\u003cp>“In my gold chains, I’m drowning in this swamp,” Kreslina sings. “My blood is purer than the purest drugs.”\u003c/p>\n\u003cp>In the comically macabre video, lead singer Anastasiya Kreslina describes setting herself on fire on the steps of a Russian government building, indulges in a piece of raw meat at Vladimir Lenin’s tomb and plays patty-cake with her partner, Nikolai Kostylev, while they sit on the shoulders of two riot policemen in front of the Lubyanka secret police headquarters.\u003c/p>\n\u003cp>The members of IC3PEAK (pronounced “ice peak”), who describe their work as “audiovisual terror,” had crossed a line.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"IC3PEAK - Смерти Больше Нет\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/MBG3Gdt5OGs?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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In December of 2018, when Kreslina and Kostylev, both in their mid-twenties, arrived in the Siberian city of Novosibirsk to give a concert, police detained them right at the train station. No charges were pressed, but the pair was held long enough to miss their gig.\u003c/p>\n\u003cp>Half of IC3PEAK’s concerts on the duo’s last tour through the Russian provinces ended up being cancelled after pressure from local authorities.\u003c/p>\n\u003cp>The crackdown on a new generation of Russian musicians began in late November of 2018, when Dmitry Kuznetsov, a 25-year-old rapper known as \u003ca href=\"https://www.youtube.com/watch?v=xUCjugNH1BI\">Husky\u003c/a>, was \u003ca href=\"https://www.bbc.com/news/world-europe-46309271\">prevented from performing\u003c/a> in the southern city of Krasnodar and arrested. His arrest set off a wave of protest by fellow rappers that eventually came to the attention of Russian President \u003ca href=\"https://www.npr.org/tags/291193893/president-vladimir-putin\">Vladimir Putin\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13848940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe\" alt=\"Last December, IC3PEAK's Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-520x292.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last December, IC3PEAK’s Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police. \u003ccite>(Lucian Kim/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kreslina of IC3PEAK says the government lacks a sense of humor. She says their scandalous new video is essentially political satire.\u003c/p>\n\u003cp>“It’s a descriptive video, we’re not revealing anything new in it,” she says. “We’re just saying out loud what people would like to say but are afraid to. We’re describing the state of mind of a person of our generation, who really has nothing to look forward to and can’t expect any changes.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Kostylev says that young people who may not have cared about politics before are now paying attention because their music is being targeted.\u003c/p>\n\u003cp>At the heart of the generational clash is the digital connectivity of Russian youth versus the largely offline existence of their elders, who spent their formative years in the Soviet Union, where the government controlled everything from the way young people dressed to the kind of music they listened to.\u003c/p>\n\u003cp>“We all watch YouTube, listen to the same American rappers and follow the same TV shows,” Kostylev says. “We have a lot in common with people our age around the world. I’m more like some guy my age in Mexico than my neighbor who’s two generations older.”\u003c/p>\n\u003cp>Kostylev might as well have been speaking about Putin, who is 66 and famously analog.\u003c/p>\n\u003cp>The president made his first comment on the banned concerts during a meeting with cultural leaders \u003ca href=\"https://www.bbc.com/news/world-europe-46584554\">last month\u003c/a>. “Rap and other modern [forms of art] are rested upon three pillars: sex, drugs and protest,” Putin said, going on to explain that simply banning concerts would be counterproductive, but that the government’s job is to lead youth culture.\u003c/p>\n\u003cp>“If it’s not possible to stop something, then you have to lead and guide it,” Putin said. “The worst you can do is suppress it, because you’ll get exactly the opposite effect.”\u003c/p>\n\u003cp>How to deal with the first generation of Russians born after the collapse of communism is a growing headache for the Kremlin. While older generations still watch state-run TV channels, young people are increasingly forming their views and expectations via the Internet.\u003c/p>\n\u003cp>Two years ago, Russians were surprised when young protesters turned out in masses for anti-government demonstrations, called for by opposition leader \u003ca href=\"https://www.npr.org/tags/203276320/alexei-navalny\">Alexei Navalny\u003c/a>, who communicates directly with his supporters via YouTube and Twitter.\u003c/p>\n\u003cp>“Many young Russians are alienated because they feel their government doesn’t respect their rights and is limiting their opportunities,” says Yelena Omelchenko, a sociologist at the Higher School of Economics in St. Petersburg.\u003c/p>\n\u003cp>Omelchenko believes there’s been a breakdown in communication.\u003c/p>\n\u003cp>“[It’s] as if there were two parallel worlds,” she explains. “The government still follows a post-Soviet policy of regulation and tries to control processes which are pointless to try to control.”\u003c/p>\n\u003cp>Omelchenko’s research shows that young people in Russia’s largest cities are already culturally oriented toward Western Europe and follow global trends. “Attempts to regulate Russia’s youth culture are bound to fail,” she says. “Because it is too diverse and beyond any control.”\u003c/p>\n\u003cp>Kostylev can confirm that observation after the outpouring of support when their concerts were cancelled. “We returned home from our last tour with new inspiration,” he said. “Our fans really want to do something and change something for the better.”\u003c/p>\n\u003cp>The duo doesn’t want to reveal whether their next video will touch on politics again. “No, it could be something really nice and bright,” Kreslina says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“With kittens and little kids and Putin as the sun,” Kostylev adds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Young+Russian+Musicians+Struggle+Under+Government+Scrutiny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
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