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In short, you can expect virtually every entry in the collection, whether it was written in the 1970s or in this century, to feel strikingly relevant today.\u003c/p>\n\u003cfigure id=\"attachment_13850942\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13850942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/source-of-self-regard.jpg\" alt=\"'The Source of Self-Regard' by Toni Morrison. \" width=\"400\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/source-of-self-regard.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/source-of-self-regard-160x238.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Source of Self-Regard’ by Toni Morrison.\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps intentionally, the book’s structure helps underscore the timelessness of its pieces since the work is arranged by theme rather than chronology. The first of three parts is “The Foreigner’s Home,” which concerns itself with the threats of globalization and our unhelpful compulsion to demonize and ostracize the “other.” It opens with a moving prayer to those who died on Sept. 11 and, in its haunting power, is reminiscent of Morrison’s fiction.\u003c/p>\n\u003cp>The remaining sections also begin with recognitions of the dead, and a tender, self-reflexive tribute to Martin Luther King Jr. introduces the interlude, “Black Matter(s).” The primary focus on the interlude is the historical and current role of Africanism, a term Morrison uses to refer to white Americans’ “collective needs to allay internal fears and rationalize external exploitation… a fabricated brew of darkness, otherness, alarm and desire.”\u003c/p>\n\u003cp>A poignant eulogy to novelist and playwright James Baldwin opens the final part of the book, “God’s Language.” This section illuminates both Morrison’s work and the art of others, addresses the inevitability of cross-genre inspiration and examines the role of the artist in society. It should be noted, however, that the author’s central themes are so connected that each spans the entirety of the collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Memorials of a sort may begin each of the book’s sections, but Morrison ultimately is less concerned with acknowledging the dead than with presenting a call to action for the living. These are not frivolous pieces and Morrison has no interest in addressing mundane topics. As she puts it in “Hard, Lasting, and True,” a 2005 lecture at the University of Miami, “I believe it is silly, not to say irresponsible, to concern myself with lipstick… when there is a plague in the land.” Throughout the collection, just as in her fiction, Morrison tackles headfirst the weighty issues that have long troubled America’s conscience. (Of course, with reports of children sleeping in cages on our southern border, one can certainly argue that the nation’s conscience hasn’t been troubled nearly enough.) [contextly_sidebar id=”mapXTNJfq5C4nBXN4BOoMp769frXEOLQ”]\u003c/p>\n\u003cp>Some of the strongest entries in the collection challenge the seemingly eternal human compulsion to move towards separation rather than unity, to elevate superficial difference over shared humanity. Words from her 2009 convocation at Oberlin, “Home,” reverberate to the present day, as she observes that “[p]orous borders are understood in some quarters to be areas of threat and certain chaos, and whether real or imagined, enforced separation is posited as the solution.” Thanks to the breadth of the collection, it’s easy to see how this concern has long preoccupied her. At a symposium in 1976, more than 30 years earlier, she argues that racism, sexism and classicism are born of the same source—”a deplorable inability to project, to become the ‘other,’ to imagine her or him.”\u003c/p>\n\u003cp>This “intellectual flaw,” as Morrison characterizes it, is perhaps most evident in her 1990 lecture, “Black Matter(s),” included in the interlude of the same name. In all honesty, the entire section is profoundly insightful and includes provocative examinations of the black presence in American literature—and a fascinating consideration of Moby-Dick as an allegory for “whiteness idealized.” Yet it is the title lecture itself that is particularly compelling as it explores how “the rights of man, an organizing principle upon which the nation was founded, was inevitably, and especially, yoked to Africanism.”\u003c/p>\n\u003cp>Of course, to highlight every notable observation or intriguing thesis would be to write an entire, if smaller, book itself. There are few pages that don’t contain sentences that invite repeated reading, because of their stimulating content, and often because of Morrison’s trademark lyricism. Is it a collection worth reading? Undoubtedly.\u003c/p>\n\u003cp>If there are complaints to be made, they are few. For my part, I would have loved the inclusion of “Making America White Again,” an essay that appeared in The New Yorker after the 2016 presidential election. I could also imagine that, for some, recurring refrains could have been culled from the collection. (Others, like me, will be less concerned about repetition and will simply appreciate the opportunity to identify trends and preoccupations in Morrison’s work.) [contextly_sidebar id=”QNC7n2juHvR4N8YpeWykl0Imh3T27KkQ”]\u003c/p>\n\u003cp>That so much of the book is eerily timely doesn’t mean that our only response is to mourn our meager progress over the past 40 years. Morrison is anything but hopeless. She reminds us, in “The Future of Time,” that:\u003c/p>\n\u003cp>“[o]ur everyday lives may be laced with tragedy, glazed with frustration and want, but they are also capable of the fierce resistance to the dehumanization and trivialization that politico-cultural punditry and profit-driven media depend upon.”\u003c/p>\n\u003cp>Take those words as encouragement. In various ways throughout the collection she calls on us to do what she knows, what we should all know, is possible: “To lessen suffering, to know the truth and tell it, to raise the bar of humane expectation.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Ericka Taylor is the organizing director for DC Working Families and a freelance writer. Her work has appeared in Bloom, The Millions, and Willow Springs.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even though the essays, speeches, and meditations in Toni Morrison’s most recent nonfiction collection were written over the course of four decades, \u003cem>The Source of Self-Regard\u003c/em> speaks to today’s social and political moment as directly as this morning’s headlines.\u003c/p>\n\u003cp>Morrison turns her penetrating analysis on the mass movement of people across the globe, foreigners and foreignness, and what it means to be “exiled in the place one belongs.” She takes on racism—in the media, society and American literature—and examines how, step by deliberate step, nations move towards “its succubus twin fascism.” Devotees should be happy to know that the Nobel laureate also delves into her own artistic process in addition to exploring the work of the painter Romare Bearden, theater director Peter Sellars, and writers ranging from Toni Cade Bambara to Chinua Achebe to Herman Melville. In short, you can expect virtually every entry in the collection, whether it was written in the 1970s or in this century, to feel strikingly relevant today.\u003c/p>\n\u003cfigure id=\"attachment_13850942\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13850942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/source-of-self-regard.jpg\" alt=\"'The Source of Self-Regard' by Toni Morrison. \" width=\"400\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/source-of-self-regard.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/source-of-self-regard-160x238.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘The Source of Self-Regard’ by Toni Morrison.\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps intentionally, the book’s structure helps underscore the timelessness of its pieces since the work is arranged by theme rather than chronology. The first of three parts is “The Foreigner’s Home,” which concerns itself with the threats of globalization and our unhelpful compulsion to demonize and ostracize the “other.” It opens with a moving prayer to those who died on Sept. 11 and, in its haunting power, is reminiscent of Morrison’s fiction.\u003c/p>\n\u003cp>The remaining sections also begin with recognitions of the dead, and a tender, self-reflexive tribute to Martin Luther King Jr. introduces the interlude, “Black Matter(s).” The primary focus on the interlude is the historical and current role of Africanism, a term Morrison uses to refer to white Americans’ “collective needs to allay internal fears and rationalize external exploitation… a fabricated brew of darkness, otherness, alarm and desire.”\u003c/p>\n\u003cp>A poignant eulogy to novelist and playwright James Baldwin opens the final part of the book, “God’s Language.” This section illuminates both Morrison’s work and the art of others, addresses the inevitability of cross-genre inspiration and examines the role of the artist in society. It should be noted, however, that the author’s central themes are so connected that each spans the entirety of the collection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Memorials of a sort may begin each of the book’s sections, but Morrison ultimately is less concerned with acknowledging the dead than with presenting a call to action for the living. These are not frivolous pieces and Morrison has no interest in addressing mundane topics. As she puts it in “Hard, Lasting, and True,” a 2005 lecture at the University of Miami, “I believe it is silly, not to say irresponsible, to concern myself with lipstick… when there is a plague in the land.” Throughout the collection, just as in her fiction, Morrison tackles headfirst the weighty issues that have long troubled America’s conscience. (Of course, with reports of children sleeping in cages on our southern border, one can certainly argue that the nation’s conscience hasn’t been troubled nearly enough.) \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Some of the strongest entries in the collection challenge the seemingly eternal human compulsion to move towards separation rather than unity, to elevate superficial difference over shared humanity. Words from her 2009 convocation at Oberlin, “Home,” reverberate to the present day, as she observes that “[p]orous borders are understood in some quarters to be areas of threat and certain chaos, and whether real or imagined, enforced separation is posited as the solution.” Thanks to the breadth of the collection, it’s easy to see how this concern has long preoccupied her. At a symposium in 1976, more than 30 years earlier, she argues that racism, sexism and classicism are born of the same source—”a deplorable inability to project, to become the ‘other,’ to imagine her or him.”\u003c/p>\n\u003cp>This “intellectual flaw,” as Morrison characterizes it, is perhaps most evident in her 1990 lecture, “Black Matter(s),” included in the interlude of the same name. In all honesty, the entire section is profoundly insightful and includes provocative examinations of the black presence in American literature—and a fascinating consideration of Moby-Dick as an allegory for “whiteness idealized.” Yet it is the title lecture itself that is particularly compelling as it explores how “the rights of man, an organizing principle upon which the nation was founded, was inevitably, and especially, yoked to Africanism.”\u003c/p>\n\u003cp>Of course, to highlight every notable observation or intriguing thesis would be to write an entire, if smaller, book itself. There are few pages that don’t contain sentences that invite repeated reading, because of their stimulating content, and often because of Morrison’s trademark lyricism. Is it a collection worth reading? Undoubtedly.\u003c/p>\n\u003cp>If there are complaints to be made, they are few. For my part, I would have loved the inclusion of “Making America White Again,” an essay that appeared in The New Yorker after the 2016 presidential election. I could also imagine that, for some, recurring refrains could have been culled from the collection. (Others, like me, will be less concerned about repetition and will simply appreciate the opportunity to identify trends and preoccupations in Morrison’s work.) \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That so much of the book is eerily timely doesn’t mean that our only response is to mourn our meager progress over the past 40 years. Morrison is anything but hopeless. She reminds us, in “The Future of Time,” that:\u003c/p>\n\u003cp>“[o]ur everyday lives may be laced with tragedy, glazed with frustration and want, but they are also capable of the fierce resistance to the dehumanization and trivialization that politico-cultural punditry and profit-driven media depend upon.”\u003c/p>\n\u003cp>Take those words as encouragement. In various ways throughout the collection she calls on us to do what she knows, what we should all know, is possible: “To lessen suffering, to know the truth and tell it, to raise the bar of humane expectation.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Ericka Taylor is the organizing director for DC Working Families and a freelance writer. Her work has appeared in Bloom, The Millions, and Willow Springs.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "far-from-parkland-spotlight-teens-in-east-oakland-want-to-tell-their-stories",
"title": "Far From Parkland Spotlight, Teens In East Oakland Want To Tell Their Stories",
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"headTitle": "Far From Parkland Spotlight, Teens In East Oakland Want To Tell Their Stories | KQED",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/692823424/693851818\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" 0=\"title="NPR\" 1=\"embedded\" 2=\"audio\" 3=\"player"></iframe\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>As the nation marks one year since the Parkland school shooting, many Americans are thinking about how the conversation about kids and gun violence has shifted.\u003c/p>\n\u003cp>In the weeks and months after a gunman killed 17 people at Marjory Stoneman Douglas High School in Parkland, Fla., students took to the streets and the airwaves to call for fundamental change in America’s gun laws. Stoneman Douglas students and students nationwide rallied in an effort to prevent that kind of massacre from happening again.\u003c/p>\n\u003cp>[contextly_sidebar id=”WTfQuekzzxIPqsBrz9uxOGDjmIff8WE4″]\u003c/p>\n\u003cp>And so far in 2019, according to an analysis by Pacific Standard, \u003ca href=\"https://psmag.com/social-justice/the-116th-congress-is-refocused-on-gun-control-in-the-wake-of-parkland\">the 116th Congress has already introduced 33 gun control bills\u003c/a>, a number not seen since the aftermath of the Sandy Hook shooting.\u003c/p>\n\u003cp>But for some young people, a year’s attention on events like Parkland hasn’t turned into the attention they’re asking for: a spotlight on the everyday gun violence they experience in their neighborhoods.\u003c/p>\n\u003cp>“We might not see all of our friends die at the same time, but we’re definitely seeing people fade away to the same fate, just on multiple occasions,” says Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif. “You’re like, I just hope I make the right decisions today.”\u003c/p>\n\u003cfigure id=\"attachment_13850836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-800x533.jpg\" alt=\"Memorial crosses for homicide victims are erected at St. Columba Catholic Church in Oakland, Calif. In East Oakland, where gun violence is chronic, some are grateful that America is paying more attention to it — but they would also like a focus on neighborhoods like theirs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Memorial crosses for homicide victims are erected at St. Columba Catholic Church in Oakland, Calif. In East Oakland, where gun violence is chronic, some are grateful that America is paying more attention to it — but they would also like a focus on neighborhoods like theirs. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“Distorted our perception of reality”\u003c/strong>\u003c/p>\n\u003cp>Patten and other students from Castlemont High have conflicted feelings at the first anniversary of the Parkland shooting. On one hand, they say, they are grateful that America is paying more attention to gun violence. On the other, they know that the gun violence that affects them, sometimes daily, gets much less attention than mass shootings that happen at places like Parkland.\u003c/p>\n\u003cp>Oakland had 75 homicides in 2017, with \u003ca href=\"https://issuu.com/youthalive/docs/ya_annualreport2018.print\">46 of those in East Oakland\u003c/a>, where Patten and classmates Ajahnay Cooper, 17, and Armon Hurst, 18, attend school. That’s about one homicide per week in the youths’ neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_13850834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-800x533.jpg\" alt=\"Ajahnay Cooper, 17, can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she remembers that the shooting got so bad in the neighborhood on New Year's Eve, she and her family were forced out of their home for the night.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Ajahnay Cooper, 17, can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she remembers that the shooting got so bad in the neighborhood on New Year’s Eve, she and her family were forced out of their home for the night. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper, Hurst and Patten all have vivid memories of the multiple times gun violence has touched their lives. All three students are members of an Oakland-based violence intervention program called Youth ALIVE! and they remember when one of their program counselors was shot just outside the high school. Hurst can recall being held up at gunpoint at an East Oakland McDonald’s and the multiple times he had to run from bullets in his neighborhood. Cooper can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she says that the shooting got so bad in the neighborhood on New Year’s Eve, she and her family were forced out of their home for the night. She sometimes carries a knife or pepper spray in her neighborhood to feel safer.\u003c/p>\n\u003cfigure id=\"attachment_13850839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-800x266.jpg\" alt=\"Memorials for victims of gun-related homicide in Oakland.\" width=\"800\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1200x398.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1920x637.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Memorials for victims of gun-related homicide in Oakland. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s actually, like, numbing,” Hurst says. “You don’t even feel the pain no more. You know something might go on today. When people really ask me if I feel safe at home or at school, it’s neither.”\u003c/p>\n\u003cp>They say they’re never really sure which classmate may have brought a gun to school. They say they aren’t sure when they may have to run from gunfire. And they say they don’t know when a small high school dispute might turn into violence.\u003c/p>\n\u003cp>The students say the kind of day-to-day gun violence they experience is under-covered in the press. And they have a point. A mass shooting anywhere in the country usually garners more national media attention than a single shooting or homicide that happens regularly in neighborhoods like East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13850835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850835\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_299_slide-c63a8784d4cddd8044950db7c39a277238b76502-800x533.jpg\" alt=\"Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif., is a member of an Oakland-based violence intervention program called Youth ALIVE! He remembers when one of the program counselors was shot just outside the school.\" width=\"800\" height=\"533\" />\u003cfigcaption class=\"wp-caption-text\">Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif., is a member of an Oakland-based violence intervention program called Youth ALIVE! He remembers when one of the program counselors was shot just outside the school. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The higher the shooting’s death toll, the greater the coverage, says Joel A. Capellan at Rowan University, who studies mass shootings. “No. 1 is how lethal the shooting is,” Capellan says. “That’s the most predictive factor when it comes to not only which shootings get presented by the news but also how much they are presented.”\u003c/p>\n\u003cp>This already makes the everyday violence in places like East Oakland less likely to get widespread attention. And then there are other elements that seem to determine coverage, he says.\u003c/p>\n\u003cp>“When the victims are younger … particularly white children and white teenagers, that seems to be a pretty big factor,” Capellan says. “When they’re black and poor, they get no attention, or very little attention.”\u003c/p>\n\u003cp>The way mass shootings are covered has “fundamentally distorted our perception of reality,” he says. “The public generally thinks that there are more mass shootings than there actually are in real life.”\u003c/p>\n\u003cfigure id=\"attachment_13850840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850840\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-800x600.jpg\" alt=\"Crosses erected at a local church for every homicide victim in Oakland, Calif.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Crosses erected at a local church for every homicide victim in Oakland, Calif. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“It’s our time to talk”\u003c/strong>\u003c/p>\n\u003cp>The vast majority of gun deaths — \u003ca href=\"https://www.bradycampaign.org/sites/default/files/Brady-Guns-Suicide-Report-2016.pdf\">more than two-thirds\u003c/a> — in America every year are suicides. Mass shootings account for about \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/02/01/170872321/study-most-gun-deaths-happen-outside-of-mass-shootings\">1 percent of all gun-related deaths \u003c/a>in the U.S. every year. Even as the rate of mass shootings has increased over the past several years, they are a small fraction of gun deaths in America.\u003c/p>\n\u003cp>“We can’t solve a problem when we don’t know what’s happening,” says Pamela Mejia, head of research at the Berkeley Media Studies Group, which examines mass media and its connection to public health. “If the coverage is overwhelmingly driven by very high profile but fundamentally fairly rare issues … what people, voters, policymakers … are learning about and having a sense of as the norm is only those very isolated incidences. And then the solutions that they’re thinking about are really solutions that only address those specific problems.”\u003c/p>\n\u003cfigure id=\"attachment_13850837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-800x533.jpg\" alt=\"A memorial for a victim of gun-related homicide outside Castlemont High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">A memorial for a victim of gun-related homicide outside Castlemont High School. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurst, Cooper and Patten, the students at Castlemont High, hope that the Parkland shooting anniversary is a moment for all Americans to think about the ways gun violence affects people in communities like theirs and to look farther than Parkland to see the reality of gun violence all over America.\u003c/p>\n\u003cp>They also have a few words for the students at Parkland, who have galvanized the nation over the past year.\u003c/p>\n\u003cp>“I have to respect them for their leadership,” Hurst says. “I would just say that you were blessed with all that media attention.”\u003c/p>\n\u003cp>Patten echoes the sentiment. “I would tell them, I’m sorry for what you went through,” he says, “but it’s our time to talk.”\u003c/p>\n\u003chr />\n\u003cp>\u003cem>Anjuli Sastry and Jordana Hochman produced and edited the broadcast version of this \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510317/its-been-a-minute-with-sam-sanders\">It’s Been A Minute\u003c/a>\u003cem> episode. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n",
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"excerpt": "In East Oakland, Calif., where gun violence is chronic, some are grateful that after Parkland, America pays more attention to the issue. But as an East Oakland youth says, \"It's our time to talk.\"",
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"title": "Far From Parkland Spotlight, Teens In East Oakland Want To Tell Their Stories | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/692823424/693851818\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" 0=\"title="NPR\" 1=\"embedded\" 2=\"audio\" 3=\"player"></iframe\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>As the nation marks one year since the Parkland school shooting, many Americans are thinking about how the conversation about kids and gun violence has shifted.\u003c/p>\n\u003cp>In the weeks and months after a gunman killed 17 people at Marjory Stoneman Douglas High School in Parkland, Fla., students took to the streets and the airwaves to call for fundamental change in America’s gun laws. Stoneman Douglas students and students nationwide rallied in an effort to prevent that kind of massacre from happening again.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And so far in 2019, according to an analysis by Pacific Standard, \u003ca href=\"https://psmag.com/social-justice/the-116th-congress-is-refocused-on-gun-control-in-the-wake-of-parkland\">the 116th Congress has already introduced 33 gun control bills\u003c/a>, a number not seen since the aftermath of the Sandy Hook shooting.\u003c/p>\n\u003cp>But for some young people, a year’s attention on events like Parkland hasn’t turned into the attention they’re asking for: a spotlight on the everyday gun violence they experience in their neighborhoods.\u003c/p>\n\u003cp>“We might not see all of our friends die at the same time, but we’re definitely seeing people fade away to the same fate, just on multiple occasions,” says Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif. “You’re like, I just hope I make the right decisions today.”\u003c/p>\n\u003cfigure id=\"attachment_13850836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-800x533.jpg\" alt=\"Memorial crosses for homicide victims are erected at St. Columba Catholic Church in Oakland, Calif. In East Oakland, where gun violence is chronic, some are grateful that America is paying more attention to it — but they would also like a focus on neighborhoods like theirs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Memorial crosses for homicide victims are erected at St. Columba Catholic Church in Oakland, Calif. In East Oakland, where gun violence is chronic, some are grateful that America is paying more attention to it — but they would also like a focus on neighborhoods like theirs. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“Distorted our perception of reality”\u003c/strong>\u003c/p>\n\u003cp>Patten and other students from Castlemont High have conflicted feelings at the first anniversary of the Parkland shooting. On one hand, they say, they are grateful that America is paying more attention to gun violence. On the other, they know that the gun violence that affects them, sometimes daily, gets much less attention than mass shootings that happen at places like Parkland.\u003c/p>\n\u003cp>Oakland had 75 homicides in 2017, with \u003ca href=\"https://issuu.com/youthalive/docs/ya_annualreport2018.print\">46 of those in East Oakland\u003c/a>, where Patten and classmates Ajahnay Cooper, 17, and Armon Hurst, 18, attend school. That’s about one homicide per week in the youths’ neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_13850834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-800x533.jpg\" alt=\"Ajahnay Cooper, 17, can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she remembers that the shooting got so bad in the neighborhood on New Year's Eve, she and her family were forced out of their home for the night.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Ajahnay Cooper, 17, can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she remembers that the shooting got so bad in the neighborhood on New Year’s Eve, she and her family were forced out of their home for the night. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper, Hurst and Patten all have vivid memories of the multiple times gun violence has touched their lives. All three students are members of an Oakland-based violence intervention program called Youth ALIVE! and they remember when one of their program counselors was shot just outside the high school. Hurst can recall being held up at gunpoint at an East Oakland McDonald’s and the multiple times he had to run from bullets in his neighborhood. Cooper can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she says that the shooting got so bad in the neighborhood on New Year’s Eve, she and her family were forced out of their home for the night. She sometimes carries a knife or pepper spray in her neighborhood to feel safer.\u003c/p>\n\u003cfigure id=\"attachment_13850839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-800x266.jpg\" alt=\"Memorials for victims of gun-related homicide in Oakland.\" width=\"800\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1200x398.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1920x637.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Memorials for victims of gun-related homicide in Oakland. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s actually, like, numbing,” Hurst says. “You don’t even feel the pain no more. You know something might go on today. When people really ask me if I feel safe at home or at school, it’s neither.”\u003c/p>\n\u003cp>They say they’re never really sure which classmate may have brought a gun to school. They say they aren’t sure when they may have to run from gunfire. And they say they don’t know when a small high school dispute might turn into violence.\u003c/p>\n\u003cp>The students say the kind of day-to-day gun violence they experience is under-covered in the press. And they have a point. A mass shooting anywhere in the country usually garners more national media attention than a single shooting or homicide that happens regularly in neighborhoods like East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13850835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850835\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_299_slide-c63a8784d4cddd8044950db7c39a277238b76502-800x533.jpg\" alt=\"Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif., is a member of an Oakland-based violence intervention program called Youth ALIVE! He remembers when one of the program counselors was shot just outside the school.\" width=\"800\" height=\"533\" />\u003cfigcaption class=\"wp-caption-text\">Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif., is a member of an Oakland-based violence intervention program called Youth ALIVE! He remembers when one of the program counselors was shot just outside the school. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The higher the shooting’s death toll, the greater the coverage, says Joel A. Capellan at Rowan University, who studies mass shootings. “No. 1 is how lethal the shooting is,” Capellan says. “That’s the most predictive factor when it comes to not only which shootings get presented by the news but also how much they are presented.”\u003c/p>\n\u003cp>This already makes the everyday violence in places like East Oakland less likely to get widespread attention. And then there are other elements that seem to determine coverage, he says.\u003c/p>\n\u003cp>“When the victims are younger … particularly white children and white teenagers, that seems to be a pretty big factor,” Capellan says. “When they’re black and poor, they get no attention, or very little attention.”\u003c/p>\n\u003cp>The way mass shootings are covered has “fundamentally distorted our perception of reality,” he says. “The public generally thinks that there are more mass shootings than there actually are in real life.”\u003c/p>\n\u003cfigure id=\"attachment_13850840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850840\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-800x600.jpg\" alt=\"Crosses erected at a local church for every homicide victim in Oakland, Calif.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Crosses erected at a local church for every homicide victim in Oakland, Calif. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“It’s our time to talk”\u003c/strong>\u003c/p>\n\u003cp>The vast majority of gun deaths — \u003ca href=\"https://www.bradycampaign.org/sites/default/files/Brady-Guns-Suicide-Report-2016.pdf\">more than two-thirds\u003c/a> — in America every year are suicides. Mass shootings account for about \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/02/01/170872321/study-most-gun-deaths-happen-outside-of-mass-shootings\">1 percent of all gun-related deaths \u003c/a>in the U.S. every year. Even as the rate of mass shootings has increased over the past several years, they are a small fraction of gun deaths in America.\u003c/p>\n\u003cp>“We can’t solve a problem when we don’t know what’s happening,” says Pamela Mejia, head of research at the Berkeley Media Studies Group, which examines mass media and its connection to public health. “If the coverage is overwhelmingly driven by very high profile but fundamentally fairly rare issues … what people, voters, policymakers … are learning about and having a sense of as the norm is only those very isolated incidences. And then the solutions that they’re thinking about are really solutions that only address those specific problems.”\u003c/p>\n\u003cfigure id=\"attachment_13850837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-800x533.jpg\" alt=\"A memorial for a victim of gun-related homicide outside Castlemont High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">A memorial for a victim of gun-related homicide outside Castlemont High School. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurst, Cooper and Patten, the students at Castlemont High, hope that the Parkland shooting anniversary is a moment for all Americans to think about the ways gun violence affects people in communities like theirs and to look farther than Parkland to see the reality of gun violence all over America.\u003c/p>\n\u003cp>They also have a few words for the students at Parkland, who have galvanized the nation over the past year.\u003c/p>\n\u003cp>“I have to respect them for their leadership,” Hurst says. “I would just say that you were blessed with all that media attention.”\u003c/p>\n\u003cp>Patten echoes the sentiment. “I would tell them, I’m sorry for what you went through,” he says, “but it’s our time to talk.”\u003c/p>\n\u003chr />\n\u003cp>\u003cem>Anjuli Sastry and Jordana Hochman produced and edited the broadcast version of this \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510317/its-been-a-minute-with-sam-sanders\">It’s Been A Minute\u003c/a>\u003cem> episode. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\u003c/div>\u003c/p>",
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"title": "A Complete Play-by-Play of the 2019 Grammy Awards",
"headTitle": "A Complete Play-by-Play of the 2019 Grammy Awards | KQED",
"content": "\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[contextly_sidebar id=”NOsRsKhC4dv9SK8p8eDhnDdOqxRkohH3″]\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\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>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Winners of this year’s Grammy Awards will be announced Sunday, Feb. 10. It’s been a year since outrage erupted in the music business after Neil Portnow, president and CEO of the Recording Academy, the organization which gives out the Grammys, said in an interview that women should \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> if they wanted to be recognized in the music industry.\u003c/p>\n\u003cp>In the days and weeks that followed, there was a \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/09/584506881/music-industry-men-join-cry-to-change-the-recording-academy\">volley\u003c/a> of calls for Portnow’s resignation, and for changes in the Grammy process. But gender inequality issues in the music business go far beyond one awards show.\u003c/p>\n\u003cp>The road to this year’s Grammy Awards show has been bumpy. On Thursday, pop star \u003ca href=\"https://www.npr.org/artists/522184181/ariana-grande\">Ariana Grande\u003c/a>, who’s up for two awards — announced on \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627013762506752\">Twitter\u003c/a> that she won’t even attend the ceremony. She’d been slated to perform — but the show’s producers reportedly insisted that they would choose her set list. She wanted to make the decision. The show’s producer, Ken Ehrlich, reportedly told the AP on Thursday that the singer “felt it was \u003ca href=\"https://www.apnews.com/404b3a97ff434d919be6efc0e95fe859\">too late\u003c/a> for her to pull something together.”\u003c/p>\n\u003cp>Grande quickly fired back, accusing Ehrlich of \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627215600734208\">lying\u003c/a>. In a series of tweets, she wrote: “i can pull together a performance over night and you know that, Ken. it was when my creativity & self expression was stifled by you, that i decided not to attend… i \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627572598988800\">offered\u003c/a> 3 different songs.”\u003c/p>\n\u003cp>The Grande situation echoes a similar situation last year, when \u003ca href=\"https://www.npr.org/artists/227790178/lorde\">Lorde\u003c/a>, who was the one female nominee for Album of the Year, was not allowed to perform solo. That was one of the catalysts that led to Neil Portnow’s “step up” comments. Portnow, who has headed the Recording Academy since 2002, \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/615889769/grammy-president-neil-portnow-to-step-down-in-2019\">announced\u003c/a> last May that he will be stepping down this July when his contract expires; he declined NPR’s request for an interview.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”t8etDcRbbLTJXHKZNhPcwnJgySNqGQo6″]\u003c/p>\n\u003cp>Melinda Newman, West Coast editor of \u003cem>Billboard\u003c/em>, says that the Recording Academy is just part of a larger issue. “They don’t have any jurisdiction,” Newman observes. “They don’t put out content. They don’t make records themselves. So in some ways, a lot of the hue and cry that we’re seeing from Neil Portnow’s remarks really are reflective of just the general music industry and the lack of diversity in the general music industry.”\u003c/p>\n\u003cp>The numbers bear Newman’s argument out: Women are missing in popular music.\u003c/p>\n\u003cp>“They only represent about 21 percent of all artists,” notes Stacy L. Smith, the founder and director of the \u003ca href=\"https://annenberg.usc.edu/research/aii\">Annenberg Inclusion Initiative\u003c/a> at the University of Southern California. Earlier this week, her team released its \u003ca href=\"http://assets.uscannenberg.org/docs/aii-inclusion-recording-studio-2019.pdf\">second annual report\u003c/a> about the percentage of women working in the music industry, based on the Billboard Hot 100.\u003c/p>\n\u003cp>“Twenty three percent of the 700 songs in our sample had one of 10 male songwriters attached to them,” Smith continues. “So, culturally we’re allowing 10 men to set the norms — that really doesn’t represent the world that we live in.”\u003c/p>\n\u003cp>Smith says that lack of women’s voices really shapes pop music. “It directly translates to what is being told or communicated to audiences,” she continues, “about norms, about lived experiences — and we’re seeing females shut out from this process.”\u003c/p>\n\u003cp>Since the Annenberg researchers released its initial report last year, not much has changed in terms of the numbers of women working in the music business; Smith calls this year’s findings a “rinse and repeat” of the team’s 2018 report.\u003c/p>\n\u003cp>Katherine Pieper, another Annenberg researcher, says the group also interviewed women about working in music as part of its 2019 report. She notes that this same team has also studied the film business — an industry that has had some of its \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo \u003c/a>and gender disparity issues quite publicly aired.\u003c/p>\n\u003cp>“We interviewed both female directors and executives in the film industry who were knowledgeable about the process of hiring female directors,” Pieper says. “We asked them some similar questions about the barriers facing female directors, and why there were so few women working behind the camera. And the answers that we heard there were very different. We heard a lot about the need to finance a film, and the difficulty that women had getting the resources to make their movies. We heard about women’s ambition, and the difficulty of networking.”\u003c/p>\n\u003cp>Pieper says that the music business is faring much worse than Hollywood.\u003c/p>\n\u003cp>“In this study of the music industry,” Pieper continues, “we heard much more about the lack of attention paid to women’s contributions and the way that they were treated in the studio. This was a very different set of barriers. They were hit on. They were the object of innuendo, they felt personally unsafe in certain situations. Oftentimes, their contributions were ignored, or not acknowledged — even dismissed by the people they were working with.”\u003c/p>\n\u003cp>[contextly_sidebar id=”yxpgSCGyiC4nabq0crlkOFAA7UG9opqV”]\u003c/p>\n\u003cp>The Grammy organization is hoping that it can emerge from last year’s condemnations as a leader. \u003ca href=\"https://buckleyfirm.com/people/tina-tchen\">Tina Tchen\u003c/a> is a co-founder of the Time’s Up Legal Defense Fund and was Michelle Obama’s chief of staff. Last spring, the Recording Academy asked Tchen to \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">lead its new task force\u003c/a> for inclusion and diversity.\u003c/p>\n\u003cp>Tchen is well aware that the music industry stats for women are abysmal.\u003c/p>\n\u003cp>“Of producers in the music industry, only two percent are women,” she says. “Of engineers in the music industry, only three percent are women. It’s the 21st Century, and we’re talking about in these key roles in the music industry.”\u003c/p>\n\u003cp>So, earlier this month, the Recording Academy announced a new program: It’s asking any business or individual who hires record producers or engineers to consider at least two women for any project. The initiative already has over 300 signatories; artists who have pledged to participate include Cardi B, Post Malone, Pharrell Williams … and Ariana Grande.\u003c/p>\n\u003cp>“We thought this was an important first step,” Tchen says. “Through this initiative, we really gave everybody something to do that’s really concrete, and is really going to make a difference.”\u003c/p>\n\u003cp>And though it’s a start, Tchen says, bigger shifts are going to much more time to achieve.\u003c/p>\n\u003cp>“We have taken decades, if not millennia, to get in this position with respect to how women advance in our broader culture, not just in this industry,” Tchen notes. “So it’s going to take us a lot more than one year to solve this issue.”\u003c/p>\n\u003cp>The Recording Academy has taken certain other concrete steps to repair the Grammy Awards as well, including attempting to expand the \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">diversity of its membership\u003c/a> and taking the number of possible nominees in its top four categories — Album of the Year, Record of the Year, Song of the Year and Best New Artist — from five to eight slots.\u003c/p>\n\u003cp>That last move has already paid dividends: five out of the eight nominees who could win Album of the Year on Sunday are \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">women\u003c/a>, and female artists also form the majority of nominees in the Best New Artist category.\u003c/p>\n\u003cp>[ad floatright]\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/692671099/692823703\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Winners of this year’s Grammy Awards will be announced Sunday, Feb. 10. It’s been a year since outrage erupted in the music business after Neil Portnow, president and CEO of the Recording Academy, the organization which gives out the Grammys, said in an interview that women should \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> if they wanted to be recognized in the music industry.\u003c/p>\n\u003cp>In the days and weeks that followed, there was a \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/09/584506881/music-industry-men-join-cry-to-change-the-recording-academy\">volley\u003c/a> of calls for Portnow’s resignation, and for changes in the Grammy process. But gender inequality issues in the music business go far beyond one awards show.\u003c/p>\n\u003cp>The road to this year’s Grammy Awards show has been bumpy. On Thursday, pop star \u003ca href=\"https://www.npr.org/artists/522184181/ariana-grande\">Ariana Grande\u003c/a>, who’s up for two awards — announced on \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627013762506752\">Twitter\u003c/a> that she won’t even attend the ceremony. She’d been slated to perform — but the show’s producers reportedly insisted that they would choose her set list. She wanted to make the decision. The show’s producer, Ken Ehrlich, reportedly told the AP on Thursday that the singer “felt it was \u003ca href=\"https://www.apnews.com/404b3a97ff434d919be6efc0e95fe859\">too late\u003c/a> for her to pull something together.”\u003c/p>\n\u003cp>Grande quickly fired back, accusing Ehrlich of \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627215600734208\">lying\u003c/a>. In a series of tweets, she wrote: “i can pull together a performance over night and you know that, Ken. it was when my creativity & self expression was stifled by you, that i decided not to attend… i \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627572598988800\">offered\u003c/a> 3 different songs.”\u003c/p>\n\u003cp>The Grande situation echoes a similar situation last year, when \u003ca href=\"https://www.npr.org/artists/227790178/lorde\">Lorde\u003c/a>, who was the one female nominee for Album of the Year, was not allowed to perform solo. That was one of the catalysts that led to Neil Portnow’s “step up” comments. Portnow, who has headed the Recording Academy since 2002, \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/615889769/grammy-president-neil-portnow-to-step-down-in-2019\">announced\u003c/a> last May that he will be stepping down this July when his contract expires; he declined NPR’s request for an interview.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Melinda Newman, West Coast editor of \u003cem>Billboard\u003c/em>, says that the Recording Academy is just part of a larger issue. “They don’t have any jurisdiction,” Newman observes. “They don’t put out content. They don’t make records themselves. So in some ways, a lot of the hue and cry that we’re seeing from Neil Portnow’s remarks really are reflective of just the general music industry and the lack of diversity in the general music industry.”\u003c/p>\n\u003cp>The numbers bear Newman’s argument out: Women are missing in popular music.\u003c/p>\n\u003cp>“They only represent about 21 percent of all artists,” notes Stacy L. Smith, the founder and director of the \u003ca href=\"https://annenberg.usc.edu/research/aii\">Annenberg Inclusion Initiative\u003c/a> at the University of Southern California. Earlier this week, her team released its \u003ca href=\"http://assets.uscannenberg.org/docs/aii-inclusion-recording-studio-2019.pdf\">second annual report\u003c/a> about the percentage of women working in the music industry, based on the Billboard Hot 100.\u003c/p>\n\u003cp>“Twenty three percent of the 700 songs in our sample had one of 10 male songwriters attached to them,” Smith continues. “So, culturally we’re allowing 10 men to set the norms — that really doesn’t represent the world that we live in.”\u003c/p>\n\u003cp>Smith says that lack of women’s voices really shapes pop music. “It directly translates to what is being told or communicated to audiences,” she continues, “about norms, about lived experiences — and we’re seeing females shut out from this process.”\u003c/p>\n\u003cp>Since the Annenberg researchers released its initial report last year, not much has changed in terms of the numbers of women working in the music business; Smith calls this year’s findings a “rinse and repeat” of the team’s 2018 report.\u003c/p>\n\u003cp>Katherine Pieper, another Annenberg researcher, says the group also interviewed women about working in music as part of its 2019 report. She notes that this same team has also studied the film business — an industry that has had some of its \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo \u003c/a>and gender disparity issues quite publicly aired.\u003c/p>\n\u003cp>“We interviewed both female directors and executives in the film industry who were knowledgeable about the process of hiring female directors,” Pieper says. “We asked them some similar questions about the barriers facing female directors, and why there were so few women working behind the camera. And the answers that we heard there were very different. We heard a lot about the need to finance a film, and the difficulty that women had getting the resources to make their movies. We heard about women’s ambition, and the difficulty of networking.”\u003c/p>\n\u003cp>Pieper says that the music business is faring much worse than Hollywood.\u003c/p>\n\u003cp>“In this study of the music industry,” Pieper continues, “we heard much more about the lack of attention paid to women’s contributions and the way that they were treated in the studio. This was a very different set of barriers. They were hit on. They were the object of innuendo, they felt personally unsafe in certain situations. Oftentimes, their contributions were ignored, or not acknowledged — even dismissed by the people they were working with.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Grammy organization is hoping that it can emerge from last year’s condemnations as a leader. \u003ca href=\"https://buckleyfirm.com/people/tina-tchen\">Tina Tchen\u003c/a> is a co-founder of the Time’s Up Legal Defense Fund and was Michelle Obama’s chief of staff. Last spring, the Recording Academy asked Tchen to \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">lead its new task force\u003c/a> for inclusion and diversity.\u003c/p>\n\u003cp>Tchen is well aware that the music industry stats for women are abysmal.\u003c/p>\n\u003cp>“Of producers in the music industry, only two percent are women,” she says. “Of engineers in the music industry, only three percent are women. It’s the 21st Century, and we’re talking about in these key roles in the music industry.”\u003c/p>\n\u003cp>So, earlier this month, the Recording Academy announced a new program: It’s asking any business or individual who hires record producers or engineers to consider at least two women for any project. The initiative already has over 300 signatories; artists who have pledged to participate include Cardi B, Post Malone, Pharrell Williams … and Ariana Grande.\u003c/p>\n\u003cp>“We thought this was an important first step,” Tchen says. “Through this initiative, we really gave everybody something to do that’s really concrete, and is really going to make a difference.”\u003c/p>\n\u003cp>And though it’s a start, Tchen says, bigger shifts are going to much more time to achieve.\u003c/p>\n\u003cp>“We have taken decades, if not millennia, to get in this position with respect to how women advance in our broader culture, not just in this industry,” Tchen notes. “So it’s going to take us a lot more than one year to solve this issue.”\u003c/p>\n\u003cp>The Recording Academy has taken certain other concrete steps to repair the Grammy Awards as well, including attempting to expand the \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">diversity of its membership\u003c/a> and taking the number of possible nominees in its top four categories — Album of the Year, Record of the Year, Song of the Year and Best New Artist — from five to eight slots.\u003c/p>\n\u003cp>That last move has already paid dividends: five out of the eight nominees who could win Album of the Year on Sunday are \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">women\u003c/a>, and female artists also form the majority of nominees in the Best New Artist category.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Quick — think of the most beautiful person you know. Is it your partner? Your mother? Rihanna? (Wait, you know Rihanna? That’s amazing!)\u003c/p>\n\u003cp>There are a million different reasons we find certain people beautiful. But there’s no denying that a lot of current beauty standards in the U.S. are based on a particular type of beauty — one that centers a type of white femininity that’s only accessible to a select few.\u003c/p>\n\u003cp>So this week on \u003ca href=\"https://www.npr.org/sections/codeswitch/547538916/ask-code-switch\">Ask Code Switch\u003c/a>, we’re answering a question from Cecilia Fernandez, of Ann Arbor, Mich. She \u003ca href=\"https://twitter.com/cecihen/status/1070748668557488129\">tweeted at us\u003c/a> to ask: “Besides the natural hair movement, what other ways have women of color gone to decolonize their beauty routine?”\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/685506578/690883289\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>Cecilia — this is a really great question. As someone who spent years flat-ironing my curls and suffering through orthodontia — I was also quite curious about this.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So to begin, let’s talk about what it means when we say our notions of beauty are “colonized.”\u003c/p>\n\u003cp>Think about \u003cem>why \u003c/em>that person is beautiful. Is it because of their perfectly white teeth? Their thick, shiny hair? The fact that their features conform perfectly to Western beauty norms?\u003c/p>\n\u003cp>[contextly_sidebar id=”ac4Kc47KTVkNZrKGcBQPkpmIG5qZxLZy”]\u003c/p>\n\u003cp>To begin with, a lot of current Western beauty standards celebrate whiteness — not some objective, biological, evolutionary thing, but literally just being a white person. In fact, if you go back and look at the work of some early racial theorists — people like Christoph Meiners and Johann Blumenbach — they defined the category of “white,” or “Caucasian,” as being the most beautiful of the races.\u003c/p>\n\u003cp>“It was important for [those racial theorists] to be superior in all areas,” says \u003ca href=\"http://www.nellpainter.com/history.html\">Nell Irvin Painter\u003c/a>, an artist and historian who wrote \u003cem>The History Of White People. \u003c/em>She says the group of academics who first created these racial categories were white supremacists, so, “they not only wanted the people they called ‘their women’ to be the most beautiful, and ‘their men’ to be the most virile. They wanted ‘their countries’ to have the best politics. So they wanted to have \u003cem>everything \u003c/em>better. And that included beauty.”\u003c/p>\n\u003cp>That association between beauty and whiteness has proven hard to shake. There’s a reason that so many people still think of an “all-American beauty” as a thin, blonde, blue-eyed white woman. It wasn’t until 1940 that the rules were changed to allow women of color to enter the Miss America pageant. Before that, the \u003ca href=\"https://www.smithsonianmag.com/history/fifty-years-ago-protestors-took-on-miss-america-pageant-electrified-feminist-movement-180967504/\">official rules stated\u003c/a> that contestants had to be “of good health and of the white race.”\u003c/p>\n\u003cp>Decisions about who society holds up as beautiful also have a lot to do with class. Nell Irvin Painter notes that a lot of the things we consider beautiful are actually just proxies for wealth. Think of how much it costs to get cosmetic surgery, or braces, or even a facial.\u003c/p>\n\u003cp>(It’s worth noting that there’s a fair amount of overlap between beauty routines and health or grooming routines. People brush their teeth to prevent cavities, sure, but so many toothpastes also have whitening products. And you could be blowdrying your hair to get it dry, or to make sure it’s shiny and voluminous. In this context, we’re thinking of the purely aesthetic parts of a routine — not ones that have to do with health, functionality or hygiene.)\u003c/p>\n\u003cp>[contextly_sidebar id=”WlTBAZs0tNJxlDHMF17iYuCiO6fS5UZ3″]\u003c/p>\n\u003cp>So, how do you push back against all that? A lot people talk about the importance of buying makeup or fashion designed by women of color. But throughout history, a lot of the most effective movements have been about expanding our ideas of what it means to be beautiful.\u003c/p>\n\u003cp>Let’s come back to the natural hair movement for a moment. That came out of the broader \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/03/10/287320160/stokely-carmichael-a-philosopher-behind-the-black-power-movement\">Black is Beautiful movement\u003c/a> in the 1960s and 70s. That movement — which came in the midst of the broader Black Power and civil rights movements — was about affirming aspects of blackness that had been considered ugly by white, colonial standards. Organizers of the movement started to embrace the political power behind the idea that all aspects of blackness were beautiful.\u003c/p>\n\u003cp>Nell Painter says the movement had a huge effect on both her and her family. She says she didn’t start to think of herself as beautiful until she was in her thirties, around the time “black is beautiful” sprung up. A similar thing happened to her mother, who was born in 1917:\u003c/p>\n\u003cblockquote>\u003cp>“My mother was very beautiful. But my mother was dark-skinned, so she never thought of herself as beautiful. … For black people, the idea of black as beautiful, that was a real breakthrough. And so my mother emerged as a beautiful person, and people told her she was beautiful, and it took her a long time to accept that. I don’t know if she ever really did.”\u003c/p>\u003c/blockquote>\n\u003cp>There are other movements that have tried to address beauty as a political force. There was the \u003ca href=\"https://www.yachana.org/research/indigenismo.html\">indigenismo movement\u003c/a> in Mexico. One of its icons was the artist Frida Kahlo. In her self-portraits, she painted herself dressed in pre-Columbian clothes and hairstyles, with visible facial hair and hair between her eyebrows. Many have described those artistic choices as being a radical rejection of white, colonial beauty standards.\u003c/p>\n\u003cp>[contextly_sidebar id=”j2W8GAu0oa3UKsgcOR1XmP9gZYYo1OyR”]\u003c/p>\n\u003cp>And these days, a lot of women push back on the idea that they should remove facial and body hair in order to be considered beautiful or hygienic or professional. The activist and model Harnaam Kaur has spoken about how her life changed once she decided to \u003ca href=\"https://www.vice.com/en_us/article/mgyj4n/model-harnaam-kaur-on-how-her-beard-is-a-blessing\">stop shaving her beard\u003c/a>: “I feel a lot stronger and liberated to be who I am and accept who I am freely. … I’m here as a woman who’s wearing something that’s supposed to be — in quotations “supposed to be” — a man’s feature.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The \u003ca href=\"https://www.thebodypositive.org/\">body positivity movement\u003c/a> and the \u003ca href=\"http://thisisthinprivilege.tumblr.com/faq#beautiful\">fat-acceptance movements\u003c/a> have also consistently pushed back on the idea that thin, young, white, able-bodied women are the epitome of beauty — or that beauty should be a precondition for respect to begin with.\u003c/p>\n\u003cp>One thing to keep in mind is that beauty is a facet of power. Being considered beautiful can help you gain access to certain spaces, or increase your power in certain settings. By the same token, a perceived lack of beauty, or a refusal or inability to conform to certain beauty standards, also has really tangible consequences.\u003c/p>\n\u003cp>Noliwe Rooks is a professor at Cornell University who \u003ca href=\"https://africana.cornell.edu/noliwe-rooks\">teaches about the politics of race and beauty\u003c/a>. She says that women are placed in different categories depending on “how they appear in the world,” and that attempts to decolonize one’s beauty routine often lead to pushback from the outside world — especially for black and brown people. She cited Hampton University in Virginia, as an example. The historically black institution \u003ca href=\"https://www.nydailynews.com/news/national/virginia-black-college-business-school-dean-stands-decade-old-ban-cornrows-dreadlocks-article-1.1142986\">made news \u003c/a>in 2012 for a policy in the business school that said male students couldn’t have dreadlocks, because they were considered unprofessional.\u003c/p>\n\u003cp>Rooks says, “If you’re someone who feels like for body positivity and self affirmation, and adornment, this is what I’m going to do, ‘I want dreadlocks’ — yes you \u003cem>can \u003c/em>do that. You \u003cem>can \u003c/em>decolonize that look in the way that you feel is important to you. But you can’t go to that school like it. … Until recently you couldn’t serve in the military. … There’s all manner of corporate jobs that if you’re decolonizing your body you can’t have.”\u003c/p>\n\u003cp>Keep in mind, Rooks says, that fighting against beauty norms is probably going to be really hard. Obese\u003ca href=\"https://www.nytimes.com/2017/08/21/well/live/fat-bias-starts-early-and-takes-a-serious-toll.html\"> women\u003c/a>, old women, queer women, women of color and all the intersections get particularly scrutinized, even when they’re trying to conform to beauty norms — let alone when they push back against them. “We can live in a world where we try to do battle with those overarching narratives,” Rooks adds. “But the forces pushing back against it in many parts of the world — it’s quite a headwind.”\u003c/p>\n\u003cp>When we’re talking about personal beauty, having a beauty routine at all means that you are, consciously or unconsciously, accepting the idea that you need to \u003cem>change\u003c/em>. The way your hair falls or the shininess of your skin or the curl of your eyelashes — it will be more beautiful if you spend time and money to make it different.\u003c/p>\n\u003cp>So back to the question at hand: How do you decolonize the idea that your natural self isn’t adequate?\u003c/p>\n\u003cp>You could argue that a profound way to decolonize your beauty routine would be to have none, and simply say, “My body and face and are valuable and beautiful without modification.”\u003c/p>\n\u003cp>The other really radical thing could be to try reject personal beauty as a measure of worth. Many have argued that beauty should not be a prerequisite, as it so often is, for being treated with respect, kindness or personal autonomy.\u003c/p>\n\u003cp>Any way you go about it, the process of decolonizing your beauty routine is probably going to result in a lot of people being uncomfortable with your appearance. It’s also the only way beauty norms have a chance of changing. So you have to know your politics. What are you trying to say with your beauty routine? And what ugly truths are you willing to deal with?\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Do you have thoughts/questions/feelings about race? Need some racial advice in your own life? We want to hear from you! Email us at \u003ca href=\"mailto:CodeSwitch@npr.org\">CodeSwitch@npr.org\u003c/a>, with the subject line “Ask Code Switch,” or fill out \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeZeFoLpWq-HbUBxMpiYGczjsuZJtCbIv8uMiNOoRWTFGDzWg/viewform\">this form\u003c/a> and tell us the deets.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Beauty+In+The+Eyes+Of+The+Colonizer%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Quick — think of the most beautiful person you know. Is it your partner? Your mother? Rihanna? (Wait, you know Rihanna? That’s amazing!)\u003c/p>\n\u003cp>There are a million different reasons we find certain people beautiful. But there’s no denying that a lot of current beauty standards in the U.S. are based on a particular type of beauty — one that centers a type of white femininity that’s only accessible to a select few.\u003c/p>\n\u003cp>So this week on \u003ca href=\"https://www.npr.org/sections/codeswitch/547538916/ask-code-switch\">Ask Code Switch\u003c/a>, we’re answering a question from Cecilia Fernandez, of Ann Arbor, Mich. She \u003ca href=\"https://twitter.com/cecihen/status/1070748668557488129\">tweeted at us\u003c/a> to ask: “Besides the natural hair movement, what other ways have women of color gone to decolonize their beauty routine?”\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/685506578/690883289\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>Cecilia — this is a really great question. As someone who spent years flat-ironing my curls and suffering through orthodontia — I was also quite curious about this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So to begin, let’s talk about what it means when we say our notions of beauty are “colonized.”\u003c/p>\n\u003cp>Think about \u003cem>why \u003c/em>that person is beautiful. Is it because of their perfectly white teeth? Their thick, shiny hair? The fact that their features conform perfectly to Western beauty norms?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>To begin with, a lot of current Western beauty standards celebrate whiteness — not some objective, biological, evolutionary thing, but literally just being a white person. In fact, if you go back and look at the work of some early racial theorists — people like Christoph Meiners and Johann Blumenbach — they defined the category of “white,” or “Caucasian,” as being the most beautiful of the races.\u003c/p>\n\u003cp>“It was important for [those racial theorists] to be superior in all areas,” says \u003ca href=\"http://www.nellpainter.com/history.html\">Nell Irvin Painter\u003c/a>, an artist and historian who wrote \u003cem>The History Of White People. \u003c/em>She says the group of academics who first created these racial categories were white supremacists, so, “they not only wanted the people they called ‘their women’ to be the most beautiful, and ‘their men’ to be the most virile. They wanted ‘their countries’ to have the best politics. So they wanted to have \u003cem>everything \u003c/em>better. And that included beauty.”\u003c/p>\n\u003cp>That association between beauty and whiteness has proven hard to shake. There’s a reason that so many people still think of an “all-American beauty” as a thin, blonde, blue-eyed white woman. It wasn’t until 1940 that the rules were changed to allow women of color to enter the Miss America pageant. Before that, the \u003ca href=\"https://www.smithsonianmag.com/history/fifty-years-ago-protestors-took-on-miss-america-pageant-electrified-feminist-movement-180967504/\">official rules stated\u003c/a> that contestants had to be “of good health and of the white race.”\u003c/p>\n\u003cp>Decisions about who society holds up as beautiful also have a lot to do with class. Nell Irvin Painter notes that a lot of the things we consider beautiful are actually just proxies for wealth. Think of how much it costs to get cosmetic surgery, or braces, or even a facial.\u003c/p>\n\u003cp>(It’s worth noting that there’s a fair amount of overlap between beauty routines and health or grooming routines. People brush their teeth to prevent cavities, sure, but so many toothpastes also have whitening products. And you could be blowdrying your hair to get it dry, or to make sure it’s shiny and voluminous. In this context, we’re thinking of the purely aesthetic parts of a routine — not ones that have to do with health, functionality or hygiene.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So, how do you push back against all that? A lot people talk about the importance of buying makeup or fashion designed by women of color. But throughout history, a lot of the most effective movements have been about expanding our ideas of what it means to be beautiful.\u003c/p>\n\u003cp>Let’s come back to the natural hair movement for a moment. That came out of the broader \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/03/10/287320160/stokely-carmichael-a-philosopher-behind-the-black-power-movement\">Black is Beautiful movement\u003c/a> in the 1960s and 70s. That movement — which came in the midst of the broader Black Power and civil rights movements — was about affirming aspects of blackness that had been considered ugly by white, colonial standards. Organizers of the movement started to embrace the political power behind the idea that all aspects of blackness were beautiful.\u003c/p>\n\u003cp>Nell Painter says the movement had a huge effect on both her and her family. She says she didn’t start to think of herself as beautiful until she was in her thirties, around the time “black is beautiful” sprung up. A similar thing happened to her mother, who was born in 1917:\u003c/p>\n\u003cblockquote>\u003cp>“My mother was very beautiful. But my mother was dark-skinned, so she never thought of herself as beautiful. … For black people, the idea of black as beautiful, that was a real breakthrough. And so my mother emerged as a beautiful person, and people told her she was beautiful, and it took her a long time to accept that. I don’t know if she ever really did.”\u003c/p>\u003c/blockquote>\n\u003cp>There are other movements that have tried to address beauty as a political force. There was the \u003ca href=\"https://www.yachana.org/research/indigenismo.html\">indigenismo movement\u003c/a> in Mexico. One of its icons was the artist Frida Kahlo. In her self-portraits, she painted herself dressed in pre-Columbian clothes and hairstyles, with visible facial hair and hair between her eyebrows. Many have described those artistic choices as being a radical rejection of white, colonial beauty standards.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And these days, a lot of women push back on the idea that they should remove facial and body hair in order to be considered beautiful or hygienic or professional. The activist and model Harnaam Kaur has spoken about how her life changed once she decided to \u003ca href=\"https://www.vice.com/en_us/article/mgyj4n/model-harnaam-kaur-on-how-her-beard-is-a-blessing\">stop shaving her beard\u003c/a>: “I feel a lot stronger and liberated to be who I am and accept who I am freely. … I’m here as a woman who’s wearing something that’s supposed to be — in quotations “supposed to be” — a man’s feature.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The \u003ca href=\"https://www.thebodypositive.org/\">body positivity movement\u003c/a> and the \u003ca href=\"http://thisisthinprivilege.tumblr.com/faq#beautiful\">fat-acceptance movements\u003c/a> have also consistently pushed back on the idea that thin, young, white, able-bodied women are the epitome of beauty — or that beauty should be a precondition for respect to begin with.\u003c/p>\n\u003cp>One thing to keep in mind is that beauty is a facet of power. Being considered beautiful can help you gain access to certain spaces, or increase your power in certain settings. By the same token, a perceived lack of beauty, or a refusal or inability to conform to certain beauty standards, also has really tangible consequences.\u003c/p>\n\u003cp>Noliwe Rooks is a professor at Cornell University who \u003ca href=\"https://africana.cornell.edu/noliwe-rooks\">teaches about the politics of race and beauty\u003c/a>. She says that women are placed in different categories depending on “how they appear in the world,” and that attempts to decolonize one’s beauty routine often lead to pushback from the outside world — especially for black and brown people. She cited Hampton University in Virginia, as an example. The historically black institution \u003ca href=\"https://www.nydailynews.com/news/national/virginia-black-college-business-school-dean-stands-decade-old-ban-cornrows-dreadlocks-article-1.1142986\">made news \u003c/a>in 2012 for a policy in the business school that said male students couldn’t have dreadlocks, because they were considered unprofessional.\u003c/p>\n\u003cp>Rooks says, “If you’re someone who feels like for body positivity and self affirmation, and adornment, this is what I’m going to do, ‘I want dreadlocks’ — yes you \u003cem>can \u003c/em>do that. You \u003cem>can \u003c/em>decolonize that look in the way that you feel is important to you. But you can’t go to that school like it. … Until recently you couldn’t serve in the military. … There’s all manner of corporate jobs that if you’re decolonizing your body you can’t have.”\u003c/p>\n\u003cp>Keep in mind, Rooks says, that fighting against beauty norms is probably going to be really hard. Obese\u003ca href=\"https://www.nytimes.com/2017/08/21/well/live/fat-bias-starts-early-and-takes-a-serious-toll.html\"> women\u003c/a>, old women, queer women, women of color and all the intersections get particularly scrutinized, even when they’re trying to conform to beauty norms — let alone when they push back against them. “We can live in a world where we try to do battle with those overarching narratives,” Rooks adds. “But the forces pushing back against it in many parts of the world — it’s quite a headwind.”\u003c/p>\n\u003cp>When we’re talking about personal beauty, having a beauty routine at all means that you are, consciously or unconsciously, accepting the idea that you need to \u003cem>change\u003c/em>. The way your hair falls or the shininess of your skin or the curl of your eyelashes — it will be more beautiful if you spend time and money to make it different.\u003c/p>\n\u003cp>So back to the question at hand: How do you decolonize the idea that your natural self isn’t adequate?\u003c/p>\n\u003cp>You could argue that a profound way to decolonize your beauty routine would be to have none, and simply say, “My body and face and are valuable and beautiful without modification.”\u003c/p>\n\u003cp>The other really radical thing could be to try reject personal beauty as a measure of worth. Many have argued that beauty should not be a prerequisite, as it so often is, for being treated with respect, kindness or personal autonomy.\u003c/p>\n\u003cp>Any way you go about it, the process of decolonizing your beauty routine is probably going to result in a lot of people being uncomfortable with your appearance. It’s also the only way beauty norms have a chance of changing. So you have to know your politics. What are you trying to say with your beauty routine? And what ugly truths are you willing to deal with?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Do you have thoughts/questions/feelings about race? Need some racial advice in your own life? We want to hear from you! Email us at \u003ca href=\"mailto:CodeSwitch@npr.org\">CodeSwitch@npr.org\u003c/a>, with the subject line “Ask Code Switch,” or fill out \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeZeFoLpWq-HbUBxMpiYGczjsuZJtCbIv8uMiNOoRWTFGDzWg/viewform\">this form\u003c/a> and tell us the deets.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Beauty+In+The+Eyes+Of+The+Colonizer%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Teen Drag Queens Will Steal Your Heart In 'Death Prefers Blondes'",
"headTitle": "Teen Drag Queens Will Steal Your Heart In ‘Death Prefers Blondes’ | KQED",
"content": "\u003cfigure id=\"attachment_13850162\" class=\"wp-caption alignright\" style=\"max-width: 324px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13850162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/death-prefers-blondes-full.jpg\" alt=\"'Death Prefers Blondes' by Caleb Roehrig\" width=\"324\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/death-prefers-blondes-full.jpg 324w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/death-prefers-blondes-full-160x246.jpg 160w\" sizes=\"(max-width: 324px) 100vw, 324px\">\u003cfigcaption class=\"wp-caption-text\">‘Death Prefers Blondes’ by Caleb Roehrig\u003c/figcaption>\u003c/figure>\n\u003cp>The library is open, and it’s time to read Caleb Roehrig’s new YA thriller, \u003cem>Death Prefers Blondes\u003c/em>.\u003c/p>\n\u003cp>Margo Manning is a wealthy teen socialite by day and a badass thief by night. Whether it’s rococo paintings at the Los Angeles Museum of Fine Art or the czarist diamond collection of a Russian mobster, no target is safe from Margo and her expert team of cat burglars. In addition to being very good at what they do, her crew has the benefit of knowing they’re the most fabulous thieves in the business—quite literally, because they pull off all their heists in drag!\u003c/p>\n\u003cp>Why would teen drag queens and a tabloid star choose a dangerous life of crime? For Margo, it’s mostly about being truly excellent at something outside of the view of her overbearing father. But for the queens, it’s life or death. Brothers Axel and Joaquin have a father in prison, a sick mother and a sea of debt. Leif’s homophobic parents no longer want to help him pay for the dance school that is his ticket to freedom, and Davon is desperate to get his addict drag mother away from their bad neighborhood and into rehab.\u003c/p>\n\u003cp>When a multi-million dollar heist comes their way, it seems like too good an opportunity to pass up. It could be the last job—the one that allows them all to close this chapter of their lives for good. But it turns out that this particular robbery has consequences they can’t shake. As one thing snowballs into the next, it becomes clear that the future of Margo’s family legacy is at stake—along with her life and the lives of everyone she loves. In order to protect them, she’ll have to orchestrate their biggest heist yet, stretching everyone’s abilities to the limit and risking everything they all hold dear.\u003c/p>\n\u003cp>If there’s one thing this genre requires, it’s a competent posse of deeply damaged human beings who are great at really specialized skills and terrible at life. Margo’s team certainly fits the bill, and whether they’re boosting cars, hiding in tight spaces or kickboxing with the enemy, it’s satisfying to see them take on the best laid security plans of the one percent. Likewise, the trials and tribulations the queens face in their daily lives feel believable and heartbreaking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a little harder to open up to Margo. She often comes across as the privileged rich kid that she is, and sometimes, early in the book, her motivations and woes feel a little petty alongside those of her team. What’s more, we’ve seen characters like her before in YA, so caring about her as much as the others required a bit of effort on my part as a reader.\u003c/p>\n\u003cp>It’s also a little hard to come to terms with the morality of her entangling the queens in what for her is—at least at the start—a lark. They need the money, and are desperate enough to do whatever it takes. She doesn’t, and to use a drag term, it feels a bit shady. She’s taking advantage of them in order to have the team she needs to do what she wants. They get something out of it, but she’s wealthy enough that she could also help them out of their difficulties though more legitimate, less dangerous means. There are moments where the book almost confronts this, but ultimately it’s brushed aside to make room for the plot, making it even more difficult for me to get behind Margo as a protagonist.\u003c/p>\n\u003cp>To be honest, I came here for the drag queens anyway. The best parts of the book are the windows into their lives as we get everyone’s point of view interspersed in the narrative. Axel ponders the fact that drag makes him feel invincible, and it’s a fascinating idea that an art which can provide emotional protection might also be used as a more literal armor and disguise in an action sequence. Rarely do I find myself wishing for a bit less of the female character and more of the boys, but that was the case here. More time in the minds of Axel and Devon (the two who regularly perform in drag outside of their heists) could have deepened this metaphor.\u003c/p>\n\u003cp>The book is juggling a lot, and the heists turn on a dime—enjoyable to follow, tense, exciting—it’s a fun ride and the plot zips along, pushing the stakes ever higher and revelling in all the glamor and danger of Margo’s double life and the general fabulousness of the queens. \u003cem>Death Prefers Blondes\u003c/em> delivers on its promise of a glitzy teen thriller, and I was feeling the fantasy.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Caitlyn Paxson is a writer and performer. She is a regular reviewer for NPR Books and\u003c/em> \u003ca href=\"http://www.quillandquire.com/\">Quill & Quire\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit \u003ca href=\"http://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/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13850162\" class=\"wp-caption alignright\" style=\"max-width: 324px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13850162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/death-prefers-blondes-full.jpg\" alt=\"'Death Prefers Blondes' by Caleb Roehrig\" width=\"324\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/death-prefers-blondes-full.jpg 324w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/death-prefers-blondes-full-160x246.jpg 160w\" sizes=\"(max-width: 324px) 100vw, 324px\">\u003cfigcaption class=\"wp-caption-text\">‘Death Prefers Blondes’ by Caleb Roehrig\u003c/figcaption>\u003c/figure>\n\u003cp>The library is open, and it’s time to read Caleb Roehrig’s new YA thriller, \u003cem>Death Prefers Blondes\u003c/em>.\u003c/p>\n\u003cp>Margo Manning is a wealthy teen socialite by day and a badass thief by night. Whether it’s rococo paintings at the Los Angeles Museum of Fine Art or the czarist diamond collection of a Russian mobster, no target is safe from Margo and her expert team of cat burglars. In addition to being very good at what they do, her crew has the benefit of knowing they’re the most fabulous thieves in the business—quite literally, because they pull off all their heists in drag!\u003c/p>\n\u003cp>Why would teen drag queens and a tabloid star choose a dangerous life of crime? For Margo, it’s mostly about being truly excellent at something outside of the view of her overbearing father. But for the queens, it’s life or death. Brothers Axel and Joaquin have a father in prison, a sick mother and a sea of debt. Leif’s homophobic parents no longer want to help him pay for the dance school that is his ticket to freedom, and Davon is desperate to get his addict drag mother away from their bad neighborhood and into rehab.\u003c/p>\n\u003cp>When a multi-million dollar heist comes their way, it seems like too good an opportunity to pass up. It could be the last job—the one that allows them all to close this chapter of their lives for good. But it turns out that this particular robbery has consequences they can’t shake. As one thing snowballs into the next, it becomes clear that the future of Margo’s family legacy is at stake—along with her life and the lives of everyone she loves. In order to protect them, she’ll have to orchestrate their biggest heist yet, stretching everyone’s abilities to the limit and risking everything they all hold dear.\u003c/p>\n\u003cp>If there’s one thing this genre requires, it’s a competent posse of deeply damaged human beings who are great at really specialized skills and terrible at life. Margo’s team certainly fits the bill, and whether they’re boosting cars, hiding in tight spaces or kickboxing with the enemy, it’s satisfying to see them take on the best laid security plans of the one percent. Likewise, the trials and tribulations the queens face in their daily lives feel believable and heartbreaking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a little harder to open up to Margo. She often comes across as the privileged rich kid that she is, and sometimes, early in the book, her motivations and woes feel a little petty alongside those of her team. What’s more, we’ve seen characters like her before in YA, so caring about her as much as the others required a bit of effort on my part as a reader.\u003c/p>\n\u003cp>It’s also a little hard to come to terms with the morality of her entangling the queens in what for her is—at least at the start—a lark. They need the money, and are desperate enough to do whatever it takes. She doesn’t, and to use a drag term, it feels a bit shady. She’s taking advantage of them in order to have the team she needs to do what she wants. They get something out of it, but she’s wealthy enough that she could also help them out of their difficulties though more legitimate, less dangerous means. There are moments where the book almost confronts this, but ultimately it’s brushed aside to make room for the plot, making it even more difficult for me to get behind Margo as a protagonist.\u003c/p>\n\u003cp>To be honest, I came here for the drag queens anyway. The best parts of the book are the windows into their lives as we get everyone’s point of view interspersed in the narrative. Axel ponders the fact that drag makes him feel invincible, and it’s a fascinating idea that an art which can provide emotional protection might also be used as a more literal armor and disguise in an action sequence. Rarely do I find myself wishing for a bit less of the female character and more of the boys, but that was the case here. More time in the minds of Axel and Devon (the two who regularly perform in drag outside of their heists) could have deepened this metaphor.\u003c/p>\n\u003cp>The book is juggling a lot, and the heists turn on a dime—enjoyable to follow, tense, exciting—it’s a fun ride and the plot zips along, pushing the stakes ever higher and revelling in all the glamor and danger of Margo’s double life and the general fabulousness of the queens. \u003cem>Death Prefers Blondes\u003c/em> delivers on its promise of a glitzy teen thriller, and I was feeling the fantasy.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Caitlyn Paxson is a writer and performer. She is a regular reviewer for NPR Books and\u003c/em> \u003ca href=\"http://www.quillandquire.com/\">Quill & Quire\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit \u003ca href=\"http://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/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jonah Larson taught himself how to crochet at the age of 5 by watching YouTube videos. Now 11, he’s been described as a “crocheting prodigy.” He has his own crochet business called Jonah’s Hands, based out of his home in La Crosse, Wisc.\u003c/p>\n\u003cp>Crocheting has also made him a social media star—but he doesn’t do it for the fame. Jonah has more than 46,000 followers on \u003ca href=\"https://www.instagram.com/jonahhands/\" target=\"_blank\" rel=\"noopener\">Instagram, where he sells his goods.\u003c/a>\u003c/p>\n\u003cp>“After a very hard busy chaotic day in this busy world with school, it’s just nice to know that I can come home and crochet in my little corner of the house while sitting by the one I love most: my mom,” Jonah tells NPR. \u003c/p>\n\u003cp>He tells NPR his most difficult design was crocheting a blanket with 800 plush flowers on it. \u003c/p>\n\u003cp>Jonah regularly donates some of his goods and money to the Ethiopian orphanage where he was adopted as an infant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His mother, Jennifer Larson, doesn’t crochet, but she does run his Instagram account and has joined a few Facebook crocheting groups on his behalf. It’s up to Jonah, she says, to decide what he does with the profits.\u003c/p>\n\u003cp>“I don’t buy his yarn for him, he buys his own yarn from the profits he makes from selling,” she says. “He saves some money, he’s investing some money, and he donates as well. So those are things I think are important in life for adults to do, and I’m glad that he can learn that at an early age.”\u003c/p>\n\u003cp>The crocheting community has responded positively as well, and a few people even sent him custom hooks. \u003c/p>\n\u003cp>https://www.instagram.com/p/Bo4YOyyhv4m/\u003c/p>\n\u003cp>“I hope people gain from seeing my work is it makes them happy too,” Jonah says. “When I see my crochet work when it’s done it blows my mind to know that I, an 11-year-old with a tiny hook and a ball of yarn, made this amazing afghan, scarf, cowl, you name it.”\u003c/p>\n\u003cp>After \u003ca href=\"https://lacrossetribune.com/news/local/la-crosse-boy-a-globally-renowned-crochet-prodigy-at-age/article_d21f0be0-cbdd-5751-bd16-1d16d54c4f06.html\" target=\"_blank\" rel=\"noopener\">an article was published about him\u003c/a> in a local paper last month, his story went viral. Jonah now has over 2,500 orders and has temporarily stopped taking new requests.\u003c/p>\n\u003cp>His next goals: attending a crochet summer camp, attending U.S. Military Academy at West Point, and then becoming a surgeon. \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/691521551/691521552\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Sydney Harper, Rebecca Ramirez, Emma Talkoff and Kelli Wessinger produced the broadcast version of this story. Alicia Montgomery edited it. \u003ca href=\"https://twitter.com/lindseyf96?lang=en\" target=\"_blank\" rel=\"noopener\">Lindsey Feingold\u003c/a> is the NPR Digital Content intern.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\" rel=\"noopener\" target=\"_blank\">npr.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jonah Larson taught himself how to crochet at the age of 5 by watching YouTube videos. Now 11, he’s been described as a “crocheting prodigy.” He has his own crochet business called Jonah’s Hands, based out of his home in La Crosse, Wisc.\u003c/p>\n\u003cp>Crocheting has also made him a social media star—but he doesn’t do it for the fame. Jonah has more than 46,000 followers on \u003ca href=\"https://www.instagram.com/jonahhands/\" target=\"_blank\" rel=\"noopener\">Instagram, where he sells his goods.\u003c/a>\u003c/p>\n\u003cp>“After a very hard busy chaotic day in this busy world with school, it’s just nice to know that I can come home and crochet in my little corner of the house while sitting by the one I love most: my mom,” Jonah tells NPR. \u003c/p>\n\u003cp>He tells NPR his most difficult design was crocheting a blanket with 800 plush flowers on it. \u003c/p>\n\u003cp>Jonah regularly donates some of his goods and money to the Ethiopian orphanage where he was adopted as an infant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I hope people gain from seeing my work is it makes them happy too,” Jonah says. “When I see my crochet work when it’s done it blows my mind to know that I, an 11-year-old with a tiny hook and a ball of yarn, made this amazing afghan, scarf, cowl, you name it.”\u003c/p>\n\u003cp>After \u003ca href=\"https://lacrossetribune.com/news/local/la-crosse-boy-a-globally-renowned-crochet-prodigy-at-age/article_d21f0be0-cbdd-5751-bd16-1d16d54c4f06.html\" target=\"_blank\" rel=\"noopener\">an article was published about him\u003c/a> in a local paper last month, his story went viral. Jonah now has over 2,500 orders and has temporarily stopped taking new requests.\u003c/p>\n\u003cp>His next goals: attending a crochet summer camp, attending U.S. Military Academy at West Point, and then becoming a surgeon. \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/691521551/691521552\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Sydney Harper, Rebecca Ramirez, Emma Talkoff and Kelli Wessinger produced the broadcast version of this story. Alicia Montgomery edited it. \u003ca href=\"https://twitter.com/lindseyf96?lang=en\" target=\"_blank\" rel=\"noopener\">Lindsey Feingold\u003c/a> is the NPR Digital Content intern.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\" rel=\"noopener\" target=\"_blank\">npr.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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. 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. 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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>\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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"excerpt": "Born in Texas in 1918 and raised in California, Jessie Mae Robinson's songs have been recorded by hundreds of artists, from Louis Jordan to Lana Del Ray. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003cp>\u003c/p>\u003cp>\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>\u003c/p>\u003c/div>",
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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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"slug": "oh-yes-son-theyre-talking-to-you-20-years-of-no-scrubs",
"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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"excerpt": "Jake Gyllenhaal re-teams with \u003cem>Nightcrawler \u003c/em>writer-director Dan Gilroy for this funny Netflix horror film set in the art world that's better at delivering quotably arch lines than sharp satire.",
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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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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