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"title": "Instant Photos Capture Tiny Desk Artists Offstage, 'Flaws, Dust Specks and All'",
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"content": "\u003cp>\u003cem>When musicians visit NPR to perform in our Tiny Desk concert series, we occasionally use the opportunity to have a little fun. Eslah Attar created this series of instant film portraits during her time working at NPR in 2018.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Creating a moment of connection is often the most difficult part of making a photograph: It has to happen in the instant the shutter clicks. Photographing performers can be even harder, since they naturally create personas as part of their work. So in photographing some of the musicians who have come to NPR to play \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk concerts\u003c/a>, I wanted to find a way to capture them in a more natural state.\u003c/p>\n\u003cfigure id=\"attachment_13849828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/myoussef1_polaroidportrait043_custom-e6622b2964a4f592292ba2b7fddae286ce1f691d-800x506.jpg\" alt=\"Maimouna Youssef aka Mumu Fresh.\" width=\"800\" height=\"506\">\u003cfigcaption class=\"wp-caption-text\">Maimouna Youssef aka Mumu Fresh. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I find that using an instant film camera often disarms the people I photograph. It’s familiar, nostalgic, almost a toy, so it doesn’t intimidate in the same way a professional camera does — which helps break down some of the barriers that usually exist between photographers and their subjects. It is also limiting: For these portraits I took only one or two shots of each artist, leaving little time to warm up to the situation or try out different poses. The moment happens quickly, and the imperfections are part of the result.\u003c/p>\n\u003cfigure id=\"attachment_13849824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-2_custom-59bcddf6758649fe93b5fa58a36667a6c91b441b-800x1246.jpg\" alt=\"Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018's Tiny Desk Contest).\" width=\"800\" height=\"1246\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018’s Tiny Desk Contest). \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing these artists perform at the Tiny Desk before I photographed them helped me get a more intimate idea of who they were. The setting is so simple — no bright lights or huge crowds, just the artist and a few onlookers — and through it I was able to see more of their personalities: sometimes awkward, sometimes confident, sometimes quiet, sometimes very normal.\u003c/p>\n\u003cfigure id=\"attachment_13849825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/rhye_polaroidportrait065_custom-8d8f000c58c068ec8f52389b2d3c909584383688-800x1254.jpg\" alt=\"Mike Milosh of Rhye.\" width=\"800\" height=\"1254\">\u003cfigcaption class=\"wp-caption-text\">Mike Milosh of Rhye. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the desk, \u003ca href=\"https://www.npr.org/2018/06/11/618198232/jorja-smith-tiny-desk-concert\">Jorja Smith\u003c/a> was reserved and thoughtful. In front of the camera she needed no direction, immediately tilting her head back and staring directly into the lens, confident and sophisticated. \u003ca href=\"https://www.npr.org/2018/06/18/619945249/khalid-tiny-desk-concert\">Khalid\u003c/a> gave a gentle and soft-spoken performance at the desk, hands resting in his lap, sometimes chatting quietly with his guitarist. In his portrait he stands with his eyes closed, leaves from a nearby plant spilling gently over his shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13849829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg\" alt=\"Mac Miller.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1200x768.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Miller. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/08/06/635054748/mac-miller-tiny-desk-concert\">Mac Miller\u003c/a>, who visited the Tiny Desk just two months before his death on Sept. 7, 2018, had a playfulness to him that spread throughout the audience the minute his set began, and he filled the silence between songs with warm, self-deprecating chatter. He doesn’t engage the camera here: Instead, he looks down with his hands on his head, showing his arms full of dark tattoos and a hat reading “Don’t Trip.”\u003c/p>\n\u003cfigure id=\"attachment_13849826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-3_custom-ef19e060fb4941a9cce5af9b25810f685a28a585-800x637.jpg\" alt=\"Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans, we are often so familiar with an artist’s public self that we sometimes forget there’s a real person underneath. I hope these images — flaws, dust specks and all — help the viewer see those real people a little more clearly.\u003c/p>\n\u003cfigure id=\"attachment_13849830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849830 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg\" alt=\"Left to right: Big K.R.I.T., DAWN, PJ Morton.\" width=\"800\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1200x628.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1920x1005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Big K.R.I.T., DAWN, PJ Morton. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Instant+Photos+Capture+Tiny+Desk+Artists+Offstage%2C+%27Flaws%2C+Dust+Specks+and+All%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "See intimate moments with Thundercat, Jorja Smith, the late Mac Miller and other musicians from NPR's Tiny Desk concert series, captured just moments after they performed.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>When musicians visit NPR to perform in our Tiny Desk concert series, we occasionally use the opportunity to have a little fun. Eslah Attar created this series of instant film portraits during her time working at NPR in 2018.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Creating a moment of connection is often the most difficult part of making a photograph: It has to happen in the instant the shutter clicks. Photographing performers can be even harder, since they naturally create personas as part of their work. So in photographing some of the musicians who have come to NPR to play \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk concerts\u003c/a>, I wanted to find a way to capture them in a more natural state.\u003c/p>\n\u003cfigure id=\"attachment_13849828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/myoussef1_polaroidportrait043_custom-e6622b2964a4f592292ba2b7fddae286ce1f691d-800x506.jpg\" alt=\"Maimouna Youssef aka Mumu Fresh.\" width=\"800\" height=\"506\">\u003cfigcaption class=\"wp-caption-text\">Maimouna Youssef aka Mumu Fresh. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I find that using an instant film camera often disarms the people I photograph. It’s familiar, nostalgic, almost a toy, so it doesn’t intimidate in the same way a professional camera does — which helps break down some of the barriers that usually exist between photographers and their subjects. It is also limiting: For these portraits I took only one or two shots of each artist, leaving little time to warm up to the situation or try out different poses. The moment happens quickly, and the imperfections are part of the result.\u003c/p>\n\u003cfigure id=\"attachment_13849824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-2_custom-59bcddf6758649fe93b5fa58a36667a6c91b441b-800x1246.jpg\" alt=\"Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018's Tiny Desk Contest).\" width=\"800\" height=\"1246\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018’s Tiny Desk Contest). \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing these artists perform at the Tiny Desk before I photographed them helped me get a more intimate idea of who they were. The setting is so simple — no bright lights or huge crowds, just the artist and a few onlookers — and through it I was able to see more of their personalities: sometimes awkward, sometimes confident, sometimes quiet, sometimes very normal.\u003c/p>\n\u003cfigure id=\"attachment_13849825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/rhye_polaroidportrait065_custom-8d8f000c58c068ec8f52389b2d3c909584383688-800x1254.jpg\" alt=\"Mike Milosh of Rhye.\" width=\"800\" height=\"1254\">\u003cfigcaption class=\"wp-caption-text\">Mike Milosh of Rhye. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the desk, \u003ca href=\"https://www.npr.org/2018/06/11/618198232/jorja-smith-tiny-desk-concert\">Jorja Smith\u003c/a> was reserved and thoughtful. In front of the camera she needed no direction, immediately tilting her head back and staring directly into the lens, confident and sophisticated. \u003ca href=\"https://www.npr.org/2018/06/18/619945249/khalid-tiny-desk-concert\">Khalid\u003c/a> gave a gentle and soft-spoken performance at the desk, hands resting in his lap, sometimes chatting quietly with his guitarist. In his portrait he stands with his eyes closed, leaves from a nearby plant spilling gently over his shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13849829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg\" alt=\"Mac Miller.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1200x768.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Miller. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/08/06/635054748/mac-miller-tiny-desk-concert\">Mac Miller\u003c/a>, who visited the Tiny Desk just two months before his death on Sept. 7, 2018, had a playfulness to him that spread throughout the audience the minute his set began, and he filled the silence between songs with warm, self-deprecating chatter. He doesn’t engage the camera here: Instead, he looks down with his hands on his head, showing his arms full of dark tattoos and a hat reading “Don’t Trip.”\u003c/p>\n\u003cfigure id=\"attachment_13849826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-3_custom-ef19e060fb4941a9cce5af9b25810f685a28a585-800x637.jpg\" alt=\"Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans, we are often so familiar with an artist’s public self that we sometimes forget there’s a real person underneath. 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To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Instant+Photos+Capture+Tiny+Desk+Artists+Offstage%2C+%27Flaws%2C+Dust+Specks+and+All%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It seems to be a big week for The \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">Beatles\u003c/a>: Director Peter Jackson is working on a documentary chronicling the recording process of the band’s final album with cooperation from Paul McCartney, Ringo Starr, Yoko Ono Lennon and Olivia Harrison.\u003c/p>\n\u003cp>[contextly_sidebar id=”Q1VMeIWecLL7zMCUgHagsbREjENGczcw”]\u003c/p>\n\u003cp>As was the case with \u003cem>They Shall Not Grow Old\u003c/em>, which found Jackson reviving a trove of archival World War I footage, the \u003cem>Lord of the Rings\u003c/em> filmmaker is mining 55 hours of unreleased footage of the band, using restoration techniques to render it in modern quality. The footage was originally intended for Michael Lindsay-Hogg’s 1970 documentary \u003cem>Let it Be\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=”3G3S3V6JeGizHg9Ems42a1ch3wTQcOax”]\u003c/p>\n\u003cp>Jackson claims that the footage he’s working from reveals a dynamic counter to the prevailing narrative that tensions ran high during the creation of \u003cem>Let it Be\u003c/em>, which was released after The Beatles had broken up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was relieved to discover the reality is very different to the myth,” says Jackson in press material. “After reviewing all the footage and audio that Michael Lindsay-Hogg shot 18 months before they broke up, it’s simply an amazing historical treasure-trove. Sure, there’s moments of drama — but none of the discord this project has long been associated with. Watching John, Paul, George, and Ringo work together, creating now-classic songs from scratch, is not only fascinating — it’s funny, uplifting and surprisingly intimate.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film, currently in production, does not yet have a release date set.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Peter+Jackson+To+Direct+Documentary+On+The+Beatles+Recording+%27Let+It+Be%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "Watch New Order Perform 'Ceremony' In Rare Footage From 1981",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" title=\"New Order - Ceremony (Live at CoManCHE Student Union, Manchester on 6th February 1981)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/NAmyMqL1AkI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>New Order, one of the most influential U.K. bands of the 20th century, formed in the long shadow of Joy Division, which disbanded following the 1980 death of singer Ian Curtis. Joy Division’s surviving members — Bernard Sumner, Peter Hook and Stephen Morris — formed New Order the same year and soon began carving out their own rich creative legacy, which spanned several decades and a string of massive singles.\u003c/p>\n\u003cp>[contextly_sidebar id=”9q4pj3iVxOaIzJywEkidmTQOPqNzVaeI”]\u003c/p>\n\u003cp>The first of those singles, “Ceremony,” was actually written with Joy Division prior to Curtis’ suicide. It popped up as a single in advance of New Order’s 1981 debut album, \u003cem>Movement\u003c/em>, which is about to receive the deluxe-reissue treatment; to commemorate the occasion, the band is circulating a little-seen performance of “Ceremony,” recorded live at Manchester’s CoManCHE Student Union.\u003c/p>\n\u003cp>[contextly_sidebar id=”QCF5XIZFj2kVzAbYmY41CMmzjiFOmIpp”]\u003c/p>\n\u003cp>Recorded on Feb. 6, 1981, it’s a marvelous document of New Order’s early years — steeped in tragedy but alive with possibility.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Watch+New+Order+Perform+%27Ceremony%27+In+Rare+Footage+From+1981&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Jada Pinkett-Smith has been on a lot of screens.\u003c/p>\n\u003cp>She’s been a steady presence on television since the early ’90s: Think \u003cem>A Different World\u003c/em> or \u003cem>Gotham\u003c/em>. Her movie roles have varied widely: \u003cem>Set It Off\u003c/em>, or the \u003cem>Matrix\u003c/em> sequels, or \u003ca href=\"https://www.npr.org/2017/07/23/538825576/jada-pinkett-smith-on-girls-trip\">\u003cem>Girls Trip\u003c/em>\u003c/a>. She has produced a new film, \u003cem>Hala, \u003c/em>set to premiere this weekend at the Sundance Film Festival.\u003c/p>\n\u003cp>She’s also on the screen of your laptop or smartphone.\u003c/p>\n\u003cp>Her Facebook Watch series, \u003ca href=\"https://www.facebook.com/redtabletalk\">\u003cem>Red Table Talk\u003c/em>\u003c/a>, is now more than 20 episodes into its first season. Every week, she and her mother Adrienne Banfield-Norris, and daughter Willow Smith, sit down for discussions on often complex and emotional topics. This season alone has covered mental health, race relations, addiction, divorce and forgiveness.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/redtabletalk/videos/564337010632445/\">http://www.facebook.com/redtabletalk/videos/564337010632445/\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I guess at this point in my life, I’ve really been doing a lot of interior work,” Pinkett-Smith says in an interview. “And I just realized that in part of my growth, the women and the people who had the courage to be very transparent with me with certain aspects of their journey really, really helped my journey tremendously. I was like: Why don’t we talk about this more often? Why is it such a secret of what people go through?\u003c/p>\n\u003cp>“And so I was like: I really want to create conversation where people don’t have to feel like they’re alone. And whatever pieces individuals can take with them to make whatever changes they might feel is necessary for more happiness, more joy, more peace — I want to be part of that journey.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/688338768/688548989\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the open discussions of the show compared to her reputation as a private person\u003c/strong>\u003c/p>\n\u003cp>People have a lot of romantic and fantasy ideas around relationships. And considering the powerful journey that [husband Will Smith] and I have been taking together, I really thought it was important to shatter, you know, whatever façade had been out there. Now that I’m older, and with all the work that I’ve done, I feel like I have the capacity to be more transparent — and luckily enough, so does my family. So just because there are certain things that we talk about on the \u003cem>Red Table\u003c/em> doesn’t mean that we don’t have boundaries. But I don’t see the necessity to hold on to knowledge of certain experiences that we’ve had.\u003c/p>\n\u003cp>\u003cstrong>On the disagreements in the episode titled \u003c/strong>\u003ca href=\"https://www.facebook.com/redtabletalk/videos/the-racial-divide-women-of-color-white-women/343064719835818/\">\u003cstrong>“The Racial Divide: Women of Color & White Women”\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Considering the era in which [my mother] grew up, as well, that she had to experience very different things than what Willow and I have had to experience … The idea that even though Willow hasn’t had the same experiences as my mother, that some of her views were pretty similar.\u003c/p>\n\u003cp>They had this concept as if it was not our responsibility as women of color to educate white women — the idea being that they need to educate themselves. And that’s true too. But at the same time, I do believe that we as women of color have to have a certain openness in having conversations to help white women understand our experience.\u003c/p>\n\u003cp>\u003cstrong>On the episode \u003c/strong>\u003ca href=\"https://www.facebook.com/jada/videos/surviving-loss/566078240458322/\">\u003cstrong>“Surviving Loss”\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>You know, I had literally lost a friend on that tape day. A friend died literally before we started taping that day. And that particular episode, I got to learn, you know, about some struggles that Willow had been going through. So I lost a friend, but I also gained some really deep insight about love and child-rearing, and that was that we can’t always be with our children in their darkest moments, but that if we pour as much love as we can into them, that love remains, and that love can help them pull through dark moments. And that’s what’s important. And at the \u003cem>Red Table\u003c/em>, that’s what we try to share.\u003c/p>\n\u003cp>\u003cstrong>On a topic the show is still trying to figure out\u003c/strong>\u003c/p>\n\u003cp>There’s a couple topics on infidelity. … We’re looking at different doctors and different specialists to come and talk about infidelity, you know, and how to actually produce it, and who will be willing to come and talk about experiences of infidelity. It’s tough, it’s tough. And it’s sensitive. There’s far more complex explanations than sex-crazed men who don’t know how to control themselves or blah blah blah blah. So … I think we have a very interesting perspective about it, and I think that it’ll be a fiery show, to say the least.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sydney Harper and Ashley Brown produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jada+Pinkett-Smith%2C+And+Her+Mom+And+Daughter%2C+Get+Candid+On+%27Red+Table+Talk%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I guess at this point in my life, I’ve really been doing a lot of interior work,” Pinkett-Smith says in an interview. “And I just realized that in part of my growth, the women and the people who had the courage to be very transparent with me with certain aspects of their journey really, really helped my journey tremendously. I was like: Why don’t we talk about this more often? Why is it such a secret of what people go through?\u003c/p>\n\u003cp>“And so I was like: I really want to create conversation where people don’t have to feel like they’re alone. And whatever pieces individuals can take with them to make whatever changes they might feel is necessary for more happiness, more joy, more peace — I want to be part of that journey.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/688338768/688548989\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the open discussions of the show compared to her reputation as a private person\u003c/strong>\u003c/p>\n\u003cp>People have a lot of romantic and fantasy ideas around relationships. And considering the powerful journey that [husband Will Smith] and I have been taking together, I really thought it was important to shatter, you know, whatever façade had been out there. Now that I’m older, and with all the work that I’ve done, I feel like I have the capacity to be more transparent — and luckily enough, so does my family. So just because there are certain things that we talk about on the \u003cem>Red Table\u003c/em> doesn’t mean that we don’t have boundaries. But I don’t see the necessity to hold on to knowledge of certain experiences that we’ve had.\u003c/p>\n\u003cp>\u003cstrong>On the disagreements in the episode titled \u003c/strong>\u003ca href=\"https://www.facebook.com/redtabletalk/videos/the-racial-divide-women-of-color-white-women/343064719835818/\">\u003cstrong>“The Racial Divide: Women of Color & White Women”\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Considering the era in which [my mother] grew up, as well, that she had to experience very different things than what Willow and I have had to experience … The idea that even though Willow hasn’t had the same experiences as my mother, that some of her views were pretty similar.\u003c/p>\n\u003cp>They had this concept as if it was not our responsibility as women of color to educate white women — the idea being that they need to educate themselves. And that’s true too. But at the same time, I do believe that we as women of color have to have a certain openness in having conversations to help white women understand our experience.\u003c/p>\n\u003cp>\u003cstrong>On the episode \u003c/strong>\u003ca href=\"https://www.facebook.com/jada/videos/surviving-loss/566078240458322/\">\u003cstrong>“Surviving Loss”\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>You know, I had literally lost a friend on that tape day. A friend died literally before we started taping that day. And that particular episode, I got to learn, you know, about some struggles that Willow had been going through. So I lost a friend, but I also gained some really deep insight about love and child-rearing, and that was that we can’t always be with our children in their darkest moments, but that if we pour as much love as we can into them, that love remains, and that love can help them pull through dark moments. And that’s what’s important. And at the \u003cem>Red Table\u003c/em>, that’s what we try to share.\u003c/p>\n\u003cp>\u003cstrong>On a topic the show is still trying to figure out\u003c/strong>\u003c/p>\n\u003cp>There’s a couple topics on infidelity. … We’re looking at different doctors and different specialists to come and talk about infidelity, you know, and how to actually produce it, and who will be willing to come and talk about experiences of infidelity. It’s tough, it’s tough. And it’s sensitive. There’s far more complex explanations than sex-crazed men who don’t know how to control themselves or blah blah blah blah. So … I think we have a very interesting perspective about it, and I think that it’ll be a fiery show, to say the least.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sydney Harper and Ashley Brown produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jada+Pinkett-Smith%2C+And+Her+Mom+And+Daughter%2C+Get+Candid+On+%27Red+Table+Talk%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Serenity' Is All Wet. Literally.",
"headTitle": "‘Serenity’ Is All Wet. Literally. | KQED",
"content": "\u003cp>Call it the M. Night Shyamalan problem: Should a film distinguished by howlingly tin-eared dialogue, emaciated characters and a plodding, easily guessed plot be pardoned its crimes when its maker reveals after 90 or so minutes that he’s made his illusion less than fully persuasive … on purpose?\u003c/p>\n\u003cp>There are a million potential answers to this insoluble aesthetic quandary, but the only correct one is: \u003cem>Nnnnnnnnope!\u003c/em> \u003c/p>\n\u003cp>https://youtu.be/FXYK3U0UxT0\u003c/p>\n\u003cp>Certainly not when the movie comes to us from a proven storyteller like Steven Knight, screenwriter of the fine thrillers \u003cem>Eastern Promises\u003c/em> and \u003cem>Allied\u003c/em>, and the writer-director of \u003cem>Locke\u003c/em>—a drama in which he and Tom Hardy, owner of the only face seen in the entire film, held us rapt for 85 minutes without ever leaving the confines of an SUV. A filmmaker who can pull off something that formally audacious ought to be able to handle a seemingly conventional neo-noir like the new \u003cem>Serenity\u003c/em>, but the underwhelming results indicate Knight might’ve laid out in the sun for too long. (“I had so much bad [expletive] rum I lost my grease,” drawls its hero, diagnosing both himself and the movie.)\u003c/p>\n\u003cp>Knight’s daylight mystery is not without its soapy, dopey pleasures, and it would likely be more satisfying were it simply content to be the vaguely Caribbean-set, deeply McConaughey’d retread of \u003cem>Body Heat\u003c/em> its initial hour-plus suggests. The picture opens as so many episodes of \u003cem>Miami Vice\u003c/em> have, the camera skimming low across emerald waters towards a boat. On the deck salty sea captain Baker Dill (!!!)—Matthew McConaughey, as though any other movie star would be walking around under that moniker—has just pulled a knife on the two drunken tourists who hired him to take them on a fishing cruise. They’ve hooked one, all right, but Captain Dill refuses to hand over the line so one of his customers can reel ‘er in. That’s because—as Dill explains to his first mate, Djimon Hounsou, playing a character whose only job is to be the sounding board and conscience for the white star—this is the quarry he’s been chasing. “I can \u003cem>feel\u003c/em> it,” Dill says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But his white whale gets away, leaving Baker Dill even broker and more agitated than he was before. He really wants to catch a big fish, but as one character tells him, “That’s a tuna that’s only in your mind.”\u003c/p>\n\u003cp>So Dill is in a dissipated state when Anne Hathaway, playing the ex-wife by whom Dill fathered a now-adolescent son, swoops in from Miami and offers him $10 million to arrange for her abusive current husband (Jason Clarke) to perish in an accident at sea. On the one hand, Baker Dill is not for sale, and his ethical code does not permit murder. On the other hand, Clarke’s character is a mobster and a violent sexual predator who’s fairly begging the star of \u003cem>Free State of Jones\u003c/em> to bury him in Davy Jones’ Locker. What’s Baker Dill to do?\u003c/p>\n\u003cp>Frankly, it’s the least interesting question that \u003cem>Serenity\u003c/em> asks. But Knight is dead set on stacking up the questions, and worse, supplying answers. Eventually, he covers everything—why every last resident of the sparsely populated fantasy island of Plymouth (the film was shot on Mauritius, in the Indian Ocean) is obsessed with Baker Dill’s personal beeswax; how they know things about him and his former spouse they could not possibly know; why Baker Dill is called “Baker Dill” instead of, say, “Mike Johnson” or “Candlestick Maker Sandalwood.”\u003c/p>\n\u003cp>Knight even gives himself an \u003cem>in situ\u003c/em> story reason for photographing the always-wet McConaughey in various states of sodden undress, his chin rough and his smooth chest toned and gleaming despite the fact that Baker Dill lives in a shipping container and subsists on a diet of rum and cigarettes. He always looks as though he’s just hopped off a VersaClimber instead of Hathaway or Diane Lane, both of whom are eager, nay, \u003cem>begging\u003c/em> recipients of Baker Dill’s furious open-water lovemaking. (Lane, the actor least served by Knight’s script, hands him a big wad of cash after one of their morning trysts.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a little charge that comes simply from seeing McConaughey and Hathaway, the star-crossed lovers from Christopher Nolan’s cosmic odyssey \u003ca href=\"https://www.npr.org/2014/11/06/361442269/interstellar-stunning-and-bold-with-lots-of-corn\">\u003cem>Interstellar\u003c/em>\u003c/a>, reunited. Too bad it’s in a movie that executes its Nolanesque ambition with middle-period Shyamalanesque skill. At least \u003cem>Interstellar\u003c/em> blasted us across the galaxy and gave us a half-dozen jaw-dropping set pieces before letting us down with its muddled, sentimental payoff. \u003cem>Serenity\u003c/em> barely leaves the harbor. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Serenity%27+Is+All+Wet.+Literally.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Call it the M. Night Shyamalan problem: Should a film distinguished by howlingly tin-eared dialogue, emaciated characters and a plodding, easily guessed plot be pardoned its crimes when its maker reveals after 90 or so minutes that he’s made his illusion less than fully persuasive … on purpose?\u003c/p>\n\u003cp>There are a million potential answers to this insoluble aesthetic quandary, but the only correct one is: \u003cem>Nnnnnnnnope!\u003c/em> \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FXYK3U0UxT0'\n title='//www.youtube.com/embed/FXYK3U0UxT0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Certainly not when the movie comes to us from a proven storyteller like Steven Knight, screenwriter of the fine thrillers \u003cem>Eastern Promises\u003c/em> and \u003cem>Allied\u003c/em>, and the writer-director of \u003cem>Locke\u003c/em>—a drama in which he and Tom Hardy, owner of the only face seen in the entire film, held us rapt for 85 minutes without ever leaving the confines of an SUV. A filmmaker who can pull off something that formally audacious ought to be able to handle a seemingly conventional neo-noir like the new \u003cem>Serenity\u003c/em>, but the underwhelming results indicate Knight might’ve laid out in the sun for too long. (“I had so much bad [expletive] rum I lost my grease,” drawls its hero, diagnosing both himself and the movie.)\u003c/p>\n\u003cp>Knight’s daylight mystery is not without its soapy, dopey pleasures, and it would likely be more satisfying were it simply content to be the vaguely Caribbean-set, deeply McConaughey’d retread of \u003cem>Body Heat\u003c/em> its initial hour-plus suggests. The picture opens as so many episodes of \u003cem>Miami Vice\u003c/em> have, the camera skimming low across emerald waters towards a boat. On the deck salty sea captain Baker Dill (!!!)—Matthew McConaughey, as though any other movie star would be walking around under that moniker—has just pulled a knife on the two drunken tourists who hired him to take them on a fishing cruise. They’ve hooked one, all right, but Captain Dill refuses to hand over the line so one of his customers can reel ‘er in. That’s because—as Dill explains to his first mate, Djimon Hounsou, playing a character whose only job is to be the sounding board and conscience for the white star—this is the quarry he’s been chasing. “I can \u003cem>feel\u003c/em> it,” Dill says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But his white whale gets away, leaving Baker Dill even broker and more agitated than he was before. He really wants to catch a big fish, but as one character tells him, “That’s a tuna that’s only in your mind.”\u003c/p>\n\u003cp>So Dill is in a dissipated state when Anne Hathaway, playing the ex-wife by whom Dill fathered a now-adolescent son, swoops in from Miami and offers him $10 million to arrange for her abusive current husband (Jason Clarke) to perish in an accident at sea. On the one hand, Baker Dill is not for sale, and his ethical code does not permit murder. On the other hand, Clarke’s character is a mobster and a violent sexual predator who’s fairly begging the star of \u003cem>Free State of Jones\u003c/em> to bury him in Davy Jones’ Locker. What’s Baker Dill to do?\u003c/p>\n\u003cp>Frankly, it’s the least interesting question that \u003cem>Serenity\u003c/em> asks. But Knight is dead set on stacking up the questions, and worse, supplying answers. Eventually, he covers everything—why every last resident of the sparsely populated fantasy island of Plymouth (the film was shot on Mauritius, in the Indian Ocean) is obsessed with Baker Dill’s personal beeswax; how they know things about him and his former spouse they could not possibly know; why Baker Dill is called “Baker Dill” instead of, say, “Mike Johnson” or “Candlestick Maker Sandalwood.”\u003c/p>\n\u003cp>Knight even gives himself an \u003cem>in situ\u003c/em> story reason for photographing the always-wet McConaughey in various states of sodden undress, his chin rough and his smooth chest toned and gleaming despite the fact that Baker Dill lives in a shipping container and subsists on a diet of rum and cigarettes. He always looks as though he’s just hopped off a VersaClimber instead of Hathaway or Diane Lane, both of whom are eager, nay, \u003cem>begging\u003c/em> recipients of Baker Dill’s furious open-water lovemaking. (Lane, the actor least served by Knight’s script, hands him a big wad of cash after one of their morning trysts.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a little charge that comes simply from seeing McConaughey and Hathaway, the star-crossed lovers from Christopher Nolan’s cosmic odyssey \u003ca href=\"https://www.npr.org/2014/11/06/361442269/interstellar-stunning-and-bold-with-lots-of-corn\">\u003cem>Interstellar\u003c/em>\u003c/a>, reunited. Too bad it’s in a movie that executes its Nolanesque ambition with middle-period Shyamalanesque skill. At least \u003cem>Interstellar\u003c/em> blasted us across the galaxy and gave us a half-dozen jaw-dropping set pieces before letting us down with its muddled, sentimental payoff. \u003cem>Serenity\u003c/em> barely leaves the harbor. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Serenity%27+Is+All+Wet.+Literally.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Roma' And 'The Favourite' Lead Oscar Nominations",
"headTitle": "‘Roma’ And ‘The Favourite’ Lead Oscar Nominations | KQED",
"content": "\u003cp>Eight best picture nominations emerged on Tuesday morning: \u003cem>Black Panther\u003c/em>, \u003cem>BlacKkKlansman\u003c/em>, \u003cem>The Favourite\u003c/em>, \u003cem>Vice\u003c/em>, \u003cem>Green Book\u003c/em>, \u003cem>Bohemian Rhapsody\u003c/em>, \u003cem>Roma\u003c/em> and \u003cem>A Star Is Born\u003c/em>. They are comedic and dramatic, based on real events and conjured from the pages of comics, in color and in black and white.\u003c/p>\n\u003cp>If you wanted to take the nominations as a whole as a sign of the exciting year that 2018 was, you might focus on the best actress nomination for Yalitza Aparicio, the first-time actress who anchors Alfonso Cuaron’s beautiful \u003cem>Roma\u003c/em>, a black-and-white subtitled film widely available on Netflix. You might focus on the seven nominations for \u003cem>Black Panther\u003c/em>, the best director nomination for Paweł Pawlikowski for Poland’s \u003cem>Cold War\u003c/em>, or the fact that both of the most-nominated films with ten nods apiece, \u003cem>Roma \u003c/em>and \u003cem>The Favourite\u003c/em>, are stories of women not oriented around their relationships to men. You might thrill to the best animated feature nomination for \u003cem>Spider-Man: Into The Spider-Verse\u003c/em>, which reimagined the superhero film — narratively, visually and culturally.\u003c/p>\n\u003cp>On the other hand, if you wanted to see those nominations through the lens of their considerable disappointments, you might note the lack of best picture or best director nominations for Barry Jenkins’ beautiful and unforgettable \u003cem>If Beale Street Could Talk\u003c/em>; the failure to nominate Ryan Coogler, one of Hollywood’s best rising directors, for the triumph of \u003cem>Black Panther\u003c/em>; the failure to nominate any women directors at all \u003cem>again\u003c/em> and very few women screenwriters \u003cem>again\u003c/em>; or the complete shutout of spectacular achievements like Bo Burnham’s \u003cem>Eighth Grade \u003c/em>and Debra Granik’s \u003cem>Leave No Trace. \u003c/em>It would have been lovely to see a nod for Michelle Yeoh for \u003cem>Crazy Rich Asians\u003c/em> in a year in which the film was such a powerful force.\u003c/p>\n\u003cp>There are always delights and there is always dismay. It’s lovely to see Melissa McCarthy and Richard E. Grant nominated for their work in \u003cem>Can You Ever Forgive Me?\u003c/em>, and to see the script from Nicole Holofcener and Jeff Whitty nominated. But where is the director, Marielle Heller? Where is the film’s best picture nomination? It’s thrilling to see \u003cem>Free Solo\u003c/em>, an exciting and unconventional rock-climbing documentary, nominated for best documentary feature. But nothing for \u003cem>Won’t You Be My Neighbor\u003c/em>, a fine film that also \u003ca href=\"https://www.hollywoodreporter.com/news/wont-you-be-my-neighbor-is-top-grossing-biodoc-all-time-1130122\">resonated beautifully with audiences\u003c/a>?\u003c/p>\n\u003cp>The eye of the beholder is a tricky thing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nominations rarely come as a big surprise. There were some genuine upsets (or reverse upsets) on this day, like the lack of a best director nomination for Bradley Cooper for \u003cem>A Star Is Born\u003c/em>, despite the film’s best picture nomination and nominations for acting, cinematography, original song, sound mixing and adapted screenplay. There was not even a nomination for Justin Hurwitz’s original score for \u003cem>First Man\u003c/em>, which just won the Golden Globe. But for the most part, it went as expected: big hauls for Adam McKay’s \u003cem>Vice \u003c/em>(eight nominations), \u003cem>Black Panther \u003c/em>(seven nominations), Spike Lee’s \u003cem>BlacKkKlansman \u003c/em>(six nominations), and \u003cem>Bohemian Rhapsody\u003c/em> and \u003cem>Green Book\u003c/em> — the two recent Golden Globe best film winners in drama and comedy respectively — with five.\u003c/p>\n\u003cp>Now and again, the Oscars are legitimately exciting. It may take a misread best picture envelope to make it so, but it does happen. Whether it happened on Tuesday morning may depend on just how many advances and retreats in a given year you have come to expect from the Academy.\u003c/p>\n\u003cp>\u003cstrong>Updated 10:15 a.m. ET \u003c/strong>\u003c/p>\n\u003cp>This year’s Academy Award nominations were announced Tuesday morning. Below is the complete list.\u003c/p>\n\u003cp>\u003cstrong>Best picture\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing\u003c/strong>\u003c/p>\n\u003cp>Spike Lee (\u003cem>BlacKkKlansman\u003c/em>)\u003c/p>\n\u003cp>Paweł Pawlikowski (\u003cem>Cold War\u003c/em>)\u003c/p>\n\u003cp>Yorgos Lanthimos (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Alfonso Cuarón (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Adam McKay (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/p>\n\u003cp>Yalitza Aparicio (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Glenn Close (\u003cem>The Wife\u003c/em>)\u003c/p>\n\u003cp>Olivia Colman (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Lady Gaga (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Melissa McCarthy (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/p>\n\u003cp>Christian Bale (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>Bradley Cooper (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Willem Dafoe (\u003cem>At Eternity’s Gate\u003c/em>)\u003c/p>\n\u003cp>Rami Malek (\u003cem>Bohemian Rhapsody\u003c/em>)\u003c/p>\n\u003cp>Viggo Mortensen (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Amy Adams (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>Marina de Tavira (\u003cem>Roma\u003c/em>)\u003c/p>\n\u003cp>Regina King (\u003cem>If Beale Street Could Talk\u003c/em>)\u003c/p>\n\u003cp>Emma Stone (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>Rachel Weisz (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Mahershala Ali (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>Adam Driver (\u003cem>BlacKkKlansman\u003c/em>)\u003c/p>\n\u003cp>Sam Elliott (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>Richard E. Grant (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>Sam Rockwell (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Animated feature film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Incredibles 2\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle Of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mirai\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ralph Breaks The Internet\u003c/em>\u003c/p>\n\u003cp>\u003cem>Spider-Man: Into The Spider-Verse\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cinematography\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Costume design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs \u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (feature)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Free Solo\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hale County This Morning, This Evening\u003c/em>\u003c/p>\n\u003cp>\u003cem>Minding The Gap\u003c/em>\u003c/p>\n\u003cp>\u003cem>Of Fathers And Sons\u003c/em>\u003c/p>\n\u003cp>\u003cem>RBG\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (short subject)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Sheep\u003c/em>\u003c/p>\n\u003cp>\u003cem>End Game\u003c/em>\u003c/p>\n\u003cp>\u003cem>Lifeboat\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Night At The Garden\u003c/em>\u003c/p>\n\u003cp>\u003cem>Period. End of Sentence.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Film editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Foreign language film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Capernaum \u003c/em>(Lebanon)\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em> (Poland)\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em> (Germany)\u003c/p>\n\u003cp>\u003cem>Roma \u003c/em>(Mexico)\u003c/p>\n\u003cp>\u003cem>Shoplifters \u003c/em>(Japan)\u003c/p>\n\u003cp>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Border\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original score)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original song)\u003c/strong>\u003c/p>\n\u003cp>“When A Cowboy Trades His Spurs For Wings” (\u003cem>The Ballad Of Buster Scruggs\u003c/em>)\u003c/p>\n\u003cp>“All The Stars” (\u003cem>Black Panther\u003c/em>)\u003c/p>\n\u003cp>“The Place Where Lost Things Go” (\u003cem>Mary Poppins Returns\u003c/em>)\u003c/p>\n\u003cp>“I’ll Fight” (\u003cem>RBG\u003c/em>)\u003c/p>\n\u003cp>“Shallow” (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Production design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (animated)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Animal Behaviour\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bao\u003c/em>\u003c/p>\n\u003cp>\u003cem>Late Afternoon\u003c/em>\u003c/p>\n\u003cp>\u003cem>One Small Step\u003c/em>\u003c/p>\n\u003cp>\u003cem>Weekends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (live action)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Detainment\u003c/em>\u003c/p>\n\u003cp>\u003cem>Fauve\u003c/em>\u003c/p>\n\u003cp>\u003cem>Marguerite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mother\u003c/em>\u003c/p>\n\u003cp>\u003cem>Skin\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Quiet Place\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound mixing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Visual effects\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Avengers: Infinity War\u003c/em>\u003c/p>\n\u003cp>\u003cem>Christopher Robin\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ready Player One\u003c/em>\u003c/p>\n\u003cp>\u003cem>Solo: A Star Wars Story\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Can You Ever Forgive Me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Reformed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Roma%27+And+%27The+Favourite%27+Lead+Oscar+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eight best picture nominations emerged on Tuesday morning: \u003cem>Black Panther\u003c/em>, \u003cem>BlacKkKlansman\u003c/em>, \u003cem>The Favourite\u003c/em>, \u003cem>Vice\u003c/em>, \u003cem>Green Book\u003c/em>, \u003cem>Bohemian Rhapsody\u003c/em>, \u003cem>Roma\u003c/em> and \u003cem>A Star Is Born\u003c/em>. They are comedic and dramatic, based on real events and conjured from the pages of comics, in color and in black and white.\u003c/p>\n\u003cp>If you wanted to take the nominations as a whole as a sign of the exciting year that 2018 was, you might focus on the best actress nomination for Yalitza Aparicio, the first-time actress who anchors Alfonso Cuaron’s beautiful \u003cem>Roma\u003c/em>, a black-and-white subtitled film widely available on Netflix. You might focus on the seven nominations for \u003cem>Black Panther\u003c/em>, the best director nomination for Paweł Pawlikowski for Poland’s \u003cem>Cold War\u003c/em>, or the fact that both of the most-nominated films with ten nods apiece, \u003cem>Roma \u003c/em>and \u003cem>The Favourite\u003c/em>, are stories of women not oriented around their relationships to men. You might thrill to the best animated feature nomination for \u003cem>Spider-Man: Into The Spider-Verse\u003c/em>, which reimagined the superhero film — narratively, visually and culturally.\u003c/p>\n\u003cp>On the other hand, if you wanted to see those nominations through the lens of their considerable disappointments, you might note the lack of best picture or best director nominations for Barry Jenkins’ beautiful and unforgettable \u003cem>If Beale Street Could Talk\u003c/em>; the failure to nominate Ryan Coogler, one of Hollywood’s best rising directors, for the triumph of \u003cem>Black Panther\u003c/em>; the failure to nominate any women directors at all \u003cem>again\u003c/em> and very few women screenwriters \u003cem>again\u003c/em>; or the complete shutout of spectacular achievements like Bo Burnham’s \u003cem>Eighth Grade \u003c/em>and Debra Granik’s \u003cem>Leave No Trace. \u003c/em>It would have been lovely to see a nod for Michelle Yeoh for \u003cem>Crazy Rich Asians\u003c/em> in a year in which the film was such a powerful force.\u003c/p>\n\u003cp>There are always delights and there is always dismay. It’s lovely to see Melissa McCarthy and Richard E. Grant nominated for their work in \u003cem>Can You Ever Forgive Me?\u003c/em>, and to see the script from Nicole Holofcener and Jeff Whitty nominated. But where is the director, Marielle Heller? Where is the film’s best picture nomination? It’s thrilling to see \u003cem>Free Solo\u003c/em>, an exciting and unconventional rock-climbing documentary, nominated for best documentary feature. But nothing for \u003cem>Won’t You Be My Neighbor\u003c/em>, a fine film that also \u003ca href=\"https://www.hollywoodreporter.com/news/wont-you-be-my-neighbor-is-top-grossing-biodoc-all-time-1130122\">resonated beautifully with audiences\u003c/a>?\u003c/p>\n\u003cp>The eye of the beholder is a tricky thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nominations rarely come as a big surprise. There were some genuine upsets (or reverse upsets) on this day, like the lack of a best director nomination for Bradley Cooper for \u003cem>A Star Is Born\u003c/em>, despite the film’s best picture nomination and nominations for acting, cinematography, original song, sound mixing and adapted screenplay. There was not even a nomination for Justin Hurwitz’s original score for \u003cem>First Man\u003c/em>, which just won the Golden Globe. But for the most part, it went as expected: big hauls for Adam McKay’s \u003cem>Vice \u003c/em>(eight nominations), \u003cem>Black Panther \u003c/em>(seven nominations), Spike Lee’s \u003cem>BlacKkKlansman \u003c/em>(six nominations), and \u003cem>Bohemian Rhapsody\u003c/em> and \u003cem>Green Book\u003c/em> — the two recent Golden Globe best film winners in drama and comedy respectively — with five.\u003c/p>\n\u003cp>Now and again, the Oscars are legitimately exciting. It may take a misread best picture envelope to make it so, but it does happen. Whether it happened on Tuesday morning may depend on just how many advances and retreats in a given year you have come to expect from the Academy.\u003c/p>\n\u003cp>\u003cstrong>Updated 10:15 a.m. ET \u003c/strong>\u003c/p>\n\u003cp>This year’s Academy Award nominations were announced Tuesday morning. 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Grant (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>Sam Rockwell (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Animated feature film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Incredibles 2\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle Of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mirai\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ralph Breaks The Internet\u003c/em>\u003c/p>\n\u003cp>\u003cem>Spider-Man: Into The Spider-Verse\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Cinematography\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Costume design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs \u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (feature)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Free Solo\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hale County This Morning, This Evening\u003c/em>\u003c/p>\n\u003cp>\u003cem>Minding The Gap\u003c/em>\u003c/p>\n\u003cp>\u003cem>Of Fathers And Sons\u003c/em>\u003c/p>\n\u003cp>\u003cem>RBG\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (short subject)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Sheep\u003c/em>\u003c/p>\n\u003cp>\u003cem>End Game\u003c/em>\u003c/p>\n\u003cp>\u003cem>Lifeboat\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Night At The Garden\u003c/em>\u003c/p>\n\u003cp>\u003cem>Period. End of Sentence.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Film editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Foreign language film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Capernaum \u003c/em>(Lebanon)\u003c/p>\n\u003cp>\u003cem>Cold War\u003c/em> (Poland)\u003c/p>\n\u003cp>\u003cem>Never Look Away\u003c/em> (Germany)\u003c/p>\n\u003cp>\u003cem>Roma \u003c/em>(Mexico)\u003c/p>\n\u003cp>\u003cem>Shoplifters \u003c/em>(Japan)\u003c/p>\n\u003cp>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Border\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Queen Of Scots\u003c/em>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original score)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>Isle of Dogs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original song)\u003c/strong>\u003c/p>\n\u003cp>“When A Cowboy Trades His Spurs For Wings” (\u003cem>The Ballad Of Buster Scruggs\u003c/em>)\u003c/p>\n\u003cp>“All The Stars” (\u003cem>Black Panther\u003c/em>)\u003c/p>\n\u003cp>“The Place Where Lost Things Go” (\u003cem>Mary Poppins Returns\u003c/em>)\u003c/p>\n\u003cp>“I’ll Fight” (\u003cem>RBG\u003c/em>)\u003c/p>\n\u003cp>“Shallow” (\u003cem>A Star Is Born\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Production design\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mary Poppins Returns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (animated)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Animal Behaviour\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bao\u003c/em>\u003c/p>\n\u003cp>\u003cem>Late Afternoon\u003c/em>\u003c/p>\n\u003cp>\u003cem>One Small Step\u003c/em>\u003c/p>\n\u003cp>\u003cem>Weekends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (live action)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Detainment\u003c/em>\u003c/p>\n\u003cp>\u003cem>Fauve\u003c/em>\u003c/p>\n\u003cp>\u003cem>Marguerite\u003c/em>\u003c/p>\n\u003cp>\u003cem>Mother\u003c/em>\u003c/p>\n\u003cp>\u003cem>Skin\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Quiet Place\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound mixing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Visual effects\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Avengers: Infinity War\u003c/em>\u003c/p>\n\u003cp>\u003cem>Christopher Robin\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Man\u003c/em>\u003c/p>\n\u003cp>\u003cem>Ready Player One\u003c/em>\u003c/p>\n\u003cp>\u003cem>Solo: A Star Wars Story\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (adapted screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Ballad Of Buster Scruggs\u003c/em>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003c/em>\u003c/p>\n\u003cp>\u003cem>Can You Ever Forgive Me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/p>\n\u003cp>\u003cem>A Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing (original screenplay)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Favourite\u003c/em>\u003c/p>\n\u003cp>\u003cem>First Reformed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green Book\u003c/em>\u003c/p>\n\u003cp>\u003cem>Roma\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Vice\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Roma%27+And+%27The+Favourite%27+Lead+Oscar+Nominations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Russian authorities tolerated the music videos of \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">zombie babushkas\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">gothic maidens\u003c/a>, even as the ghoulish songs racked up millions of hits on YouTube. But when the Moscow-based electronic music duo IC3PEAK ventured into politics with their latest track, “\u003ca href=\"https://www.youtube.com/watch?v=MBG3Gdt5OGs\">Death No More\u003c/a>,” trouble began.\u003c/p>\n\u003cp>“In my gold chains, I’m drowning in this swamp,” Kreslina sings. “My blood is purer than the purest drugs.”\u003c/p>\n\u003cp>In the comically macabre video, lead singer Anastasiya Kreslina describes setting herself on fire on the steps of a Russian government building, indulges in a piece of raw meat at Vladimir Lenin’s tomb and plays patty-cake with her partner, Nikolai Kostylev, while they sit on the shoulders of two riot policemen in front of the Lubyanka secret police headquarters.\u003c/p>\n\u003cp>The members of IC3PEAK (pronounced “ice peak”), who describe their work as “audiovisual terror,” had crossed a line.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"IC3PEAK - Смерти Больше Нет\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/MBG3Gdt5OGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In December of 2018, when Kreslina and Kostylev, both in their mid-twenties, arrived in the Siberian city of Novosibirsk to give a concert, police detained them right at the train station. No charges were pressed, but the pair was held long enough to miss their gig.\u003c/p>\n\u003cp>Half of IC3PEAK’s concerts on the duo’s last tour through the Russian provinces ended up being cancelled after pressure from local authorities.\u003c/p>\n\u003cp>The crackdown on a new generation of Russian musicians began in late November of 2018, when Dmitry Kuznetsov, a 25-year-old rapper known as \u003ca href=\"https://www.youtube.com/watch?v=xUCjugNH1BI\">Husky\u003c/a>, was \u003ca href=\"https://www.bbc.com/news/world-europe-46309271\">prevented from performing\u003c/a> in the southern city of Krasnodar and arrested. His arrest set off a wave of protest by fellow rappers that eventually came to the attention of Russian President \u003ca href=\"https://www.npr.org/tags/291193893/president-vladimir-putin\">Vladimir Putin\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13848940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe\" alt=\"Last December, IC3PEAK's Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-520x292.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last December, IC3PEAK’s Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police. \u003ccite>(Lucian Kim/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kreslina of IC3PEAK says the government lacks a sense of humor. She says their scandalous new video is essentially political satire.\u003c/p>\n\u003cp>“It’s a descriptive video, we’re not revealing anything new in it,” she says. “We’re just saying out loud what people would like to say but are afraid to. We’re describing the state of mind of a person of our generation, who really has nothing to look forward to and can’t expect any changes.”\u003c/p>\n\u003cp>[contextly_sidebar id=”E8dcgti8t3snQOl5snGiGnYKvBvvpBDH”]\u003c/p>\n\u003cp>Kostylev says that young people who may not have cared about politics before are now paying attention because their music is being targeted.\u003c/p>\n\u003cp>At the heart of the generational clash is the digital connectivity of Russian youth versus the largely offline existence of their elders, who spent their formative years in the Soviet Union, where the government controlled everything from the way young people dressed to the kind of music they listened to.\u003c/p>\n\u003cp>“We all watch YouTube, listen to the same American rappers and follow the same TV shows,” Kostylev says. “We have a lot in common with people our age around the world. I’m more like some guy my age in Mexico than my neighbor who’s two generations older.”\u003c/p>\n\u003cp>Kostylev might as well have been speaking about Putin, who is 66 and famously analog.\u003c/p>\n\u003cp>The president made his first comment on the banned concerts during a meeting with cultural leaders \u003ca href=\"https://www.bbc.com/news/world-europe-46584554\">last month\u003c/a>. “Rap and other modern [forms of art] are rested upon three pillars: sex, drugs and protest,” Putin said, going on to explain that simply banning concerts would be counterproductive, but that the government’s job is to lead youth culture.\u003c/p>\n\u003cp>“If it’s not possible to stop something, then you have to lead and guide it,” Putin said. “The worst you can do is suppress it, because you’ll get exactly the opposite effect.”\u003c/p>\n\u003cp>How to deal with the first generation of Russians born after the collapse of communism is a growing headache for the Kremlin. While older generations still watch state-run TV channels, young people are increasingly forming their views and expectations via the Internet.\u003c/p>\n\u003cp>Two years ago, Russians were surprised when young protesters turned out in masses for anti-government demonstrations, called for by opposition leader \u003ca href=\"https://www.npr.org/tags/203276320/alexei-navalny\">Alexei Navalny\u003c/a>, who communicates directly with his supporters via YouTube and Twitter.\u003c/p>\n\u003cp>“Many young Russians are alienated because they feel their government doesn’t respect their rights and is limiting their opportunities,” says Yelena Omelchenko, a sociologist at the Higher School of Economics in St. Petersburg.\u003c/p>\n\u003cp>Omelchenko believes there’s been a breakdown in communication.\u003c/p>\n\u003cp>“[It’s] as if there were two parallel worlds,” she explains. “The government still follows a post-Soviet policy of regulation and tries to control processes which are pointless to try to control.”\u003c/p>\n\u003cp>Omelchenko’s research shows that young people in Russia’s largest cities are already culturally oriented toward Western Europe and follow global trends. “Attempts to regulate Russia’s youth culture are bound to fail,” she says. “Because it is too diverse and beyond any control.”\u003c/p>\n\u003cp>Kostylev can confirm that observation after the outpouring of support when their concerts were cancelled. “We returned home from our last tour with new inspiration,” he said. “Our fans really want to do something and change something for the better.”\u003c/p>\n\u003cp>The duo doesn’t want to reveal whether their next video will touch on politics again. “No, it could be something really nice and bright,” Kreslina says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“With kittens and little kids and Putin as the sun,” Kostylev adds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Young+Russian+Musicians+Struggle+Under+Government+Scrutiny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Russian authorities tolerated the music videos of \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">zombie babushkas\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">gothic maidens\u003c/a>, even as the ghoulish songs racked up millions of hits on YouTube. But when the Moscow-based electronic music duo IC3PEAK ventured into politics with their latest track, “\u003ca href=\"https://www.youtube.com/watch?v=MBG3Gdt5OGs\">Death No More\u003c/a>,” trouble began.\u003c/p>\n\u003cp>“In my gold chains, I’m drowning in this swamp,” Kreslina sings. “My blood is purer than the purest drugs.”\u003c/p>\n\u003cp>In the comically macabre video, lead singer Anastasiya Kreslina describes setting herself on fire on the steps of a Russian government building, indulges in a piece of raw meat at Vladimir Lenin’s tomb and plays patty-cake with her partner, Nikolai Kostylev, while they sit on the shoulders of two riot policemen in front of the Lubyanka secret police headquarters.\u003c/p>\n\u003cp>The members of IC3PEAK (pronounced “ice peak”), who describe their work as “audiovisual terror,” had crossed a line.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"IC3PEAK - Смерти Больше Нет\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/MBG3Gdt5OGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In December of 2018, when Kreslina and Kostylev, both in their mid-twenties, arrived in the Siberian city of Novosibirsk to give a concert, police detained them right at the train station. No charges were pressed, but the pair was held long enough to miss their gig.\u003c/p>\n\u003cp>Half of IC3PEAK’s concerts on the duo’s last tour through the Russian provinces ended up being cancelled after pressure from local authorities.\u003c/p>\n\u003cp>The crackdown on a new generation of Russian musicians began in late November of 2018, when Dmitry Kuznetsov, a 25-year-old rapper known as \u003ca href=\"https://www.youtube.com/watch?v=xUCjugNH1BI\">Husky\u003c/a>, was \u003ca href=\"https://www.bbc.com/news/world-europe-46309271\">prevented from performing\u003c/a> in the southern city of Krasnodar and arrested. His arrest set off a wave of protest by fellow rappers that eventually came to the attention of Russian President \u003ca href=\"https://www.npr.org/tags/291193893/president-vladimir-putin\">Vladimir Putin\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13848940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe\" alt=\"Last December, IC3PEAK's Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-520x292.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last December, IC3PEAK’s Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police. \u003ccite>(Lucian Kim/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kreslina of IC3PEAK says the government lacks a sense of humor. She says their scandalous new video is essentially political satire.\u003c/p>\n\u003cp>“It’s a descriptive video, we’re not revealing anything new in it,” she says. “We’re just saying out loud what people would like to say but are afraid to. We’re describing the state of mind of a person of our generation, who really has nothing to look forward to and can’t expect any changes.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Kostylev says that young people who may not have cared about politics before are now paying attention because their music is being targeted.\u003c/p>\n\u003cp>At the heart of the generational clash is the digital connectivity of Russian youth versus the largely offline existence of their elders, who spent their formative years in the Soviet Union, where the government controlled everything from the way young people dressed to the kind of music they listened to.\u003c/p>\n\u003cp>“We all watch YouTube, listen to the same American rappers and follow the same TV shows,” Kostylev says. “We have a lot in common with people our age around the world. I’m more like some guy my age in Mexico than my neighbor who’s two generations older.”\u003c/p>\n\u003cp>Kostylev might as well have been speaking about Putin, who is 66 and famously analog.\u003c/p>\n\u003cp>The president made his first comment on the banned concerts during a meeting with cultural leaders \u003ca href=\"https://www.bbc.com/news/world-europe-46584554\">last month\u003c/a>. “Rap and other modern [forms of art] are rested upon three pillars: sex, drugs and protest,” Putin said, going on to explain that simply banning concerts would be counterproductive, but that the government’s job is to lead youth culture.\u003c/p>\n\u003cp>“If it’s not possible to stop something, then you have to lead and guide it,” Putin said. “The worst you can do is suppress it, because you’ll get exactly the opposite effect.”\u003c/p>\n\u003cp>How to deal with the first generation of Russians born after the collapse of communism is a growing headache for the Kremlin. While older generations still watch state-run TV channels, young people are increasingly forming their views and expectations via the Internet.\u003c/p>\n\u003cp>Two years ago, Russians were surprised when young protesters turned out in masses for anti-government demonstrations, called for by opposition leader \u003ca href=\"https://www.npr.org/tags/203276320/alexei-navalny\">Alexei Navalny\u003c/a>, who communicates directly with his supporters via YouTube and Twitter.\u003c/p>\n\u003cp>“Many young Russians are alienated because they feel their government doesn’t respect their rights and is limiting their opportunities,” says Yelena Omelchenko, a sociologist at the Higher School of Economics in St. Petersburg.\u003c/p>\n\u003cp>Omelchenko believes there’s been a breakdown in communication.\u003c/p>\n\u003cp>“[It’s] as if there were two parallel worlds,” she explains. “The government still follows a post-Soviet policy of regulation and tries to control processes which are pointless to try to control.”\u003c/p>\n\u003cp>Omelchenko’s research shows that young people in Russia’s largest cities are already culturally oriented toward Western Europe and follow global trends. “Attempts to regulate Russia’s youth culture are bound to fail,” she says. “Because it is too diverse and beyond any control.”\u003c/p>\n\u003cp>Kostylev can confirm that observation after the outpouring of support when their concerts were cancelled. “We returned home from our last tour with new inspiration,” he said. “Our fans really want to do something and change something for the better.”\u003c/p>\n\u003cp>The duo doesn’t want to reveal whether their next video will touch on politics again. “No, it could be something really nice and bright,” Kreslina says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“With kittens and little kids and Putin as the sun,” Kostylev adds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Young+Russian+Musicians+Struggle+Under+Government+Scrutiny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beloved Poet Mary Oliver, Who Believed Poetry 'Mustn't Be Fancy,' Dies At 83",
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"content": "\u003cp>Much-loved poet Mary Oliver died Thursday of lymphoma, at her home in Florida. She was 83. Oliver won many awards for her poems, which often explore the link between nature and the spiritual world; she also won a legion of loyal readers who found both solace and joy in her work.\u003c/p>\n\u003cp>Oliver got a lot of her ideas for poems during long walks — a habit she developed as a kid growing up in rural Ohio. It was not a happy childhood: She said she was sexually abused and suffered from parental neglect. But \u003ca href=\"https://www.npr.org/2012/10/14/162785079/a-thousand-mornings-with-poet-mary-oliver\">as she told NPR in 2012\u003c/a>, she found refuge in two great passions that lasted her entire life.\u003c/p>\n\u003cp>She said, “The two things I loved from a very early age were the natural world and dead poets, [who] were my pals when I was a kid.”\u003c/p>\n\u003cp>Oliver published her first collection, \u003cem>No Voyage and Other Poems\u003c/em>, in her late 20s. She went on to win the Pulitzer Prize and the National Book Award. But writer Ruth Franklin believes such recognition probably wasn’t that important to Oliver. “I always had a sense of her as somebody who was just interested in following her own path, both spiritually and poetically,” she says.\u003c/p>\n\u003cp>In a \u003cem>New Yorker\u003c/em> article about Oliver’s 2017 book, \u003cem>Devotions\u003c/em>, \u003ca href=\"https://www.newyorker.com/magazine/2017/11/27/what-mary-olivers-critics-dont-understand\">Franklin wrote\u003c/a> that Oliver wasn’t always appreciated by critics, but she was still one of the country’s most popular poets. And there’s a reason for that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Mary Oliver isn’t a difficult poet,” Franklin says. “Her work is incredibly accessible, and I think that’s what makes her so beloved by so many people. It doesn’t feel like you have to take a seminar in order to understand Mary Oliver’s poetry. She’s speaking directly to you as a human being.”\u003c/p>\n\u003cp>Oliver told NPR that simplicity was important to her. “Poetry, to be understood, must be clear,” she said. “It mustn’t be fancy. I have the feeling that a lot of poets writing now, they sort of tap dance through it. I always feel that whatever isn’t necessary should not be in the poem.”\u003c/p>\n\u003cp>Oliver lived for many years in Provincetown, Mass., with the love of her life, the photographer Molly Malone Cook. There, she continued her habit of taking long walks, which often inspired poems. She wrote about one such walk in her poem “The Summer Day”:\u003c/p>\n\u003cblockquote>\u003cp>Who made the world?\u003cbr>\nWho made the swan, and the black bear?\u003cbr>\nWho made the grasshopper?\u003cbr>\nThis grasshopper, I mean-\u003cbr>\nthe one who has flung herself out of the grass,\u003cbr>\nthe one who is eating sugar out of my hand,\u003cbr>\nwho is moving her jaws back and forth instead of up and down-\u003cbr>\nwho is gazing around with her enormous and complicated eyes.\u003cbr>\nNow she lifts her pale forearms and thoroughly washes her face.\u003cbr>\nNow she snaps her wings open, and floats away.\u003cbr>\nI don’t know exactly what a prayer is.\u003cbr>\nI do know how to pay attention, how to fall down\u003cbr>\ninto the grass, how to kneel down in the grass,\u003cbr>\nhow to be idle and blessed, how to stroll through the fields,\u003cbr>\nwhich is what I have been doing all day.\u003cbr>\nTell me, what else should I have done?\u003cbr>\nDoesn’t everything die at last, and too soon?\u003cbr>\nTell me, what is it you plan to do\u003cbr>\nwith your one wild and precious life?\u003c/p>\u003c/blockquote>\n\u003cp>Many of Oliver’s poems are a joyful celebration of nature, but she also wrote about the abuse she suffered as a child and her first brush with death from lung cancer. Ruth Franklin says her work is infused with a deep spirituality. “The way she writes these poems that feel like prayers, she channels the voice of somebody who it seems might possibly have access to God. I think her work does give a sense of someone who is in tune with the deepest mysteries of the universe.”\u003c/p>\n\u003cp>In her poem “\u003ca href=\"http://www.phys.unm.edu/~tw/fas/yits/archive/oliver_whendeathcomes.html\">When Death Comes\u003c/a>,” Oliver wrote this about the inevitable: “When it’s over, I want to say all my life/ I was a bride married to amazement.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Cole edited this story for broadcast, and Nicole Cohen adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beloved+Poet+Mary+Oliver%2C+Who+Believed+Poetry+%27Mustn%27t+Be+Fancy%2C%27+Dies+At+83&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much-loved poet Mary Oliver died Thursday of lymphoma, at her home in Florida. She was 83. Oliver won many awards for her poems, which often explore the link between nature and the spiritual world; she also won a legion of loyal readers who found both solace and joy in her work.\u003c/p>\n\u003cp>Oliver got a lot of her ideas for poems during long walks — a habit she developed as a kid growing up in rural Ohio. It was not a happy childhood: She said she was sexually abused and suffered from parental neglect. But \u003ca href=\"https://www.npr.org/2012/10/14/162785079/a-thousand-mornings-with-poet-mary-oliver\">as she told NPR in 2012\u003c/a>, she found refuge in two great passions that lasted her entire life.\u003c/p>\n\u003cp>She said, “The two things I loved from a very early age were the natural world and dead poets, [who] were my pals when I was a kid.”\u003c/p>\n\u003cp>Oliver published her first collection, \u003cem>No Voyage and Other Poems\u003c/em>, in her late 20s. She went on to win the Pulitzer Prize and the National Book Award. But writer Ruth Franklin believes such recognition probably wasn’t that important to Oliver. “I always had a sense of her as somebody who was just interested in following her own path, both spiritually and poetically,” she says.\u003c/p>\n\u003cp>In a \u003cem>New Yorker\u003c/em> article about Oliver’s 2017 book, \u003cem>Devotions\u003c/em>, \u003ca href=\"https://www.newyorker.com/magazine/2017/11/27/what-mary-olivers-critics-dont-understand\">Franklin wrote\u003c/a> that Oliver wasn’t always appreciated by critics, but she was still one of the country’s most popular poets. And there’s a reason for that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Mary Oliver isn’t a difficult poet,” Franklin says. “Her work is incredibly accessible, and I think that’s what makes her so beloved by so many people. It doesn’t feel like you have to take a seminar in order to understand Mary Oliver’s poetry. She’s speaking directly to you as a human being.”\u003c/p>\n\u003cp>Oliver told NPR that simplicity was important to her. “Poetry, to be understood, must be clear,” she said. “It mustn’t be fancy. I have the feeling that a lot of poets writing now, they sort of tap dance through it. I always feel that whatever isn’t necessary should not be in the poem.”\u003c/p>\n\u003cp>Oliver lived for many years in Provincetown, Mass., with the love of her life, the photographer Molly Malone Cook. There, she continued her habit of taking long walks, which often inspired poems. She wrote about one such walk in her poem “The Summer Day”:\u003c/p>\n\u003cblockquote>\u003cp>Who made the world?\u003cbr>\nWho made the swan, and the black bear?\u003cbr>\nWho made the grasshopper?\u003cbr>\nThis grasshopper, I mean-\u003cbr>\nthe one who has flung herself out of the grass,\u003cbr>\nthe one who is eating sugar out of my hand,\u003cbr>\nwho is moving her jaws back and forth instead of up and down-\u003cbr>\nwho is gazing around with her enormous and complicated eyes.\u003cbr>\nNow she lifts her pale forearms and thoroughly washes her face.\u003cbr>\nNow she snaps her wings open, and floats away.\u003cbr>\nI don’t know exactly what a prayer is.\u003cbr>\nI do know how to pay attention, how to fall down\u003cbr>\ninto the grass, how to kneel down in the grass,\u003cbr>\nhow to be idle and blessed, how to stroll through the fields,\u003cbr>\nwhich is what I have been doing all day.\u003cbr>\nTell me, what else should I have done?\u003cbr>\nDoesn’t everything die at last, and too soon?\u003cbr>\nTell me, what is it you plan to do\u003cbr>\nwith your one wild and precious life?\u003c/p>\u003c/blockquote>\n\u003cp>Many of Oliver’s poems are a joyful celebration of nature, but she also wrote about the abuse she suffered as a child and her first brush with death from lung cancer. Ruth Franklin says her work is infused with a deep spirituality. “The way she writes these poems that feel like prayers, she channels the voice of somebody who it seems might possibly have access to God. I think her work does give a sense of someone who is in tune with the deepest mysteries of the universe.”\u003c/p>\n\u003cp>In her poem “\u003ca href=\"http://www.phys.unm.edu/~tw/fas/yits/archive/oliver_whendeathcomes.html\">When Death Comes\u003c/a>,” Oliver wrote this about the inevitable: “When it’s over, I want to say all my life/ I was a bride married to amazement.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Cole edited this story for broadcast, and Nicole Cohen adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beloved+Poet+Mary+Oliver%2C+Who+Believed+Poetry+%27Mustn%27t+Be+Fancy%2C%27+Dies+At+83&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘On The Basis Of Sex’ Follows A Fiery Young Ruth Bader Ginsburg | KQED",
"content": "\u003cp>Supreme Court Justice Ruth Bader Ginsburg is having a moment. For the past couple of years, she's transcended her role on the Court, becoming a liberal pop culture icon.\u003c/p>\n\u003cp>CNN made a much-hailed documentary about her life, titled \u003ca href=\"https://www.npr.org/2018/05/04/608106604/jurist-prudent-documentary-rbg-profiles-ginsburg-on-and-off-the-bench\" target=\"_blank\" rel=\"noopener\">\u003ci>RBG\u003c/i>\u003c/a>. There have been several biographies. She wrote her own \u003ca href=\"https://www.npr.org/2016/10/03/495820477/no-ruth-bader-ginsburg-does-not-intend-to-retire-anytime-soon\" target=\"_blank\" rel=\"noopener\">memoir\u003c/a> in 2016. There’s even a coloring book.\u003c/p>\n\u003cp>Now, her story is being told yet again, in a new film starring Felicity Jones.\u003c/p>\n\u003cp>\u003cem>On the Basis of Sex\u003c/em> is inspired by the story of a young Ginsburg, plowing through law school as one of only nine women in her Harvard class. Despite a stellar academic career, she couldn’t find a job after graduating. So instead of starting her career in the courtroom, she went to the classroom, teaching at Rutgers University with a focus on sex discrimination law.\u003c/p>\n\u003cp>The film is directed by Mimi Leder, and she joined Felicity Jones to speak with \u003cem>Morning Edition\u003c/em> host Rachel Martin.\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/682894374/683862022\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>Jones on preparing for the role\u003c/strong>\u003c/p>\n\u003cp>Initially, I was very very intimidated. It’s nerve wracking playing such a beloved woman, and I, myself, am a huge fan of her. But I had to put the fandom away, and play the truth of this woman’s experience, and really get into the mind of who this woman was when she was younger, when she was much more, in many respects, open to the world and show how does someone get to that position.\u003c/p>\n\u003cp>\u003cstrong>Leder on the tax law case at the center of the movie\u003c/strong>\u003c/p>\n\u003cp>[Marty Ginsburg] brings her this case. First of all, she didn’t teach tax cases. She never even read them … He was the tax lawyer and became one of the preeminent tax attorneys in our country. So, it’s a case about a man who is a caregiver, who files for a tax deduction … and is denied the tax deduction because he is a never-married man. And in those days the law read that only a woman is in the home, and only a widower can receive this tax deduction.\u003c/p>\n\u003cp>So they used this man, Charles Moritz, to argue gender discrimination, and they won this tax case, and what it did was it overturned 178 different laws that discriminated on the basis of sex and were found unconstitutional.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jones on the sexism Ginsburg faced even from her supporters, like Mel Wulf of the ACLU\u003c/strong>\u003c/p>\n\u003cp>I think he’s very much a creature of his time. He’s very representative of the sexism of those constant … patronizing comments, those dismissive remarks, the putdowns, the low expectations. Mel Wulf is not immune to that, and it just shows that Ruth was fighting on so many fronts.\u003c/p>\n\u003cp>\u003cstrong>Jones on Ginsburg’s relationship with her daughter Jane and inter-generational feminism\u003c/strong>\u003c/p>\n\u003cp>Ruth was very much at the mercy of time in many ways. You see that sort of 1950’s patriarchy at play, and she’s having to conform to that on so many levels, and she’s having to be so sophisticated in how she pushes against it, because to her the most important thing is that she wins. And then what you see with Jane is Jane doesn’t have to do that. The times have shifted enough that Jane can get angry and she can be more outspoken.\u003c/p>\n\u003cp>https://youtu.be/28dHbIR_NB4\u003c/p>\n\u003cp>\u003cem>Reena Advani and Victoria Whitley-Berry edited this interview for broadcast. Victoria Whitley-Berry and Petra Mayer adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">https://www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27On+The+Basis+Of+Sex%27+Follows+A+Fiery+Young+Ruth+Bader+Ginsburg&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jones on the sexism Ginsburg faced even from her supporters, like Mel Wulf of the ACLU\u003c/strong>\u003c/p>\n\u003cp>I think he’s very much a creature of his time. He’s very representative of the sexism of those constant … patronizing comments, those dismissive remarks, the putdowns, the low expectations. Mel Wulf is not immune to that, and it just shows that Ruth was fighting on so many fronts.\u003c/p>\n\u003cp>\u003cstrong>Jones on Ginsburg’s relationship with her daughter Jane and inter-generational feminism\u003c/strong>\u003c/p>\n\u003cp>Ruth was very much at the mercy of time in many ways. You see that sort of 1950’s patriarchy at play, and she’s having to conform to that on so many levels, and she’s having to be so sophisticated in how she pushes against it, because to her the most important thing is that she wins. And then what you see with Jane is Jane doesn’t have to do that. The times have shifted enough that Jane can get angry and she can be more outspoken.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/28dHbIR_NB4'\n title='//www.youtube.com/embed/28dHbIR_NB4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Reena Advani and Victoria Whitley-Berry edited this interview for broadcast. Victoria Whitley-Berry and Petra Mayer adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">https://www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27On+The+Basis+Of+Sex%27+Follows+A+Fiery+Young+Ruth+Bader+Ginsburg&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Joel Selvin remembers the San Francisco music scene of the late 1960s as an especially fertile time for experimentation. “There was tremendous hunger and openness for musical influences,” the music journalist and author says. “World Music, Indian music, rhythm and blues, jazz … and that was all new in the world of popular music.”\u003c/p>\n\u003cp>At the time, Selvin says, one band stood out for its talent and its unusual lineup. Ace of Cups didn’t just feature a powerhouse female vocalist in the mold of Janis Joplin, but five women who sang, played their own instruments and wrote their own music.\u003c/p>\n\u003cp>[contextly_sidebar id=”3Fw7KUTU4i0QBAYDCzhpGEXlArXjWYHG”]\u003c/p>\n\u003cp>“Ace of Cups played their instruments with the same kind of accomplishment that the male musicians did,” he says. “They were on so many bills starting in the summer of ’67, but they were a complete anomaly in the San Francisco hippie world.”\u003c/p>\n\u003cp>Mary Gannon, Marla Hunt, Denise Kaufman, Mary Ellen Simpson and Diane Vitalich met in the Haight-Ashbury district. They had all been in other bands, but Gannon, who plays bass, says they weren’t always treated as equals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had been in a band called The Demon Lover and, like, I was supposed to be a backup singer and play the tambourine, Gannon says. “It was like it was ‘the man band.’ ”\u003c/p>\n\u003cp>Gannon knew right away that Ace of Cups was going to be different.\u003c/p>\n\u003cfigure id=\"attachment_13848491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg\" alt=\"Ace of Cups during the band's original run, which lasted just a few years during the late 1960s and early '70s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ace of Cups during the band’s original run, which lasted just a few years during the late 1960s and early ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>“We approached songs differently,” Gannon says. “I can remember the first day that Denise showed up and played a song. Like, she was already a songwriter. And I just think the fact that we were girls and she was a girl [meant] we weren’t going to step on her music.”\u003c/p>\n\u003cp>The band informally recorded its rehearsals and shows. Ace of Cups built a considerable following in the 1960s playing high-profile venues in town, such as The Fillmore, the Avalon Ballroom and Winterland. Several labels expressed interest, but nothing ever happened.\u003c/p>\n\u003cp>After a few years, Ace of Cups called it quits. The members certainly never expected to reach faraway fans. But they did.\u003c/p>\n\u003cp>“Growing up in the late ’70s and early ’80s, I got fascinated with the San Francisco sound,” says Alec Palao, an Englishman. “So I scoured every book I could find about Jefferson Airplane and The Great Society and Grateful Dead and, you know, I keep seeing this name mentioned, this all-women band that played under the name Ace of Cups.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"San Francisco's (Almost) Forgotten All-Girl Band: The Ace of Cups | KQED Arts\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XP3uMR1CEeY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Palao eventually got his hands on a few bootleg tapes and he became smitten. “They had a sense of poetry,” he recalls.\u003c/p>\n\u003cp>When Palao became a scout for a UK-based reissue label, coincidentally called Ace Records, he collaborated with Ace of Cups to release the band’s rehearsals and live recordings. Those recordings caught the ear of New Yorker George Wallace.\u003c/p>\n\u003cp>“They were definitely unafraid to go into different directions and to have soul mixed with psychedelia mixed with a capella, often packed with, you know, really beautifully arranged harmony. And it was all live, too,” Wallace says.\u003c/p>\n\u003cp>When Wallace started his own reissue label, High Moon Records, in 2008, he reached out to Ace of Cups in search of more archival material. There wasn’t any, but the band still played from time to time, so Wallace flew out to hear them. He offered them a chance to record a new album — a first for the band.\u003c/p>\n\u003cp>“Because we never got to go into the studio … he decided he wanted to give us that gift,” guitarist Denise Kaufman says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ace of Cups – Feel Good [Official Video]\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/6KqPCFw-VHQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ace of Cups’ self-titled debut, which came out in Nov. 2018, is a double album featuring four of the band’s original members plus contributions from longtime friends including \u003ca href=\"https://www.npr.org/artists/122805557/buffy-sainte-marie\">Buffy Sainte-Marie\u003c/a> and the Grateful Dead’s \u003ca href=\"https://www.npr.org/2016/10/06/496841893/grateful-dead-founding-member-bob-weir-draws-inspiration-from-old-cowboy-songs\">Bob Weir\u003c/a>.\u003c/p>\n\u003cp>Joel Selvin says the talent and energy that set the band apart 50 years ago still shines through. “Ace of Cups today are this vibrant, exciting time capsule that lives in the contemporary world” he says\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And for Gannon, the debut album is a full-circle moment to where Ace of Cups began: “We just happened to be girls playing music, having fun.”\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=Ace+Of+Cups+Gets+A+First+Chance+At+An+Overdue+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joel Selvin remembers the San Francisco music scene of the late 1960s as an especially fertile time for experimentation. “There was tremendous hunger and openness for musical influences,” the music journalist and author says. “World Music, Indian music, rhythm and blues, jazz … and that was all new in the world of popular music.”\u003c/p>\n\u003cp>At the time, Selvin says, one band stood out for its talent and its unusual lineup. Ace of Cups didn’t just feature a powerhouse female vocalist in the mold of Janis Joplin, but five women who sang, played their own instruments and wrote their own music.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Ace of Cups played their instruments with the same kind of accomplishment that the male musicians did,” he says. “They were on so many bills starting in the summer of ’67, but they were a complete anomaly in the San Francisco hippie world.”\u003c/p>\n\u003cp>Mary Gannon, Marla Hunt, Denise Kaufman, Mary Ellen Simpson and Diane Vitalich met in the Haight-Ashbury district. They had all been in other bands, but Gannon, who plays bass, says they weren’t always treated as equals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had been in a band called The Demon Lover and, like, I was supposed to be a backup singer and play the tambourine, Gannon says. “It was like it was ‘the man band.’ ”\u003c/p>\n\u003cp>Gannon knew right away that Ace of Cups was going to be different.\u003c/p>\n\u003cfigure id=\"attachment_13848491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg\" alt=\"Ace of Cups during the band's original run, which lasted just a few years during the late 1960s and early '70s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ace-of-cups-young_wide-61f6708364673791750daaf3508ee2d602e89b9c.jpg 1851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ace of Cups during the band’s original run, which lasted just a few years during the late 1960s and early ’70s.\u003c/figcaption>\u003c/figure>\n\u003cp>“We approached songs differently,” Gannon says. “I can remember the first day that Denise showed up and played a song. Like, she was already a songwriter. And I just think the fact that we were girls and she was a girl [meant] we weren’t going to step on her music.”\u003c/p>\n\u003cp>The band informally recorded its rehearsals and shows. Ace of Cups built a considerable following in the 1960s playing high-profile venues in town, such as The Fillmore, the Avalon Ballroom and Winterland. Several labels expressed interest, but nothing ever happened.\u003c/p>\n\u003cp>After a few years, Ace of Cups called it quits. The members certainly never expected to reach faraway fans. But they did.\u003c/p>\n\u003cp>“Growing up in the late ’70s and early ’80s, I got fascinated with the San Francisco sound,” says Alec Palao, an Englishman. “So I scoured every book I could find about Jefferson Airplane and The Great Society and Grateful Dead and, you know, I keep seeing this name mentioned, this all-women band that played under the name Ace of Cups.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"San Francisco's (Almost) Forgotten All-Girl Band: The Ace of Cups | KQED Arts\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XP3uMR1CEeY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Palao eventually got his hands on a few bootleg tapes and he became smitten. “They had a sense of poetry,” he recalls.\u003c/p>\n\u003cp>When Palao became a scout for a UK-based reissue label, coincidentally called Ace Records, he collaborated with Ace of Cups to release the band’s rehearsals and live recordings. Those recordings caught the ear of New Yorker George Wallace.\u003c/p>\n\u003cp>“They were definitely unafraid to go into different directions and to have soul mixed with psychedelia mixed with a capella, often packed with, you know, really beautifully arranged harmony. And it was all live, too,” Wallace says.\u003c/p>\n\u003cp>When Wallace started his own reissue label, High Moon Records, in 2008, he reached out to Ace of Cups in search of more archival material. There wasn’t any, but the band still played from time to time, so Wallace flew out to hear them. He offered them a chance to record a new album — a first for the band.\u003c/p>\n\u003cp>“Because we never got to go into the studio … he decided he wanted to give us that gift,” guitarist Denise Kaufman says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ace of Cups – Feel Good [Official Video]\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/6KqPCFw-VHQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Ace of Cups’ self-titled debut, which came out in Nov. 2018, is a double album featuring four of the band’s original members plus contributions from longtime friends including \u003ca href=\"https://www.npr.org/artists/122805557/buffy-sainte-marie\">Buffy Sainte-Marie\u003c/a> and the Grateful Dead’s \u003ca href=\"https://www.npr.org/2016/10/06/496841893/grateful-dead-founding-member-bob-weir-draws-inspiration-from-old-cowboy-songs\">Bob Weir\u003c/a>.\u003c/p>\n\u003cp>Joel Selvin says the talent and energy that set the band apart 50 years ago still shines through. “Ace of Cups today are this vibrant, exciting time capsule that lives in the contemporary world” he says\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And for Gannon, the debut album is a full-circle moment to where Ace of Cups began: “We just happened to be girls playing music, having fun.”\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=Ace+Of+Cups+Gets+A+First+Chance+At+An+Overdue+Debut&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Archetypes, not stereotypes.\u003c/p>\n\u003cp>That’s what the creators and cast of the hit play-turned-sitcom \u003cem>Kim’s Convenience\u003c/em>, the first Canadian TV show with an all-Asian lead cast, have striven for from the beginning. And as the series starts its third season, \u003ca href=\"https://www.cbc.ca/kimsconvenience/\">the CBC production\u003c/a> has found lasting success in being both funny and deep.\u003c/p>\n\u003cp>Creator Ins Choi, whose family moved from Korea and settled in Toronto when he was very young, started penning \u003cem>Kim’s Convenience \u003c/em>as a play in 2005. At the time, with his acting career off to a bumpy start, he was invited to join the playwriting unit at \u003ca href=\"https://www.fu-gen.org/\">fu-GEN\u003c/a>, a Toronto theater company dedicated to developing Asian-Canadian stories.\u003c/p>\n\u003cp>“I came in with an idea: Write what you know,” Choi says.\u003c/p>\n\u003cp>At the same time, Choi also felt the stage was missing stories like his.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wasn’t seeing Asians on stage, I wasn’t seeing Asian stories,” he says.\u003c/p>\n\u003cp>Indeed, \u003cem>Kim’s Convenience \u003c/em>— from its setting in a convenience store in downtown Toronto, to the generational differences between the immigrant parents and their children, to the prominence of the Korean church — is infused with the parts of Choi’s life that shaped him.\u003c/p>\n\u003cp>“My father’s a pastor. He used to be a pastor of an immigrant church in downtown Toronto,” Choi says. “All my friends growing up in the ’80s, ’90s, their parents owned convenience stores … I wanted it to be funny. My family’s funny.”\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/682888290/683501489\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Play-turned-sitcom\u003c/strong>\u003c/p>\n\u003cp>The play took Choi about seven years to complete. It then became a hit at the Toronto Fringe Festival in 2011, which led to a years-long theater tour of Canada. \u003cem>Kim’s Convenience\u003c/em> was eventually adapted into a television show of the same name in 2016.\u003c/p>\n\u003cp>The story centers on the Kim family — Mr. Kim (or “Appa,” meaning father in Korean), played by Paul Sun-Hyung Lee; Mrs. Kim (or “Umma,” meaning mother in Korean), played by \u003ca href=\"https://twitter.com/jean_yoon\">Jean Yoon\u003c/a>; and their two grown children, Jung and Janet, played by \u003ca href=\"https://twitter.com/SimuLiu\">Simu Liu\u003c/a> and \u003ca href=\"https://twitter.com/iAndreaBang\">Andrea Bang\u003c/a>. The show draws laughs through the family’s interactions with each other, and also with their multicultural community. Between \u003ca href=\"https://www.youtube.com/watch?v=1bcoitiGDpU\">Appa’s antics\u003c/a> or Umma’s\u003ca href=\"https://www.youtube.com/watch?v=-8nLujVU3e0\"> approach to parenting\u003c/a>, the show is quippy and smartly written.\u003c/p>\n\u003cp>But looking past its formulaic sitcom structure, \u003cem>Kim’s Convenience \u003c/em>also offers something else: well-rounded Asian characters who have depth. Whether it’s the tense relationship between Appa and his estranged son Jung, or Janet’s constant struggle to get her parents to support her photography career, there’s no shortage of heavy story lines.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/bitterasiandude?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Paul Sun-Hyung Lee\u003c/a> says he was able to connect almost immediately with Mr. Kim’s character.\u003c/p>\n\u003cp>“I read the first two scenes, and my heart — it exploded because that was my \u003cem>appa\u003c/em>,” Lee says. “And I’d never heard him represented that way before — and it was like a key turning in my head, and his voice just started coming out.”\u003c/p>\n\u003cp>Lee, who also moved to Canada from Korea when he was very young, and whose father ran a store, says he has channeled people throughout his life for the role of Appa. He drew inspiration from strong characters in his community growing up, like people in the Korean church his family attended. He draws the character’s temper from his \u003cem>umma \u003c/em>because his \u003cem>appa \u003c/em>“doesn’t get mad.”\u003c/p>\n\u003cp>“He’s very stoic, but when he does let loose, it’s apocalyptic,” Lee says.\u003c/p>\n\u003cp>There was one problem. At the outset of the show, Lee says he couldn’t do a Korean immigrant’s accent.\u003c/p>\n\u003cp>“And it was just a byproduct of denying my own heritage for so long, wanting to assimilate and be like all the other white kids,” he says. “I just wanted to fit in with everybody else.”\u003c/p>\n\u003cp>Lee would go on to \u003ca href=\"https://www.youtube.com/watch?v=h9ifO5bDoYM\">win the award\u003c/a> for best actor in a continuing comedy series at the 2017 Canadian Screen Awards. And luckily, he says, his parents’ only criticism of his performance as Appa has been his Korean.\u003c/p>\n\u003cfigure id=\"attachment_13848438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kimscon1-80a83794f56f7c081df6efb53702e2e8c6d4def7-800x600.jpg\" alt=\"In Kim's Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">In Kim’s Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix. \u003ccite>(Canadian Broadcasting Corp.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Archetype vs. stereotypes\u003c/strong>\u003c/p>\n\u003cp>In Canada, like the United States,\u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/dv-vd/imm/index-eng.cfm\"> Asians are the fastest growing\u003c/a> minority group. According to \u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/index-eng.cfm\">the latest Canadian Census\u003c/a>, Asians make up almost 18 percent of the country’s population.\u003c/p>\n\u003cp>This is why it’s important for viewers to see well-written and well-rounded roles for Asians, Lee says. He takes umbrage when people criticize the characters — especially their accents — on \u003cem>Kim’s Convenience. \u003c/em>Lee says they aren’t playing stereotypes that begin and end with one trait.\u003c/p>\n\u003cp>“They are archetypes,” Lee says. “They are three-dimensional characters with wants, with hopes, with needs, with fears. And that’s what’s so exciting about playing them as an actor of color, because we’ve been so cut off from playing real people.”\u003c/p>\n\u003cp>This kind of drama-comedy approach to Asian characters is refreshing, says Nancy Wang Yuen, a sociologist and the author of the book \u003cem>Reel Inequality. \u003c/em>Especially compared to U.S. family sitcoms with Asian-American families, she says.\u003c/p>\n\u003cp>“They [U.S. sitcoms] tend to resolve everything in one episode,” Yuen says, pointing to ABC’s \u003ca href=\"https://www.npr.org/2015/02/04/383785757/a-skilled-cast-perks-up-the-sweet-and-funny-fresh-off-the-boat\">Fresh Off The Boat\u003c/a> as an example. “And the humor, even when it takes on social kind of issues, they’re more, I guess, light? And I think that \u003cem>Kim’s Convenience\u003c/em> takes on a little more complex layers.”\u003c/p>\n\u003cp>Yuen says she first heard about \u003cem>Kim’s Convenience \u003c/em>from her own community here in the U.S. So when it came to Netflix over the summer, there was already anticipation building.\u003c/p>\n\u003cp>“When it finally came, I think people in the U.S. were just so excited to see yet another sitcom that seemed less clownish, that had kind of a tone that made people think,” Yuen says.\u003c/p>\n\u003cp>In Season 3, Ins Choi promises more of what the show is good at: smart comedy with authentic depth. But he also says the writers plan to expand the worlds of the characters and put them through more “high-stakes” situations.\u003c/p>\n\u003cp>“It’s a very, very funny season,” Choi says.\u003c/p>\n\u003cp>While watchers in the U.S. can binge the first two seasons on Netflix, the streaming service has not yet announced when Season 3 will be available.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited the broadcast version of this story.\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=%27Kim%27s+Convenience%27+Is+A+Sitcom+About+Asian+Immigrants+%E2%80%94+With+Depth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Archetypes, not stereotypes.\u003c/p>\n\u003cp>That’s what the creators and cast of the hit play-turned-sitcom \u003cem>Kim’s Convenience\u003c/em>, the first Canadian TV show with an all-Asian lead cast, have striven for from the beginning. And as the series starts its third season, \u003ca href=\"https://www.cbc.ca/kimsconvenience/\">the CBC production\u003c/a> has found lasting success in being both funny and deep.\u003c/p>\n\u003cp>Creator Ins Choi, whose family moved from Korea and settled in Toronto when he was very young, started penning \u003cem>Kim’s Convenience \u003c/em>as a play in 2005. At the time, with his acting career off to a bumpy start, he was invited to join the playwriting unit at \u003ca href=\"https://www.fu-gen.org/\">fu-GEN\u003c/a>, a Toronto theater company dedicated to developing Asian-Canadian stories.\u003c/p>\n\u003cp>“I came in with an idea: Write what you know,” Choi says.\u003c/p>\n\u003cp>At the same time, Choi also felt the stage was missing stories like his.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wasn’t seeing Asians on stage, I wasn’t seeing Asian stories,” he says.\u003c/p>\n\u003cp>Indeed, \u003cem>Kim’s Convenience \u003c/em>— from its setting in a convenience store in downtown Toronto, to the generational differences between the immigrant parents and their children, to the prominence of the Korean church — is infused with the parts of Choi’s life that shaped him.\u003c/p>\n\u003cp>“My father’s a pastor. He used to be a pastor of an immigrant church in downtown Toronto,” Choi says. “All my friends growing up in the ’80s, ’90s, their parents owned convenience stores … I wanted it to be funny. My family’s funny.”\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/682888290/683501489\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Play-turned-sitcom\u003c/strong>\u003c/p>\n\u003cp>The play took Choi about seven years to complete. It then became a hit at the Toronto Fringe Festival in 2011, which led to a years-long theater tour of Canada. \u003cem>Kim’s Convenience\u003c/em> was eventually adapted into a television show of the same name in 2016.\u003c/p>\n\u003cp>The story centers on the Kim family — Mr. Kim (or “Appa,” meaning father in Korean), played by Paul Sun-Hyung Lee; Mrs. Kim (or “Umma,” meaning mother in Korean), played by \u003ca href=\"https://twitter.com/jean_yoon\">Jean Yoon\u003c/a>; and their two grown children, Jung and Janet, played by \u003ca href=\"https://twitter.com/SimuLiu\">Simu Liu\u003c/a> and \u003ca href=\"https://twitter.com/iAndreaBang\">Andrea Bang\u003c/a>. The show draws laughs through the family’s interactions with each other, and also with their multicultural community. Between \u003ca href=\"https://www.youtube.com/watch?v=1bcoitiGDpU\">Appa’s antics\u003c/a> or Umma’s\u003ca href=\"https://www.youtube.com/watch?v=-8nLujVU3e0\"> approach to parenting\u003c/a>, the show is quippy and smartly written.\u003c/p>\n\u003cp>But looking past its formulaic sitcom structure, \u003cem>Kim’s Convenience \u003c/em>also offers something else: well-rounded Asian characters who have depth. Whether it’s the tense relationship between Appa and his estranged son Jung, or Janet’s constant struggle to get her parents to support her photography career, there’s no shortage of heavy story lines.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/bitterasiandude?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Paul Sun-Hyung Lee\u003c/a> says he was able to connect almost immediately with Mr. Kim’s character.\u003c/p>\n\u003cp>“I read the first two scenes, and my heart — it exploded because that was my \u003cem>appa\u003c/em>,” Lee says. “And I’d never heard him represented that way before — and it was like a key turning in my head, and his voice just started coming out.”\u003c/p>\n\u003cp>Lee, who also moved to Canada from Korea when he was very young, and whose father ran a store, says he has channeled people throughout his life for the role of Appa. He drew inspiration from strong characters in his community growing up, like people in the Korean church his family attended. He draws the character’s temper from his \u003cem>umma \u003c/em>because his \u003cem>appa \u003c/em>“doesn’t get mad.”\u003c/p>\n\u003cp>“He’s very stoic, but when he does let loose, it’s apocalyptic,” Lee says.\u003c/p>\n\u003cp>There was one problem. At the outset of the show, Lee says he couldn’t do a Korean immigrant’s accent.\u003c/p>\n\u003cp>“And it was just a byproduct of denying my own heritage for so long, wanting to assimilate and be like all the other white kids,” he says. “I just wanted to fit in with everybody else.”\u003c/p>\n\u003cp>Lee would go on to \u003ca href=\"https://www.youtube.com/watch?v=h9ifO5bDoYM\">win the award\u003c/a> for best actor in a continuing comedy series at the 2017 Canadian Screen Awards. And luckily, he says, his parents’ only criticism of his performance as Appa has been his Korean.\u003c/p>\n\u003cfigure id=\"attachment_13848438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kimscon1-80a83794f56f7c081df6efb53702e2e8c6d4def7-800x600.jpg\" alt=\"In Kim's Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">In Kim’s Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix. \u003ccite>(Canadian Broadcasting Corp.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Archetype vs. stereotypes\u003c/strong>\u003c/p>\n\u003cp>In Canada, like the United States,\u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/dv-vd/imm/index-eng.cfm\"> Asians are the fastest growing\u003c/a> minority group. According to \u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/index-eng.cfm\">the latest Canadian Census\u003c/a>, Asians make up almost 18 percent of the country’s population.\u003c/p>\n\u003cp>This is why it’s important for viewers to see well-written and well-rounded roles for Asians, Lee says. He takes umbrage when people criticize the characters — especially their accents — on \u003cem>Kim’s Convenience. \u003c/em>Lee says they aren’t playing stereotypes that begin and end with one trait.\u003c/p>\n\u003cp>“They are archetypes,” Lee says. “They are three-dimensional characters with wants, with hopes, with needs, with fears. And that’s what’s so exciting about playing them as an actor of color, because we’ve been so cut off from playing real people.”\u003c/p>\n\u003cp>This kind of drama-comedy approach to Asian characters is refreshing, says Nancy Wang Yuen, a sociologist and the author of the book \u003cem>Reel Inequality. \u003c/em>Especially compared to U.S. family sitcoms with Asian-American families, she says.\u003c/p>\n\u003cp>“They [U.S. sitcoms] tend to resolve everything in one episode,” Yuen says, pointing to ABC’s \u003ca href=\"https://www.npr.org/2015/02/04/383785757/a-skilled-cast-perks-up-the-sweet-and-funny-fresh-off-the-boat\">Fresh Off The Boat\u003c/a> as an example. “And the humor, even when it takes on social kind of issues, they’re more, I guess, light? And I think that \u003cem>Kim’s Convenience\u003c/em> takes on a little more complex layers.”\u003c/p>\n\u003cp>Yuen says she first heard about \u003cem>Kim’s Convenience \u003c/em>from her own community here in the U.S. So when it came to Netflix over the summer, there was already anticipation building.\u003c/p>\n\u003cp>“When it finally came, I think people in the U.S. were just so excited to see yet another sitcom that seemed less clownish, that had kind of a tone that made people think,” Yuen says.\u003c/p>\n\u003cp>In Season 3, Ins Choi promises more of what the show is good at: smart comedy with authentic depth. But he also says the writers plan to expand the worlds of the characters and put them through more “high-stakes” situations.\u003c/p>\n\u003cp>“It’s a very, very funny season,” Choi says.\u003c/p>\n\u003cp>While watchers in the U.S. can binge the first two seasons on Netflix, the streaming service has not yet announced when Season 3 will be available.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ted Robbins edited the broadcast version of this story.\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=%27Kim%27s+Convenience%27+Is+A+Sitcom+About+Asian+Immigrants+%E2%80%94+With+Depth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fifty years after the original Woodstock Music & Art Fair promised “three days of peace and music,” one of its original organizers announced Wednesday that he is putting together Woodstock 50 for this summer. The event will be held over three days — Aug. 16 to 18 — on a 1,000-acre green space in Watkins Glen in upstate New York, near the Finger Lakes.\u003c/p>\n\u003cp>While the artist lineup will not be announced until next month, when tickets go on sale to the general public, \u003ca href=\"https://www.nytimes.com/2019/01/09/arts/music/woodstock-50th-anniversary-festival.html\">\u003cem>The New York Times\u003c/em>\u003c/a> reported Wednesday that organizer Michael Lang is planning to book “a mixture of legacy bands, current pop and rap stars and, possibly, some news-making combinations.”\u003c/p>\n\u003cp>[contextly_sidebar id=”7EWp1mj8i823Hkkm76z2gTB6IwN3tUtX”]\u003c/p>\n\u003cp>To encourage younger attendees, the festival will offer a limited number of discounted passes for college students aged 18 to 25, which will go on sale by the end of January.\u003c/p>\n\u003cp>According to a interview with Lang published Wednesday in \u003ca href=\"https://www.rollingstone.com/music/music-news/woodstock-50th-anniversary-michael-lang-775588/\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, the 2019 team has already booked more than 40 acts to appear at the event. Lang suggested to the magazine that there would be tributes honoring some of the original Woodstock festival artists, including Janis Joplin, Jefferson Airplane, The Band and Joe Cocker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”hDhkDBEhbwVoaPdVpgoJGIa5E5Nm3eY9″]\u003c/p>\n\u003cp>There will be three main stages at Woodstock 50, plus three festival “neighborhoods,” each of which will offer its own programming of music, comedy, spoken word, film and food.\u003c/p>\n\u003cp>In a press release published Wednesday, the organizers say they hope to call back to the spirit that animated the iconic 1969 event — during another tumultuous epoch in American history. The mission of Woodstock 50, they say, is “to unite people in a shared experience with great artists, and encourage active support of equality, inclusion and a shared sustainable future.”\u003c/p>\n\u003cp>According to the \u003cem>Times\u003c/em> interview, Lang and his colleagues plan to sell about 100,000 three-day passes to the festival and they expect most attendees to camp at the festival grounds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in an apparent nod to festivalgoers’ expectations in 2019, the 50th anniversary edition will offer “glamping” tents and other amenities. Such services might also help the 2019 festival distance itself from the \u003ca href=\"https://www.huffingtonpost.com/2014/07/23/woodstock-99_n_5610534.html\">dire problems\u003c/a> that plagued a 1999 edition of Woodstock — an event that ended in fires, rioting and a number of lawsuits — which, like the chaotic \u003ca href=\"https://www.nytimes.com/1994/08/15/nyregion/woodstock-94-the-overview-woodstock-music-fades-and-muddy-trek-begins.html\">1994 Woodstock festival\u003c/a>, Lang was also involved in organizing.\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=Woodstock+Will+Return+This+Summer%2C+For+Its+50th+Anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Will peace, love and music be back? One of the original organizers of the iconic 1969 event is putting together a new three-day festival, which will take place in August in upstate New York.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years after the original Woodstock Music & Art Fair promised “three days of peace and music,” one of its original organizers announced Wednesday that he is putting together Woodstock 50 for this summer. The event will be held over three days — Aug. 16 to 18 — on a 1,000-acre green space in Watkins Glen in upstate New York, near the Finger Lakes.\u003c/p>\n\u003cp>While the artist lineup will not be announced until next month, when tickets go on sale to the general public, \u003ca href=\"https://www.nytimes.com/2019/01/09/arts/music/woodstock-50th-anniversary-festival.html\">\u003cem>The New York Times\u003c/em>\u003c/a> reported Wednesday that organizer Michael Lang is planning to book “a mixture of legacy bands, current pop and rap stars and, possibly, some news-making combinations.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>To encourage younger attendees, the festival will offer a limited number of discounted passes for college students aged 18 to 25, which will go on sale by the end of January.\u003c/p>\n\u003cp>According to a interview with Lang published Wednesday in \u003ca href=\"https://www.rollingstone.com/music/music-news/woodstock-50th-anniversary-michael-lang-775588/\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, the 2019 team has already booked more than 40 acts to appear at the event. Lang suggested to the magazine that there would be tributes honoring some of the original Woodstock festival artists, including Janis Joplin, Jefferson Airplane, The Band and Joe Cocker.\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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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"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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"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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"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"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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