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A few months before, she had told a group of student essay winners, “I wanted to be able to come here and speak with you on this occasion because you are young, gifted and black.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - To Be Young, Gifted and Black (Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RTGiKYqk0gY?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>Those words stuck in Nina Simone’s head. \u003ca href=\"https://www.youtube.com/watch?v=_hdVFiANBTk\">In an interview\u003c/a> recorded at historically black Morehouse College in Atlanta, she said, “I remember getting a feeling in my body, and I said, ‘That’s it: to be young, gifted and black. That’s all.’ And sat down at the piano and made up a tune. It just flowed out of me.”\u003c/p>\n\u003cp>Simone wrote the music, while the words came from her bandleader, Weldon Irvine. He reportedly sat writing the lyrics in his car, tying up a busy New York City intersection for 15 minutes as he scribbled on napkins and a matchbook cover. Simone had told him to keep it simple — write something that “will make black children all over the world feel good about themselves, forever.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cem> To be young, gifted and black\u003cbr>\nOh, what a lovely precious dream\u003cbr>\nTo be young, gifted and black\u003cbr>\nOpen your heart to what I mean\u003cbr>\nIn the whole world you know\u003cbr>\nThere are a million boys and girls\u003cbr>\nWho are young, gifted and black\u003cbr>\nAnd that’s a fact! \u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“To Be Young, Gifted and Black” caught on, and other artists quickly recorded it. Soul singer \u003ca href=\"https://www.npr.org/artists/15203568/donny-hathaway\">Donny Hathaway\u003c/a> released a cover of the song in 1970. \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a> made own version the title track of an album she released in 1972.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/17992281/meshell-nedgeocello\">Meshell Ndegeocello\u003c/a>, a 10-time Grammy nominee active since the early ’90s, released the album \u003cem>Pour une âme souveraine: A Dedication to Nina Simone\u003c/em> in 2012. She says when she was growing up, there really was a need for the song.\u003c/p>\n\u003cp>“It’s the first time I heard those words said about young black people,” she says. “You know, being of color, you did not feel that you were gifted — and especially if you’re black.”\u003c/p>\n\u003cp>She says she first heard the song while attending middle school in a suburb of Washington, D.C. Her teacher, a white woman, played it for a class of mostly black students.\u003c/p>\n\u003cp>“In D.C., music wasn’t so segregated. I mean, I love Burt Bacharach, and I grew up listening to The Carpenters. But, she also played me, like, Bob Marley, Salif Keita. It was the beginning of my awareness of Africa,” Ndegeocello says. “And it was somewhere in one of those classes, or Black History Month, where she was like, ‘We’re gonna try to perform this song in a choir setting.’ ”\u003c/p>\n\u003cp>Last year, Nina Simone’s profile was raised again as she was inducted into the Rock & Roll Hall of Fame, and her childhood home was declared a national treasure by the National Trust for Historic Preservation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/122252881/somi\">Somi\u003c/a>, another contemporary artist, honored the legend in her own way: performing and curating an evening of music honoring Nina Simone and Miriam Makeba at Jazz at Lincoln Center. The event was called Singing Protest & Memory.\u003c/p>\n\u003cp>[contextly_sidebar id=”UJzjaVKBf7EWvsAG4JIywoh6RlrhfnBa”]\u003c/p>\n\u003cp>Somi was born in Illinois; her parents were immigrants from Rwanda and Uganda. She says her family encouraged her to take pride in her African heritage — she didn’t really need a song do that. Which prompts a question: Is the song still necessary?\u003c/p>\n\u003cp>“Necessary is a tricky word, right? Is a song ‘necessary’? I think the message is absolutely still necessary,” Somi says. “I think when, you look at the March [for] Our Lives that recently happened in Washington, and Naomi Wadler coming up there and feeling as though she had to speak, that speaks to the need for young black youth to be seen, to be heard.”\u003c/p>\n\u003cp>Eleven-year-old Naomi Wadler spoke to a Washington, D.C., crowd during the nationally televised demonstration, saying, “I am here to acknowledge and represent the African-American girls whose stories don’t make the front page of every national newspaper.” She was met by roaring applause.\u003c/p>\n\u003cp>Meshell Ndegeocello invited singer \u003ca href=\"https://www.npr.org/artists/90386077/cody-chesnutt\">Cody ChesnuTT\u003c/a> to sing on her version of “To Be Young, Gifted and Black” for \u003cem>Pour une âme souveraine\u003c/em>. The mother of two sons, she says she had a painful story from the news on her mind: “This was during the time of the whole Trayvon Martin incident.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"To Be Young, Gifted and Black (feat. Cody Chesnutt)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/wjNs6KOOwmM?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>Martin, an unarmed African-American teenager, was fatally shot on Feb. 26, 2012 by neighborhood watch volunteer George Zimmerman in Sanford, Fla. Zimmerman was tried and acquitted for second degree murder. “And I was affected as a mother. And so for some reason, I felt it should be voiced with a male presence, a strong male presence,” Ndegeocello says.\u003c/p>\n\u003cp>[contextly_sidebar id=”8bxwzliUPiq2MOthqTcnHy39VWFV2er5″]\u003c/p>\n\u003cp>“It’s an inner anthem, I think — you know, it’s existing on a subconscious level,” she adds. “I only hope it makes you ask the question [of] why it had to be written. That’s more important than anything else.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nina Simone said she wanted this song to inspire black children to feel good about themselves forever. Maybe that’s a lot to ask from one song. But that message is as important as it was 50 years ago, when “To Be Young, Gifted and Black” first became an American anthem.\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=Nina+Simone%27s+%27Lovely%2C+Precious+Dream%27+For+Black+Children&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/683021559/683144212\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>By the early 1960s, \u003ca href=\"https://www.npr.org/artists/15396720/nina-simone\">Nina Simone\u003c/a> was well-known to the world as a singer, songwriter and classically trained pianist. But around 1963, as race relations in America hit a boiling point, she made a sharp turn in her music — toward activism.\u003c/p>\n\u003cp>First, there was the murder of Medgar Evers that summer. The civil rights leader was killed by a Klansman, shot in the back in his own driveway in Mississippi. Three months later, in Birmingham, Ala., four black girls were killed in a church bombing. In response to the grief and outrage, Simone wrote a powerful song with unsparing lyrics and a provocative title: “\u003ca href=\"https://www.youtube.com/watch?v=X8X8RikEFnI\">Mississippi Goddam\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Then, in 1968, she identified a different side of the struggle. The Black Power movement was rising. Pride in being black and beautiful was expressed in big afros and raised fists. She aimed to capture that moment of joy in black identity — and though the song she wrote was addressed to children, it became an anthem for adults, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=RTGiKYqk0gY\">To Be Young, Gifted and Black\u003c/a>” was a dedication to Nina Simone’s friend, the playwright Lorraine Hansberry, who wrote \u003cem>A Raisin in the Sun\u003c/em>. Hansberry was the first black woman to have a play performed on Broadway; she and Simone bonded over civil rights and radical politics.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And then, in January 1965, Hansberry died of cancer at the age of 34. A few months before, she had told a group of student essay winners, “I wanted to be able to come here and speak with you on this occasion because you are young, gifted and black.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - To Be Young, Gifted and Black (Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RTGiKYqk0gY?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>Those words stuck in Nina Simone’s head. \u003ca href=\"https://www.youtube.com/watch?v=_hdVFiANBTk\">In an interview\u003c/a> recorded at historically black Morehouse College in Atlanta, she said, “I remember getting a feeling in my body, and I said, ‘That’s it: to be young, gifted and black. That’s all.’ And sat down at the piano and made up a tune. It just flowed out of me.”\u003c/p>\n\u003cp>Simone wrote the music, while the words came from her bandleader, Weldon Irvine. He reportedly sat writing the lyrics in his car, tying up a busy New York City intersection for 15 minutes as he scribbled on napkins and a matchbook cover. Simone had told him to keep it simple — write something that “will make black children all over the world feel good about themselves, forever.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cem> To be young, gifted and black\u003cbr>\nOh, what a lovely precious dream\u003cbr>\nTo be young, gifted and black\u003cbr>\nOpen your heart to what I mean\u003cbr>\nIn the whole world you know\u003cbr>\nThere are a million boys and girls\u003cbr>\nWho are young, gifted and black\u003cbr>\nAnd that’s a fact! \u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“To Be Young, Gifted and Black” caught on, and other artists quickly recorded it. Soul singer \u003ca href=\"https://www.npr.org/artists/15203568/donny-hathaway\">Donny Hathaway\u003c/a> released a cover of the song in 1970. \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a> made own version the title track of an album she released in 1972.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/17992281/meshell-nedgeocello\">Meshell Ndegeocello\u003c/a>, a 10-time Grammy nominee active since the early ’90s, released the album \u003cem>Pour une âme souveraine: A Dedication to Nina Simone\u003c/em> in 2012. She says when she was growing up, there really was a need for the song.\u003c/p>\n\u003cp>“It’s the first time I heard those words said about young black people,” she says. “You know, being of color, you did not feel that you were gifted — and especially if you’re black.”\u003c/p>\n\u003cp>She says she first heard the song while attending middle school in a suburb of Washington, D.C. Her teacher, a white woman, played it for a class of mostly black students.\u003c/p>\n\u003cp>“In D.C., music wasn’t so segregated. I mean, I love Burt Bacharach, and I grew up listening to The Carpenters. But, she also played me, like, Bob Marley, Salif Keita. It was the beginning of my awareness of Africa,” Ndegeocello says. “And it was somewhere in one of those classes, or Black History Month, where she was like, ‘We’re gonna try to perform this song in a choir setting.’ ”\u003c/p>\n\u003cp>Last year, Nina Simone’s profile was raised again as she was inducted into the Rock & Roll Hall of Fame, and her childhood home was declared a national treasure by the National Trust for Historic Preservation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/122252881/somi\">Somi\u003c/a>, another contemporary artist, honored the legend in her own way: performing and curating an evening of music honoring Nina Simone and Miriam Makeba at Jazz at Lincoln Center. The event was called Singing Protest & Memory.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Somi was born in Illinois; her parents were immigrants from Rwanda and Uganda. She says her family encouraged her to take pride in her African heritage — she didn’t really need a song do that. Which prompts a question: Is the song still necessary?\u003c/p>\n\u003cp>“Necessary is a tricky word, right? Is a song ‘necessary’? I think the message is absolutely still necessary,” Somi says. “I think when, you look at the March [for] Our Lives that recently happened in Washington, and Naomi Wadler coming up there and feeling as though she had to speak, that speaks to the need for young black youth to be seen, to be heard.”\u003c/p>\n\u003cp>Eleven-year-old Naomi Wadler spoke to a Washington, D.C., crowd during the nationally televised demonstration, saying, “I am here to acknowledge and represent the African-American girls whose stories don’t make the front page of every national newspaper.” She was met by roaring applause.\u003c/p>\n\u003cp>Meshell Ndegeocello invited singer \u003ca href=\"https://www.npr.org/artists/90386077/cody-chesnutt\">Cody ChesnuTT\u003c/a> to sing on her version of “To Be Young, Gifted and Black” for \u003cem>Pour une âme souveraine\u003c/em>. The mother of two sons, she says she had a painful story from the news on her mind: “This was during the time of the whole Trayvon Martin incident.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"To Be Young, Gifted and Black (feat. Cody Chesnutt)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/wjNs6KOOwmM?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>Martin, an unarmed African-American teenager, was fatally shot on Feb. 26, 2012 by neighborhood watch volunteer George Zimmerman in Sanford, Fla. Zimmerman was tried and acquitted for second degree murder. “And I was affected as a mother. And so for some reason, I felt it should be voiced with a male presence, a strong male presence,” Ndegeocello says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It’s an inner anthem, I think — you know, it’s existing on a subconscious level,” she adds. “I only hope it makes you ask the question [of] why it had to be written. That’s more important than anything else.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nina Simone said she wanted this song to inspire black children to feel good about themselves forever. Maybe that’s a lot to ask from one song. But that message is as important as it was 50 years ago, when “To Be Young, Gifted and Black” first became an American anthem.\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=Nina+Simone%27s+%27Lovely%2C+Precious+Dream%27+For+Black+Children&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Making 'Surviving R. Kelly': A Conversation With Executive Producer Dream Hampton",
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"headTitle": "Making ‘Surviving R. Kelly’: A Conversation With Executive Producer Dream Hampton | KQED",
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"content": "\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\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/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m not afraid of R. Kelly or his fans. I mean, they can’t call in and cancel what’s going to be in people’s living rooms. I think that whatever energy they think they’re about to engage in trying to defend him … they all need to be looking at themselves. Don’t come looking for the girls; definitely don’t come looking for me. Look in the mirror.\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=Making+%27Surviving+R.+Kelly%27%3A+A+Conversation+With+Executive+Producer+Dream+Hampton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\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/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m not afraid of R. Kelly or his fans. I mean, they can’t call in and cancel what’s going to be in people’s living rooms. I think that whatever energy they think they’re about to engage in trying to defend him … they all need to be looking at themselves. Don’t come looking for the girls; definitely don’t come looking for me. Look in the mirror.\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=Making+%27Surviving+R.+Kelly%27%3A+A+Conversation+With+Executive+Producer+Dream+Hampton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A band from Mongolia that blends the screaming guitars of heavy metal and traditional Mongolian guttural singing has picked up 7 million views for its two videos.\u003c/p>\n\u003cp>Leather jackets, skull rings and bandannas alongside intricately carved Mongolian horsehead fiddles are just some of the images in the first two music videos the Mongolian band The Hu released on YouTube this fall. Excited listeners from around the globe have posted comments like: “This makes me want to ride a horse and shoot people with a bow” and “This sounds like ancient mongol rock of 1000 b.c. Really badass!” (sic)\u003c/p>\n\u003cp>https://youtu.be/v4xZUr0BEfE\u003c/p>\n\u003cp>And yet what The Hu is doing, while new, comes out of a tradition that began several decades ago when Mongolia transitioned from a satellite of the Soviet Union to a democracy.\u003c/p>\n\u003cp>As the Soviet Union crumbled and Western influence flooded in during the late 1980s and early 1990s, Mongolian musicians chose to preserve Mongolian culture while also adapting new influences, explains University of Chicago ethnomusicology doctoral student \u003ca href=\"http://chicago.academia.edu/ThaleaStokes\">Thalea Stokes.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is something they continue to do today, says Stokes, who spoke via Skype from Inner Mongolia where she is studying Mongolian hip-hop. That hip-hop scene has a similar background. Although hip-hop is a relatively new import, Mongolians have rapidly adapted it, mixing “fierce ethnic pride and adventurous dancing” with social and political critique, according to Stokes’ research.\u003c/p>\n\u003cp>“Mongolians are not just taking elements from Western music and just copying and pasting,” says Stokes. Instead, they’re using some of these elements and making their own authentic music.\u003c/p>\n\u003cp>“So it’s not rock music performed by Mongolians. It’s Mongolian rock music,” she says.\u003c/p>\n\u003cp>Mongolian rock combines traditional Mongolian instruments, like a horsehead fiddle (\u003cem>morin khuur\u003c/em>), Jew’s harp (\u003cem>tumur khuur\u003c/em>) and Mongolian guitar (\u003cem>tovshuur\u003c/em>) with the pounding bass and drums of rock.\u003c/p>\n\u003cp>[contextly_sidebar id=”JxRWoeCTCMYbRutfZi5Qyvdn5DJiKkPu”]\u003c/p>\n\u003cp>It also involves singing in a guttural way known as throat singing while throwing heads back and forth reminiscent of the headbanging of ’80s heavy metal bands like Metallica. Those who study Mongolian music believe one reason The Hu has proved so popular with outsiders is this combining of modern and historical and Eastern and Western elements.\u003c/p>\n\u003cp>The Hu call their style “hunnu rock” — from the Mongolian root word for human being: “hu.” The band spent seven years putting together its first album, which it expects to release this spring. They plan to call it \u003cem>Gereg\u003c/em>, the name for a diplomatic passport used during the time of Genghis Khan. For the album, the idea was to find, study and incorporate as much of Mongolia’s musical culture as they could into a rock style, says the band’s 52-year-old producer and songwriter, B. Dashdondog, who goes by “Dashka.”\u003c/p>\n\u003cp>Mongolian musical culture is tied up with their pastoral way of life. The two-stringed horsehead fiddle is shaped to resemble a horse and includes the carving of a horse head and strings and bow made of horsehair. It produces a sound similar to a violin and can be used to imitate the sound of a herd of horses. In throat singing, associated with pastoral herders in Central Asia, the singer produces a low constant sort of drone at the same time as a series of higher tones.\u003c/p>\n\u003cp>“We wanted to come up with our own thing that we can offer to this big music family. Make something new,” says Dashka, who spoke through a translator via Skype.\u003c/p>\n\u003cp>It is not just their instruments that incorporate traditional elements. In the band’s first song, “Yuve Yuve Yu” (What’s going on?), they mention Genghis Khan and how he was fated to bring nations together. The video begins with images of people inside playing video games, watching television and looking at their phones. A door is opened and the band’s four members step into different natural settings: cliffs, desert, forest and lake. The message they hope to convey through their lyrics and imagery is that people need to pay attention to nature and their history and culture, explains lead singer TS. Galbadrakh, known as “Gala,” 29.\u003c/p>\n\u003cp>[contextly_sidebar id=”s8PTLJLutxF2ttSG4KdvJ7OIWfAqSLW7″]\u003c/p>\n\u003cp>It is a familiar message to \u003ca href=\"https://www.anthropology.wisc.edu/staff/hutchins-kip/\">Kip Hutchins\u003c/a>, a doctoral student in cultural anthropology at the University of Wisconsin. Lines about neglecting their ancestors — like “taking our great Mongol ancestors names in vain” — are almost exactly what was sung in the late 1980s during the transition to democracy, says Hutchins. It was then that rock became popular as a form of political protest. Soon after, Mongolians started to form folk rock and folk jazz ensembles. Band members tended to be trained in conservatories on traditional instruments.\u003c/p>\n\u003cp>The four members of The Hu all learned to play traditional Mongolian instruments at the Mongolian State conservatory. The oldest in the group, G. Nyamjantsan, who goes by “Jaya,” 35, still teaches at the conservatory. N. Temuulen aka “Temka,” 28, who plays the Mongolian guitar, says their international popularity was something they expected — but not in the millions.\u003c/p>\n\u003cp>“When we do this, we try to spiritually express this beautiful thing about Mongolian music. We think we will talk to everyone’s soul through our music,” says Temka through a translator. “But we didn’t expect this fast, people just popping up everywhere.”\u003c/p>\n\u003cp>They aren’t quite sure how it happened. Hutchins has an idea. He believes part of the appeal of bands like The Hu is the way he believes the story of Mongolia has been written in the West. Nomadism and horse culture has been romanticized, and the emphasis on freedom and heroes tends to appeal to the stereotypical male heavy metal fan.\u003c/p>\n\u003cp>“There is a kind of exoticism to Mongolia,” says Hutchins. Mongolia “is at once a community and a culture that is part of Asia and Europe at the same time.”\u003c/p>\n\u003cp>The Hu is not the only Mongolian band that has attracted recent international attention. There is the folk rock band Altan Urag, whose music was featured in the 2007 film \u003cem>Mongol\u003c/em> and in the Netflix show \u003cem>Marco Polo,\u003c/em> and the Inner Mongolian Hanggai Band.\u003c/p>\n\u003cp>Ethnomusicologist Charlotte D’Evelyn sees The Hu as trying to bring back traditions while also modernizing. For her, it is as if the band is saying, “We’re still modern and we’re living in the modern world. But we’re using this music to revive some kind of nationalistic cultural identity.”\u003c/p>\n\u003cp>Hutchins puts it another way.\u003c/p>\n\u003cp>“The Hu is obviously interested in teaching a global community about Mongolian culture as much as they’re interested in creating something Mongol.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://katyacengel.com/\">Katya Cengel\u003c/a>\u003cem> is the author of \u003c/em>\u003ca href=\"https://www.amazon.com/Exiled-Killing-Fields-Cambodia-California-ebook/dp/B07C853GF9\">Exiled: From the Killing Fields of Cambodia to California and Back\u003cem>.\u003c/em>\u003c/a>\u003cem> She reported from Mongolia in 2017 on a fellowship from the \u003c/em>\u003ca href=\"https://internationalreportingproject.org/\">International Reporting Project (IRP)\u003c/a>\u003cem>. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/kcengel\">@kcengel\u003c/a>\u003cem>.\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=How+A+Mongolian+Heavy+Metal+Band+Got+Millions+Of+YouTube+Views&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A band from Mongolia that blends the screaming guitars of heavy metal and traditional Mongolian guttural singing has picked up 7 million views for its two videos.\u003c/p>\n\u003cp>Leather jackets, skull rings and bandannas alongside intricately carved Mongolian horsehead fiddles are just some of the images in the first two music videos the Mongolian band The Hu released on YouTube this fall. Excited listeners from around the globe have posted comments like: “This makes me want to ride a horse and shoot people with a bow” and “This sounds like ancient mongol rock of 1000 b.c. Really badass!” (sic)\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/v4xZUr0BEfE'\n title='//www.youtube.com/embed/v4xZUr0BEfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And yet what The Hu is doing, while new, comes out of a tradition that began several decades ago when Mongolia transitioned from a satellite of the Soviet Union to a democracy.\u003c/p>\n\u003cp>As the Soviet Union crumbled and Western influence flooded in during the late 1980s and early 1990s, Mongolian musicians chose to preserve Mongolian culture while also adapting new influences, explains University of Chicago ethnomusicology doctoral student \u003ca href=\"http://chicago.academia.edu/ThaleaStokes\">Thalea Stokes.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is something they continue to do today, says Stokes, who spoke via Skype from Inner Mongolia where she is studying Mongolian hip-hop. That hip-hop scene has a similar background. Although hip-hop is a relatively new import, Mongolians have rapidly adapted it, mixing “fierce ethnic pride and adventurous dancing” with social and political critique, according to Stokes’ research.\u003c/p>\n\u003cp>“Mongolians are not just taking elements from Western music and just copying and pasting,” says Stokes. Instead, they’re using some of these elements and making their own authentic music.\u003c/p>\n\u003cp>“So it’s not rock music performed by Mongolians. It’s Mongolian rock music,” she says.\u003c/p>\n\u003cp>Mongolian rock combines traditional Mongolian instruments, like a horsehead fiddle (\u003cem>morin khuur\u003c/em>), Jew’s harp (\u003cem>tumur khuur\u003c/em>) and Mongolian guitar (\u003cem>tovshuur\u003c/em>) with the pounding bass and drums of rock.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It also involves singing in a guttural way known as throat singing while throwing heads back and forth reminiscent of the headbanging of ’80s heavy metal bands like Metallica. Those who study Mongolian music believe one reason The Hu has proved so popular with outsiders is this combining of modern and historical and Eastern and Western elements.\u003c/p>\n\u003cp>The Hu call their style “hunnu rock” — from the Mongolian root word for human being: “hu.” The band spent seven years putting together its first album, which it expects to release this spring. They plan to call it \u003cem>Gereg\u003c/em>, the name for a diplomatic passport used during the time of Genghis Khan. For the album, the idea was to find, study and incorporate as much of Mongolia’s musical culture as they could into a rock style, says the band’s 52-year-old producer and songwriter, B. Dashdondog, who goes by “Dashka.”\u003c/p>\n\u003cp>Mongolian musical culture is tied up with their pastoral way of life. The two-stringed horsehead fiddle is shaped to resemble a horse and includes the carving of a horse head and strings and bow made of horsehair. It produces a sound similar to a violin and can be used to imitate the sound of a herd of horses. In throat singing, associated with pastoral herders in Central Asia, the singer produces a low constant sort of drone at the same time as a series of higher tones.\u003c/p>\n\u003cp>“We wanted to come up with our own thing that we can offer to this big music family. Make something new,” says Dashka, who spoke through a translator via Skype.\u003c/p>\n\u003cp>It is not just their instruments that incorporate traditional elements. In the band’s first song, “Yuve Yuve Yu” (What’s going on?), they mention Genghis Khan and how he was fated to bring nations together. The video begins with images of people inside playing video games, watching television and looking at their phones. A door is opened and the band’s four members step into different natural settings: cliffs, desert, forest and lake. The message they hope to convey through their lyrics and imagery is that people need to pay attention to nature and their history and culture, explains lead singer TS. Galbadrakh, known as “Gala,” 29.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It is a familiar message to \u003ca href=\"https://www.anthropology.wisc.edu/staff/hutchins-kip/\">Kip Hutchins\u003c/a>, a doctoral student in cultural anthropology at the University of Wisconsin. Lines about neglecting their ancestors — like “taking our great Mongol ancestors names in vain” — are almost exactly what was sung in the late 1980s during the transition to democracy, says Hutchins. It was then that rock became popular as a form of political protest. Soon after, Mongolians started to form folk rock and folk jazz ensembles. Band members tended to be trained in conservatories on traditional instruments.\u003c/p>\n\u003cp>The four members of The Hu all learned to play traditional Mongolian instruments at the Mongolian State conservatory. The oldest in the group, G. Nyamjantsan, who goes by “Jaya,” 35, still teaches at the conservatory. N. Temuulen aka “Temka,” 28, who plays the Mongolian guitar, says their international popularity was something they expected — but not in the millions.\u003c/p>\n\u003cp>“When we do this, we try to spiritually express this beautiful thing about Mongolian music. We think we will talk to everyone’s soul through our music,” says Temka through a translator. “But we didn’t expect this fast, people just popping up everywhere.”\u003c/p>\n\u003cp>They aren’t quite sure how it happened. Hutchins has an idea. He believes part of the appeal of bands like The Hu is the way he believes the story of Mongolia has been written in the West. Nomadism and horse culture has been romanticized, and the emphasis on freedom and heroes tends to appeal to the stereotypical male heavy metal fan.\u003c/p>\n\u003cp>“There is a kind of exoticism to Mongolia,” says Hutchins. Mongolia “is at once a community and a culture that is part of Asia and Europe at the same time.”\u003c/p>\n\u003cp>The Hu is not the only Mongolian band that has attracted recent international attention. There is the folk rock band Altan Urag, whose music was featured in the 2007 film \u003cem>Mongol\u003c/em> and in the Netflix show \u003cem>Marco Polo,\u003c/em> and the Inner Mongolian Hanggai Band.\u003c/p>\n\u003cp>Ethnomusicologist Charlotte D’Evelyn sees The Hu as trying to bring back traditions while also modernizing. For her, it is as if the band is saying, “We’re still modern and we’re living in the modern world. But we’re using this music to revive some kind of nationalistic cultural identity.”\u003c/p>\n\u003cp>Hutchins puts it another way.\u003c/p>\n\u003cp>“The Hu is obviously interested in teaching a global community about Mongolian culture as much as they’re interested in creating something Mongol.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://katyacengel.com/\">Katya Cengel\u003c/a>\u003cem> is the author of \u003c/em>\u003ca href=\"https://www.amazon.com/Exiled-Killing-Fields-Cambodia-California-ebook/dp/B07C853GF9\">Exiled: From the Killing Fields of Cambodia to California and Back\u003cem>.\u003c/em>\u003c/a>\u003cem> She reported from Mongolia in 2017 on a fellowship from the \u003c/em>\u003ca href=\"https://internationalreportingproject.org/\">International Reporting Project (IRP)\u003c/a>\u003cem>. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/kcengel\">@kcengel\u003c/a>\u003cem>.\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=How+A+Mongolian+Heavy+Metal+Band+Got+Millions+Of+YouTube+Views&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In Newly Found Audio, A Forgotten Civil Rights Leader Says Coming Out 'Was An Absolute Necessity'",
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"content": "\u003cp>He was an adviser to Martin Luther King Jr. and the organizer behind the 1963 March on Washington.\u003c/p>\n\u003cp>Still, Bayard Rustin’s legacy as a leading figure in the civil rights movement is little known today, even among many history buffs and within the LGBTQ community. His homosexuality cost him that visibility and was considered by some as a hindrance to the movement’s success.\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/682598649/682715013\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Rustin died in 1987, but his silenced voice was recently resurrected in \u003ca href=\"https://makinggayhistory.com/podcast/season-4-introduction/\">previously unaired audio\u003c/a> from an interview with the \u003cem>Washington\u003c/em> \u003cem>Blade \u003c/em>in the mid-1980s. The audio will air this week in an episode of the podcast \u003cem>Making Gay History. \u003c/em>It was discovered by Sara Burningham, the podcast’s executive producer.\u003c/p>\n\u003cp>Rustin was the target of homophobic attacks, and as he discusses in the interview, he was sidelined by other black leaders at key moments during a movement he helped steer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At a given point, there was so much pressure on Dr. King about my being gay and particularly because I would not deny it, that he set up a committee to explore whether it would be dangerous for me to continue working with him,” Rustin says to the \u003cem>Blade \u003c/em>in the interview.\u003c/p>\n\u003cp>[contextly_sidebar id=”hzLlHIbd09nh9IFBFaKCFJT2U6JpEtnn”]\u003c/p>\n\u003cp>He conceded, but as Eric Marcus, the host of \u003cem>Making Gay History,\u003c/em> tells NPR’s Michel Martin, Rustin kept working for the cause. In the face of constant setbacks and discrimination, Marcus says, Rustin’s commitment prevailed, a quality Marcus attributes to his Quaker upbringing.\u003c/p>\n\u003cp>The rare tape was provided by Rustin’s surviving partner, \u003ca href=\"https://www.npr.org/2015/06/28/418187875/long-before-same-sex-marriage-adopted-son-could-mean-life-partner\">Walter Naegle\u003c/a>, who preserved a library of backup recordings. Those recordings have helped foster a better understanding of the gay icon — one that Marcus concedes was absent from his civil rights education.\u003c/p>\n\u003cp>“I feel like I was robbed of my history as a gay person,” Marcus says. “Growing up, if I’d known known about someone like him, it would’ve been transformative.”\u003c/p>\n\u003cp>Marcus finds it inspiring that Rustin was open about his sexuality at a time when being gay was still considered dangerous. His arrest record included protesting and charges related to his homosexuality.\u003c/p>\n\u003cp>[contextly_sidebar id=”tKctfKFZvzQLhPuzb6Z3CZtS1amEO3kp”]\u003c/p>\n\u003cp>“Even though he had an arrest record because he was caught in the backseat of a car with two men in 1953 in California and then jailed for two months, he still managed to be a key figure in the black civil rights movement and organized the march on Washington,” Marcus says.\u003c/p>\n\u003cp>Despite the risks, Rustin felt it was his responsibility to be open about his sexuality. He traces that duty back to an experience he had as a black man in the 1940s Jim Crow South, when he took his place at the back of a segregated bus.\u003c/p>\n\u003cp>“As I was going by the second seat to go to the rear, a white child reached out for the ring necktie I was wearing and pulled it,” he recalled in the newly released audio. “Whereupon its mother said, ‘Don’t touch a n*****.’ ”\u003c/p>\n\u003cp>As Rustin tells it, here’s what ran through his mind in that moment after the white woman called him the slur: “If I go and sit quietly at the back of that bus now, that child, who was so innocent of race relations that it was going to play with me, will have seen so many blacks go in the back and sit down quietly that it’s going to end up saying, ‘They like it back there, I’ve never seen anybody protest against it.’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”qrKTc33LyLZ3qw1ZMkYV1TZzdVpi4afP”]\u003c/p>\n\u003cp>Instead, he saw this moment as an opportunity, and an obligation, to disrupt what he saw as the inheritance of a prejudiced education in practice.\u003c/p>\n\u003cp>“I owe it to that child,” he told himself, “that it should be educated to know that blacks do not want to sit in the back, and therefore I should get arrested, letting all these white people in the bus know that I do not accept that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To Rustin, asserting his identity as an African-American went hand-in-hand with identifying as a gay man. “It occurred to me shortly after that that it was an absolute necessity for me to declare homosexuality, because if I didn’t I was a part of the prejudice,” he said. “I was aiding and abetting the prejudice that was a part of the effort to destroy me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. 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"content": "\u003cp>Maybe you need a little bit of juice to get your New Year’s resolutions going. If that’s the case, \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> has just the thing. The Minneapolis rapper/flutist/meme legend continues her winning streak of sing-songy, funk-heavy rap with her latest single “Juice” and yet another meme-worthy music video to match.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lizzo - Juice (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XaCrQL_8eMY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the Quinn Wilson-directed visual, Lizzo takes cues from assorted bits of ’80s nostalgia — Jane Fonda workout tapes, \u003ca href=\"https://www.youtube.com/watch?v=irFrB5LMRkM\">Soul Glo\u003c/a> commercials from \u003cem>Coming to America,\u003c/em> QVC infomercials — and shades them with her singular, life-affirming zeal. But unlike, say, the \u003ca href=\"https://www.npr.org/2018/10/11/656568210/every-single-90s-reference-in-charli-xcx-troye-sivan-s-1999-video\">time-warped reminiscing\u003c/a> of Charli XCX and Troye Sivan, Lizzo finds a way to dust some modern-day magic into the otherwise-retro video. She pays a small nod to ASMR queen Spirit Payton, better known on YouTube as \u003ca href=\"https://www.youtube.com/watch?v=GUUAu_aiaVw\">ASMRTheChew\u003c/a>.\u003c/p>\n\u003cp>Keeping with the infomercial theme, the end of the video directs the viewer to \u003ca href=\"http://blameitonmyjuice.com/\">blameitonthejuice.com\u003c/a>, which leads to a cartooned microsite housing all of Lizzo’s awesome visuals to date, and says to allow three to six weeks for delivery. Is this a timeline for Lizzo’s 2019 domination?\u003c/p>\n\u003cp>“The juice ain’t worth the squeeze if the juice don’t look like this,” Lizzo sings in the second verse. If we can muster up even a few drops of her fresh-squeezed, self-loving braggadocio to carry us all the way through the year, we should be all right.\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=Lizzo+Serves+Up+Some+Fresh-Pressed%2C+%2780s-Inspired+%27Juice%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe you need a little bit of juice to get your New Year’s resolutions going. If that’s the case, \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> has just the thing. The Minneapolis rapper/flutist/meme legend continues her winning streak of sing-songy, funk-heavy rap with her latest single “Juice” and yet another meme-worthy music video to match.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lizzo - Juice (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XaCrQL_8eMY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the Quinn Wilson-directed visual, Lizzo takes cues from assorted bits of ’80s nostalgia — Jane Fonda workout tapes, \u003ca href=\"https://www.youtube.com/watch?v=irFrB5LMRkM\">Soul Glo\u003c/a> commercials from \u003cem>Coming to America,\u003c/em> QVC infomercials — and shades them with her singular, life-affirming zeal. But unlike, say, the \u003ca href=\"https://www.npr.org/2018/10/11/656568210/every-single-90s-reference-in-charli-xcx-troye-sivan-s-1999-video\">time-warped reminiscing\u003c/a> of Charli XCX and Troye Sivan, Lizzo finds a way to dust some modern-day magic into the otherwise-retro video. She pays a small nod to ASMR queen Spirit Payton, better known on YouTube as \u003ca href=\"https://www.youtube.com/watch?v=GUUAu_aiaVw\">ASMRTheChew\u003c/a>.\u003c/p>\n\u003cp>Keeping with the infomercial theme, the end of the video directs the viewer to \u003ca href=\"http://blameitonmyjuice.com/\">blameitonthejuice.com\u003c/a>, which leads to a cartooned microsite housing all of Lizzo’s awesome visuals to date, and says to allow three to six weeks for delivery. Is this a timeline for Lizzo’s 2019 domination?\u003c/p>\n\u003cp>“The juice ain’t worth the squeeze if the juice don’t look like this,” Lizzo sings in the second verse. If we can muster up even a few drops of her fresh-squeezed, self-loving braggadocio to carry us all the way through the year, we should be all right.\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=Lizzo+Serves+Up+Some+Fresh-Pressed%2C+%2780s-Inspired+%27Juice%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the early-to-mid 2000s, mainstream horror was dominated by series like \u003cem>Saw\u003c/em>, \u003cem>Hostel\u003c/em>, and \u003cem>Final Destination\u003c/em>, each telling stories of torture and mechanized death that mostly repulsed critics, but reflected the darkening mood of the country more than other studio films dared. Look past their can-you-top-this grisliness and they tap into the common fear that young people have no control over their own destiny, that they’ve given themselves over to some faceless, malevolent force that’s really pulling the strings. When the haunted-house cycle eventually took over, starting with \u003cem>Paranormal Activity\u003c/em>, at least there was the possibility of expelling demons from your life. But for a few years, audiences were freaked out by their own sense of powerlessness. \u003c/p>\n\u003cp>\u003cem>Escape Room\u003c/em> is a throwback without the bite, a bloodless PG-13 thriller that recalls the mechanized horror trend while sanding off its serrated edges. Blowing up the brainteaser video games like \u003cem>Myst\u003c/em> and real-life escape games, the film has new fears to evoke — like surveillance and the corporate plundering of our most personal secrets — but it’s mostly about picking off the players one by one. It imagines the world as a high-tech death trap and dutifully sets about thinning the herd. \u003c/p>\n\u003cp>https://youtu.be/6dSKUoV0SNI\u003c/p>\n\u003cp>Taking a page or two — or most of the script, really — from David Fincher’s \u003cem>The Game\u003c/em>, \u003cem>Escape Room\u003c/em> invites six strangers to an immersive adventure conducted by a mysterious company with seemingly limitless resources. And as with Michael Douglas’ hero in the Fincher film, the game is offered as a gift to relieve them from the stress that dominates their lives. If any of them make it through the maze successfully, they win a cool $10,000, but just the experience itself stands to be a benefit to people who are anxious to get out of their heads for a few hours. Who are they to question an Escheresque box of dubious origin? \u003c/p>\n\u003cp>Leading a neo-\u003cem>Breakfast Club\u003c/em> of flavorless stereotypes — a slick businessman (Jay Ellis), a war veteran (Deborah Ann Woll), a coal miner (Tyler Labine), a mega-nerd (Nik Dodani), and a wage drone (Logan Miller) — Taylor Russell stars as Zoey, a shy college student who geeks out over scientific theory, but mostly keeps to herself. Her professor encourages her to take some chances and do something uncomfortable over Thanksgiving break and she obliges by accepting the escape room invitation. When she and the others gather together in the waiting room, they quickly discover that they’re not only already in the game, but they’re playing for life-or-death stakes. Those hidden codes and keys will not merely advance them to the next challenge, but prevent them from, say, succumbing to hypothermia or dropping through a collapsed floor or getting burned alive. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s the tiniest sliver of wit to Dodani’s character, an escape room savant who keeps on believing the mortal threats are part of the staging — “It’s really immersive!,” he declares — but \u003cem>Game Night\u003c/em> this isn’t. There’s a serious agenda at play here, grounded in the tediously rendered traumas that haunt each member of the group via flashback at various stages. Their personal histories have been harvested by their hosts and an experience has been tailored to their specific vulnerabilities. Call it Facebook horror. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If it can be called horror at all. Director Adam Robitel, who kicked off last year’s opening weekend with \u003cem>Insidious: The Last Key\u003c/em>, tries to give each room its own visual and logistical quirks, like a bar where the ceiling is the floor or a frozen lake where the temperature keeps dropping. But they all have essentially the same flavor, with the surviving characters scrambling desperately to figure out whatever riddles and combination locks will get them to the next set of riddles and combination locks. Even at higher stakes, these puzzles are only compelling to the solvers. It’s no fun to look over their shoulders.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early-to-mid 2000s, mainstream horror was dominated by series like \u003cem>Saw\u003c/em>, \u003cem>Hostel\u003c/em>, and \u003cem>Final Destination\u003c/em>, each telling stories of torture and mechanized death that mostly repulsed critics, but reflected the darkening mood of the country more than other studio films dared. Look past their can-you-top-this grisliness and they tap into the common fear that young people have no control over their own destiny, that they’ve given themselves over to some faceless, malevolent force that’s really pulling the strings. When the haunted-house cycle eventually took over, starting with \u003cem>Paranormal Activity\u003c/em>, at least there was the possibility of expelling demons from your life. But for a few years, audiences were freaked out by their own sense of powerlessness. \u003c/p>\n\u003cp>\u003cem>Escape Room\u003c/em> is a throwback without the bite, a bloodless PG-13 thriller that recalls the mechanized horror trend while sanding off its serrated edges. Blowing up the brainteaser video games like \u003cem>Myst\u003c/em> and real-life escape games, the film has new fears to evoke — like surveillance and the corporate plundering of our most personal secrets — but it’s mostly about picking off the players one by one. It imagines the world as a high-tech death trap and dutifully sets about thinning the herd. \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/6dSKUoV0SNI'\n title='//www.youtube.com/embed/6dSKUoV0SNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Taking a page or two — or most of the script, really — from David Fincher’s \u003cem>The Game\u003c/em>, \u003cem>Escape Room\u003c/em> invites six strangers to an immersive adventure conducted by a mysterious company with seemingly limitless resources. And as with Michael Douglas’ hero in the Fincher film, the game is offered as a gift to relieve them from the stress that dominates their lives. If any of them make it through the maze successfully, they win a cool $10,000, but just the experience itself stands to be a benefit to people who are anxious to get out of their heads for a few hours. Who are they to question an Escheresque box of dubious origin? \u003c/p>\n\u003cp>Leading a neo-\u003cem>Breakfast Club\u003c/em> of flavorless stereotypes — a slick businessman (Jay Ellis), a war veteran (Deborah Ann Woll), a coal miner (Tyler Labine), a mega-nerd (Nik Dodani), and a wage drone (Logan Miller) — Taylor Russell stars as Zoey, a shy college student who geeks out over scientific theory, but mostly keeps to herself. Her professor encourages her to take some chances and do something uncomfortable over Thanksgiving break and she obliges by accepting the escape room invitation. When she and the others gather together in the waiting room, they quickly discover that they’re not only already in the game, but they’re playing for life-or-death stakes. Those hidden codes and keys will not merely advance them to the next challenge, but prevent them from, say, succumbing to hypothermia or dropping through a collapsed floor or getting burned alive. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s the tiniest sliver of wit to Dodani’s character, an escape room savant who keeps on believing the mortal threats are part of the staging — “It’s really immersive!,” he declares — but \u003cem>Game Night\u003c/em> this isn’t. There’s a serious agenda at play here, grounded in the tediously rendered traumas that haunt each member of the group via flashback at various stages. Their personal histories have been harvested by their hosts and an experience has been tailored to their specific vulnerabilities. Call it Facebook horror. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If it can be called horror at all. Director Adam Robitel, who kicked off last year’s opening weekend with \u003cem>Insidious: The Last Key\u003c/em>, tries to give each room its own visual and logistical quirks, like a bar where the ceiling is the floor or a frozen lake where the temperature keeps dropping. But they all have essentially the same flavor, with the surviving characters scrambling desperately to figure out whatever riddles and combination locks will get them to the next set of riddles and combination locks. Even at higher stakes, these puzzles are only compelling to the solvers. It’s no fun to look over their shoulders.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1968, \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones \u003c/a>were at the top of their game. Aretha Franklin released two great records. \u003ca href=\"https://www.npr.org/artists/15420606/the-kinks\">The Kinks\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\">Van Morrison\u003c/a> put out some of their best work, too.\u003c/p>\n\u003cp>One of the most tumultuous years of the 20th century also produced some of its greatest popular music. And it’s not just baby boomers who are nostalgic for the sounds of their youth: Even to people born decades later, the music of 1968 stands out.\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/681227625/681287015\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“There’s this kind of blossoming in what was possible,” says \u003ca href=\"https://www.npr.org/artists/128065995/meg-baird\">Meg Baird\u003c/a>, a singer and musician who performs under her own name and in the band \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\">Heron Oblivion\u003c/a>. She lives in San Francisco, the city that nurtured a flowering of psychedelic rock bands half a century ago, including Quicksilver Messenger Service, \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”hi7lYwEpOEAdzR2MqfAMR6P1QQ9qOKRv”]\u003c/p>\n\u003cp>“I really don’t know what was the magic formula,” Baird says. But she’s not the only who’d like to recapture it. “I think everybody is always trying to go back there, to be honest.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe part of the fascination is hearing musicians trying to break free from the industry’s formulas. “There was a cookie-cutter aspect to most pop music at the time,” says John Simon, an in-demand producer during the 1960s and author of the 2018 book \u003cem>Truth, Lies & Hearsay: A Memoir of a Musical Life In & Out Of Rock and Roll\u003c/em>. “People wanted to make hits,” he says.\u003c/p>\n\u003cp>[contextly_sidebar id=”nnyx0Rrk26ilOHaBEmZXUwU64Zk7yxkL”]\u003c/p>\n\u003cp>By 1968, that was changing. The world outside of the recording studio was in upheaval. And musicians wanted to capture of the spirit of what was going on.\u003c/p>\n\u003cp>“I realized that I was part of the rebellion, and not part of the establishment,” says Simon, who earned a degree in music from Princeton University before getting a staff job at Columbia Records. “Part of being the rebellion is, you could rebel musically in the studio. You didn’t have to be as formulaic as in the past.”\u003c/p>\n\u003cp>John Simon worked on some of the most acclaimed albums of 1968, including \u003cem>Bookends\u003c/em> by \u003ca href=\"https://www.npr.org/artists/98847896/simon-garfunkel\">Simon & Garfunkel\u003c/a>. He produced \u003cem>Cheap Thrills\u003c/em> by Big Brother & the Holding Company — the record that introduced \u003ca href=\"https://www.npr.org/artists/15394826/janis-joplin\">Janis Joplin\u003c/a> to a wide audience.\u003c/p>\n\u003cp>[contextly_sidebar id=”TQWMJtTK2qs5Bu4tjU8iXIGckkWRfoCM”]\u003c/p>\n\u003cp>And he produced the first record by a group of musicians who were best known for backing up \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>. He remembers the first time he heard the demos that became \u003cem>Music from Big Pink\u003c/em> by The Band.\u003c/p>\n\u003cp>“What I heard was just great. It was just so different,” Simon says. “The forms were different, the instrumentation was different, the attitudes. And so I said, yeah, count me in.”\u003c/p>\n\u003cp>The Band recorded live in the center of the studio, trying to recreate the magic of the basement of “Big Pink,” the house in the Hudson Valley where they’d spent much of the last year honing their material. They knocked out almost half of the album in a day, while other bands spent hours obsessing over a single track.\u003c/p>\n\u003cp>But no one pushed the recording studio — or the electric guitar — further than \u003ca href=\"https://www.npr.org/artists/15696782/jimi-hendrix\">Jimi Hendrix\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”Z1UPm5PLzDNyQbToK3tY0vKpIc5nsp3Y”]\u003c/p>\n\u003cp>“Nobody had recorded guitar sounds like that,” says \u003ca href=\"https://www.npr.org/artists/17089989/vernon-reid/about-npr/183726490/awards\">Vernon Reid\u003c/a>, founder and guitarist of the band \u003ca href=\"https://www.npr.org/artists/15680696/living-colour\">Living Colour\u003c/a>. “No one had made sounds like that in the studio.”\u003c/p>\n\u003cp>When Hendrix started out, he was a sideman who was supposed to play second fiddle to others. “He played in rock and roll and R&B bands where the lead singer was the was the king,” Reid says. “He got fired all the time.”\u003c/p>\n\u003cp>But Hendrix’s very first album of his own was a Top 10 hit. So in 1968, he was free to pursue the sounds in his head on a groundbreaking double album called \u003cem>Electric Ladyland\u003c/em> that brought together blues and R&B with jazz and space rock.\u003c/p>\n\u003cp>“He took this notion of freedom seriously,” Reid says. “He was one of the great musical liberators.”\u003c/p>\n\u003cp>Sometimes the musical rebellion of 1968 was about sonic abstraction. Sometimes, it was more direct.\u003c/p>\n\u003cp>[contextly_sidebar id=”pO3kTlIFvu3TygHfg5oU8avvn02oiTsi”]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15316566/james-brown\">James Brown\u003c/a> recorded the song “Say It Loud — I’m Black and I’m Proud” in August of 1968. Saxophone player and bandleader Pee Wee Ellis co-wrote the song. He says it was Brown’s idea to bring in a bunch of neighborhood kids to sing the chorus.\u003c/p>\n\u003cp>“Their part was very simple,” Ellis recalls. “All they had to say was, ‘I’m black and I’m proud.’ It was done in one take.”\u003c/p>\n\u003cp>Ellis says audiences across the country learned their part quickly, too. The band recorded the song in Los Angeles, and played a gig at New York’s Apollo Theater a few weeks later.\u003c/p>\n\u003cp>“James Brown came on stage and said, ‘Say it loud!’ And the whole entire audience said, ‘I’m black and I’m proud,’ ” Ellis says. “That gave me goosebumps.”\u003c/p>\n\u003cp>So why does the music of 1968 still give audiences goosebumps half a century later?\u003c/p>\n\u003cp>[contextly_sidebar id=”wVi9mCobBvKoU5HhG7X0SmfiZXXMCRub”]\u003c/p>\n\u003cp>“People were making music they wanted to be make,” says Meg Baird. One of her favorite records of 1968 is not on many top-10 lists from that year. It’s a double album — half live, half studio — by the British folk-jazz band Pentangle, called \u003cem>Sweet Child\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can feel how fun it must be to be in that band,” Baird says. “They’re so good, and the way they’re playing together, it gets shared with the listener and the audience. This is music that was meant to be heard in a hall. It’s not meant to be in a rock club, or a folk club. It was allowed to be art.”\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=Why+Is+The+Music+Of+1968+So+Enduring%3F+%27It+Was+Allowed+To+Be+Art%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Half a century later, 1968 continues to resonate as a landmark year for rock, pop and soul — in part, say musicians who were there in the studio, because artists were trying things no one had before.",
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"title": "Why Is The Music Of 1968 So Enduring? 'It Was Allowed To Be Art' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1968, \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones \u003c/a>were at the top of their game. Aretha Franklin released two great records. \u003ca href=\"https://www.npr.org/artists/15420606/the-kinks\">The Kinks\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\">Van Morrison\u003c/a> put out some of their best work, too.\u003c/p>\n\u003cp>One of the most tumultuous years of the 20th century also produced some of its greatest popular music. And it’s not just baby boomers who are nostalgic for the sounds of their youth: Even to people born decades later, the music of 1968 stands out.\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/681227625/681287015\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“There’s this kind of blossoming in what was possible,” says \u003ca href=\"https://www.npr.org/artists/128065995/meg-baird\">Meg Baird\u003c/a>, a singer and musician who performs under her own name and in the band \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\">Heron Oblivion\u003c/a>. She lives in San Francisco, the city that nurtured a flowering of psychedelic rock bands half a century ago, including Quicksilver Messenger Service, \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I really don’t know what was the magic formula,” Baird says. But she’s not the only who’d like to recapture it. “I think everybody is always trying to go back there, to be honest.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe part of the fascination is hearing musicians trying to break free from the industry’s formulas. “There was a cookie-cutter aspect to most pop music at the time,” says John Simon, an in-demand producer during the 1960s and author of the 2018 book \u003cem>Truth, Lies & Hearsay: A Memoir of a Musical Life In & Out Of Rock and Roll\u003c/em>. “People wanted to make hits,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>By 1968, that was changing. The world outside of the recording studio was in upheaval. And musicians wanted to capture of the spirit of what was going on.\u003c/p>\n\u003cp>“I realized that I was part of the rebellion, and not part of the establishment,” says Simon, who earned a degree in music from Princeton University before getting a staff job at Columbia Records. “Part of being the rebellion is, you could rebel musically in the studio. You didn’t have to be as formulaic as in the past.”\u003c/p>\n\u003cp>John Simon worked on some of the most acclaimed albums of 1968, including \u003cem>Bookends\u003c/em> by \u003ca href=\"https://www.npr.org/artists/98847896/simon-garfunkel\">Simon & Garfunkel\u003c/a>. He produced \u003cem>Cheap Thrills\u003c/em> by Big Brother & the Holding Company — the record that introduced \u003ca href=\"https://www.npr.org/artists/15394826/janis-joplin\">Janis Joplin\u003c/a> to a wide audience.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And he produced the first record by a group of musicians who were best known for backing up \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>. He remembers the first time he heard the demos that became \u003cem>Music from Big Pink\u003c/em> by The Band.\u003c/p>\n\u003cp>“What I heard was just great. It was just so different,” Simon says. “The forms were different, the instrumentation was different, the attitudes. And so I said, yeah, count me in.”\u003c/p>\n\u003cp>The Band recorded live in the center of the studio, trying to recreate the magic of the basement of “Big Pink,” the house in the Hudson Valley where they’d spent much of the last year honing their material. They knocked out almost half of the album in a day, while other bands spent hours obsessing over a single track.\u003c/p>\n\u003cp>But no one pushed the recording studio — or the electric guitar — further than \u003ca href=\"https://www.npr.org/artists/15696782/jimi-hendrix\">Jimi Hendrix\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Nobody had recorded guitar sounds like that,” says \u003ca href=\"https://www.npr.org/artists/17089989/vernon-reid/about-npr/183726490/awards\">Vernon Reid\u003c/a>, founder and guitarist of the band \u003ca href=\"https://www.npr.org/artists/15680696/living-colour\">Living Colour\u003c/a>. “No one had made sounds like that in the studio.”\u003c/p>\n\u003cp>When Hendrix started out, he was a sideman who was supposed to play second fiddle to others. “He played in rock and roll and R&B bands where the lead singer was the was the king,” Reid says. “He got fired all the time.”\u003c/p>\n\u003cp>But Hendrix’s very first album of his own was a Top 10 hit. So in 1968, he was free to pursue the sounds in his head on a groundbreaking double album called \u003cem>Electric Ladyland\u003c/em> that brought together blues and R&B with jazz and space rock.\u003c/p>\n\u003cp>“He took this notion of freedom seriously,” Reid says. “He was one of the great musical liberators.”\u003c/p>\n\u003cp>Sometimes the musical rebellion of 1968 was about sonic abstraction. Sometimes, it was more direct.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15316566/james-brown\">James Brown\u003c/a> recorded the song “Say It Loud — I’m Black and I’m Proud” in August of 1968. Saxophone player and bandleader Pee Wee Ellis co-wrote the song. He says it was Brown’s idea to bring in a bunch of neighborhood kids to sing the chorus.\u003c/p>\n\u003cp>“Their part was very simple,” Ellis recalls. “All they had to say was, ‘I’m black and I’m proud.’ It was done in one take.”\u003c/p>\n\u003cp>Ellis says audiences across the country learned their part quickly, too. The band recorded the song in Los Angeles, and played a gig at New York’s Apollo Theater a few weeks later.\u003c/p>\n\u003cp>“James Brown came on stage and said, ‘Say it loud!’ And the whole entire audience said, ‘I’m black and I’m proud,’ ” Ellis says. “That gave me goosebumps.”\u003c/p>\n\u003cp>So why does the music of 1968 still give audiences goosebumps half a century later?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“People were making music they wanted to be make,” says Meg Baird. One of her favorite records of 1968 is not on many top-10 lists from that year. It’s a double album — half live, half studio — by the British folk-jazz band Pentangle, called \u003cem>Sweet Child\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can feel how fun it must be to be in that band,” Baird says. “They’re so good, and the way they’re playing together, it gets shared with the listener and the audience. This is music that was meant to be heard in a hall. It’s not meant to be in a rock club, or a folk club. It was allowed to be art.”\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=Why+Is+The+Music+Of+1968+So+Enduring%3F+%27It+Was+Allowed+To+Be+Art%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Aretha's Bridge",
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"content": "\u003cp>If one way of understanding gospel music is to trace its emergence in the midst of the African-American Great Migration — from south to north, from rural areas to urban regions, from agrarian culture to industrialization, then so too can we hear Aretha Franklin traveling miles and miles in her luminous cover of Simon and Garfunkel’s “Bridge Over Troubled Water.” With each magnetic pass that she took through this song, we can hear Queen Re mediating the gospel space between traditional spirituals and blues-inflected musicality, bringing the Holy sounds of her Baptist upbringing closer to the secularized lyrics of folk hero Paul Simon.\u003c/p>\n\u003cp>In her extraordinary live performances of this track which she first performed on the Grammys telecast in 1971, Aretha Franklin \u003cem>becomes\u003c/em> a bridge, phantasmagorically elasticizing the wondrous instrument that is her vocal body across musical genres — soul, gospel, folk. Most remarkable was how she drew out the deep spiritual grooves of Simon’s “Bridge” in March of that year at concert promoter Bill Graham’s Fillmore West, a rock and roll palace where Hendrix’s psychedelia and Grateful Dead jam band bacchanalia had been flourishing since 1968. Resplendent in her flowing, earth-toned gown and a supremely Haight-Ashbury slouchy hat, she took a seat at the piano and became the first African-American woman artist to headline a concert event at the venue, home of the “long hairs” as some would refer to it.\u003c/p>\n\u003cp>[contextly_sidebar id=”NP2k2sRmZaUEykroiK5ox8yGTnIQTXN5″]\u003c/p>\n\u003cp>The journey that Aretha takes us on this song is one in which she wraps her arms around an ode to deeply enduring friendship and solidarity in times of trial. This was a moment too in which she also tapped into the traces of songwriter Paul Simon’s love of gospel greats the Swan Silvertones and their own re-reading of the spiritual “Mary Don’t You Weep,” itself a tune that folds together Old and New Testament tales of exodus and re-birth. It was a tale she surely knew well, as the daughter of legendary preacher C.L. Franklin, and she invoked all that knowledge to mine the “Bridge” for its many cultural and spiritual resonances. Along the way, just as she did with Otis Redding’s “Respect,” she made it all her own.\u003c/p>\n\u003cp>Like fellow Detroiter Diana Ross, Aretha makes a bid to “reach out and touch somebody’s hand” across an ocean of ardent, colorful tie-dye clad fans. And in doing so, those Fillmore West performances — released just a few months later as her second live album — became instantly historic in that they assert the multiracial and cross-gender possibilities of early 1970s rock and roll counterculture that so often went unrealized. As she stretches herself out in the lyrics of the song, the Queen laid the ground for making deep well statements about the politics of trust and coalition building in the face of historical uncertainty, as black liberation changed its pace and tenor, as the anti-war effort grew evermore dire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over three sold out nights, Aretha Franklin would play in the round with King Curtis and the Kingpins, one of the tightest rhythm sections other than James Brown’s JBs, setting off each evening on her own distinct version of Simon and Garfunkel’s “Bridge Over Troubled Water,” a song that marked what turned out to be a crucial period of her transformation as a musician.\u003c/p>\n\u003cp>https://youtu.be/7IExZv-mgrw\u003c/p>\n\u003cp>“Go ahead ‘Retha!” The adoring crowd embraces Aretha the vocalist and pianist as she hails her powerhouse band, a group featuring late great Curtis Ousley on saxophone and the convivial Billy Preston sitting in as guest player at the organ. “Play Billy!” Aretha calls out to her fellow musician as her incandescent cover slowly unfolds, as she wades ever so gracefully into still waters that run deep, as she moves gently and yet fearlessly into the center of Preston’s thick, bright, atmospheric keyboard universe flanked by her backup singers, the Sweethearts of Soul.\u003c/p>\n\u003cp>Aretha’s vocals radiate with the effulgent heat and the ethereal energy of the gospel tradition as she worries lines, improvises impassioned moans and carefully, elegantly puts to use a thing called the melisma, the artful, spiritually-rooted technique of stringing a series of notes together in one syllable so as to stretch out one’s vocal phrasing.\u003c/p>\n\u003cp>Hanging on words, pulling out phrases and turning them over and over so as to wring them for multiple meanings, Aretha here lets us know, without breaking a sweat, that she is still the innovator who birthed a brand of soul music that made spectacularly audible existential and spiritual self-discovery and affirmation, all at the site of her virtuosic vocalization. The philosophical intelligence of her musical phrasing and narrative interpretation set a new standard of excellence in pop music.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“When you’re down and out / When you look up and see yourself on the street / When evening falls so hard / I’ll be there to comfort you / I’ll take your part / I’ll take it when darkness comes / And there’s no one you love around.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Aretha the conduit. Aretha the medium. Aretha the surrogate figure for the masses. She was, especially at this point in her career, between 1971-1973 (called by critics, her “artistically mature period”), a kind of performer who was able to “shap[e] her intimacies with the skill of a dramatist,” as Ann Powers has beautifully put it. Like a great “method actor” who slips into the specific landscape of a particular song to fully inhabit it, Aretha both disappears into the emotional terrain of her “bridge” and unveils a protagonist who expresses herself in the most intense emotive registers.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“Don’t trouble the water… Why don’t ya just let it be”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Yes, there are rumors that Simon wrote “Bridge Over Troubled Water” “for Aretha” or “with Aretha in mind.” All speculation, but certainly we can hear the ways that the song would operate as a crossroads in her career, a prescient recording that would forecast her historic transition, her own personal and professional bridge from pop superstardom \u003cem>back\u003c/em> to fully immersing herself in the music of the church.\u003c/p>\n\u003cp>“Bridge Over Troubled Water” is, after all, a gateway song — not simply a cover of a gorgeously wrought proclamation of harmony, intimacy and understanding shared between two New York City folkies — but a song that reaches back to a gospel classic which, in turn, draws its inspiration from the Bible.\u003c/p>\n\u003cp>https://youtu.be/lMvFKpqnsWU\u003c/p>\n\u003cp>Listen carefully to the Swan Silvertones’ classic version of “Mary Don’t You Weep,” and one hears the famous line that would inspire Paul Simon to write a song about a bridge as wells as the seeds from Exodus that inspired that line.\u003c/p>\n\u003cp>“Mary Don’t You Weep” gives us the story, from the Gospel of John, of Mary of Bethany, a woman who, along with her sister Martha, mourns over the death of her brother Lazarus. When Jesus arrives at their house, he meets with both sisters. Before raising their brother to new life, he instructs Martha to draw on hope and faith. To Mary he offers added counsel and addresses her tears: “When Jesus saw her weeping, and the Jews who had come along with her also weeping, he was deeply moved in spirit and troubled.”\u003c/p>\n\u003cp>So sing the Swan Silvertones: \u003cem>“Oh Mary don’t you weep. Tell Martha not to moan.”\u003c/em>\u003c/p>\n\u003cp>“Mary Don’t You Weep” started out as a Negro spiritual, entrusted in the 20th century to the likes of the Fisk Jubilee Singers to deliver the Good Word to the segregated masses, and it is a song that has subsequently been picked up by artists as varied as Pete Seeger, Nat King Cole, Bruce Springsteen, Aaron Neville and Take 6 throughout the 20th century .\u003c/p>\n\u003cp>As Aaron Cohen points out in his book on Aretha’s \u003cem>Amazing Grace\u003c/em>, the version that would seemingly have the most overt impact on her is the 1958 recording \u003ca href=\"https://www.youtube.com/watch?v=c5UDBf9Q2bc\">by The Caravans\u003c/a>, the phenomenally influential gospel group of the ’50s and ’60s, founded by Albertine Walker and a launching pad for a run of future superstars of the genre: Shirley Caesar, James Cleveland and Inez Andrews to name but a few.\u003c/p>\n\u003cp>But the Swan Silvertones’ version from 1959 is the only one that features the marvelous lead singer Claude Jeter’s forthright interpolation: “I’ll be a bridge over deep water if you trust in my name.” It was a line that would stick with Paul Simon and one with roots to the greatest escape tale of all time.\u003c/p>\n\u003cp>Sings Jeter, \u003cem>“Pharoah’s Army got drowned in the sea, but Jesus said Mary, your little sister Martha don’t have to moan …. Now can I get a witness.”\u003c/em>\u003c/p>\n\u003cp>The Swan Silvertones version of “Mary Don’t You Weep” folds into its musical story the narrative of Exodus, one of the most famous passages in all of the Bible — when Moses, led by the Lord, saw the Israelites out of slavery in Egypt.\u003c/p>\n\u003cp>“Mary Don’t You Weep” bridges this holy miracle into the story of Jesus raising Lazarus from the dead in the Gospel of John. In doing so, it is a song that testifies to the wonder of heavenly power to comfort, to protect and to revive mortal souls.\u003c/p>\n\u003cp>\u003cem>“I’ll be a bridge over deep water if you trust in my name.” \u003c/em>Jeter’s line recalls the second half of the Exodus passage when the Israelites traveled for three days, battling heat and sun, thirsting for water. With their faith tested, as the tale goes, the “people grumbled against Moses, saying, ‘What are we to drink?’ And the Lord turned bitter water into the sweetest of drink, assuring the people that ‘I am the LORD, who heals you.'”\u003c/p>\n\u003cp>Many people remember this passage from Exodus (with or without the Cecil B. DeMille special effects from the \u003cem>Ten Commandments \u003c/em>film) because of the way that it so spectacularly showcases the might and power of the Almighty, bringing the waters of the Red Sea over Pharaoh’s army, turning bitter water into the sweetest of drink.\u003c/p>\n\u003cp>Oft-overlooked yet just as crucial to the Israelites deliverance are the women on hand who witness and musically testify to the extraordinary turn of events in their midst:\u003c/p>\n\u003cblockquote>\u003cp>“Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: ‘Sing to the LORD, for he is highly exalted. The horse and its rider he has hurled into the sea.'”\u003c/p>\u003c/blockquote>\n\u003cp>Like a bridge, Miriam and the women repeat in song this hallowed flight to freedom. With a “joyful noise,” their voices reanimate the “rock on which Moses stood” to “lead the Hebrew children through.” They are the ones who, like those sisters at the close of Toni Morrison’s \u003cem>Beloved\u003c/em>, “buil[d] voice upon voice until they found it, and when they did it was a wave of sound wide enough to sound deep water and knock the pods off chestnut trees.”\u003c/p>\n\u003cp>We might think of how Aretha picks up the frequency of Claude Jeter singing “I’ll be your bridge over deep water if you trust my name,” so crystal clear that Paul Simon can hear his truth. And it’s she who can hear Miriam and the women’s truth as well as they amplify it, sustain it, make it manifest using “the right combination, the key, the code….”\u003c/p>\n\u003cp>Aretha the code breaker sings through this history, and she also ultimately re-centers that history in a legacy of black women’s agency and conviction.\u003c/p>\n\u003cp>As Cohen reminds, it is Inez Andrews’ “bluesy vamp and original sermonette about Lazarus rising from the tune” in The Caravans’ version of “Mary Don’t You Weep” that Aretha would potently bring to life during the historic \u003cem>Grace\u003c/em> recordings at New Temple Missionary Baptist Church, some nine months after her Fillmore concerts. In that epic, earth-shaking performance, we hear the voice of a black woman actively folding together into one the sacred, secular and sonic histories of the black radical tradition and reminding us of the woman-centered foundations of that tradition. On “Mary,” Aretha follows the road that she’d set for herself on a bridge and carries the congregation through the storm.\u003c/p>\n\u003cp>https://youtu.be/KA84TNAGWJM\u003c/p>\n\u003cp>This is paradigmatic soul at the apex of masterful storytelling. Worth recognizing then, that if in soul performance the very of-this-earth James Brown would make famous the line “take it to the bridge” — an emphatic way of egging his band on and signaling his own virtuosic ability to carry a song from the verse to the chorus to the climax — if in these moments James Brown was announcing his gift of stamina, fierce performative determination, improvisation, and ingenuity, we hear all of this on Aretha Franklin’s \u003cem>Amazing Grace\u003c/em> as well.\u003c/p>\n\u003cp>In Aretha’s stunning performance of “Mary,” alone, we hear Motor City black Baptist royalty meeting New York City Jewish folkie Simon, and we hear Simon meeting Kentucky-born coal miner turned gospel great Jeter. We hear her carrying both men back to Alabama gospel role model Inez Andrews in song, melding together the spiritual and the worldly, Old and New Testament tales of perseverance and faith. We hear her responding to the call made by Miriam, summoning those old school Biblical women’s sonic circuits of energy, and channeling and translating Inez and Paul and Claude.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“I’ll be your bridge over deep water if you trust my name.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>The larger lesson for me in that tiny verse in \u003cem>Exodus\u003c/em> and its various rippling echoes in The Caravans and the Swan Silvertones’ versions of “Mary,” rolling on through Aretha’s “Bridge” and on into her own \u003cem>Amazing Grace\u003c/em> performance is that Aretha Franklin is calling out to us to respond and bear witness to the foundations of her soul music revolution. Her music will forever hold the potential to bring the richest array of peoples together in a kind of humanist collectivity that, at its core, celebrates the sound of black womanhood as a site for radical social, spiritual and philosophical possibilities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No time like now to take that bridge once more.\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=Aretha%27s+Bridge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If one way of understanding gospel music is to trace its emergence in the midst of the African-American Great Migration — from south to north, from rural areas to urban regions, from agrarian culture to industrialization, then so too can we hear Aretha Franklin traveling miles and miles in her luminous cover of Simon and Garfunkel’s “Bridge Over Troubled Water.” With each magnetic pass that she took through this song, we can hear Queen Re mediating the gospel space between traditional spirituals and blues-inflected musicality, bringing the Holy sounds of her Baptist upbringing closer to the secularized lyrics of folk hero Paul Simon.\u003c/p>\n\u003cp>In her extraordinary live performances of this track which she first performed on the Grammys telecast in 1971, Aretha Franklin \u003cem>becomes\u003c/em> a bridge, phantasmagorically elasticizing the wondrous instrument that is her vocal body across musical genres — soul, gospel, folk. Most remarkable was how she drew out the deep spiritual grooves of Simon’s “Bridge” in March of that year at concert promoter Bill Graham’s Fillmore West, a rock and roll palace where Hendrix’s psychedelia and Grateful Dead jam band bacchanalia had been flourishing since 1968. Resplendent in her flowing, earth-toned gown and a supremely Haight-Ashbury slouchy hat, she took a seat at the piano and became the first African-American woman artist to headline a concert event at the venue, home of the “long hairs” as some would refer to it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The journey that Aretha takes us on this song is one in which she wraps her arms around an ode to deeply enduring friendship and solidarity in times of trial. This was a moment too in which she also tapped into the traces of songwriter Paul Simon’s love of gospel greats the Swan Silvertones and their own re-reading of the spiritual “Mary Don’t You Weep,” itself a tune that folds together Old and New Testament tales of exodus and re-birth. It was a tale she surely knew well, as the daughter of legendary preacher C.L. Franklin, and she invoked all that knowledge to mine the “Bridge” for its many cultural and spiritual resonances. Along the way, just as she did with Otis Redding’s “Respect,” she made it all her own.\u003c/p>\n\u003cp>Like fellow Detroiter Diana Ross, Aretha makes a bid to “reach out and touch somebody’s hand” across an ocean of ardent, colorful tie-dye clad fans. And in doing so, those Fillmore West performances — released just a few months later as her second live album — became instantly historic in that they assert the multiracial and cross-gender possibilities of early 1970s rock and roll counterculture that so often went unrealized. As she stretches herself out in the lyrics of the song, the Queen laid the ground for making deep well statements about the politics of trust and coalition building in the face of historical uncertainty, as black liberation changed its pace and tenor, as the anti-war effort grew evermore dire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over three sold out nights, Aretha Franklin would play in the round with King Curtis and the Kingpins, one of the tightest rhythm sections other than James Brown’s JBs, setting off each evening on her own distinct version of Simon and Garfunkel’s “Bridge Over Troubled Water,” a song that marked what turned out to be a crucial period of her transformation as a musician.\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/7IExZv-mgrw'\n title='//www.youtube.com/embed/7IExZv-mgrw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Go ahead ‘Retha!” The adoring crowd embraces Aretha the vocalist and pianist as she hails her powerhouse band, a group featuring late great Curtis Ousley on saxophone and the convivial Billy Preston sitting in as guest player at the organ. “Play Billy!” Aretha calls out to her fellow musician as her incandescent cover slowly unfolds, as she wades ever so gracefully into still waters that run deep, as she moves gently and yet fearlessly into the center of Preston’s thick, bright, atmospheric keyboard universe flanked by her backup singers, the Sweethearts of Soul.\u003c/p>\n\u003cp>Aretha’s vocals radiate with the effulgent heat and the ethereal energy of the gospel tradition as she worries lines, improvises impassioned moans and carefully, elegantly puts to use a thing called the melisma, the artful, spiritually-rooted technique of stringing a series of notes together in one syllable so as to stretch out one’s vocal phrasing.\u003c/p>\n\u003cp>Hanging on words, pulling out phrases and turning them over and over so as to wring them for multiple meanings, Aretha here lets us know, without breaking a sweat, that she is still the innovator who birthed a brand of soul music that made spectacularly audible existential and spiritual self-discovery and affirmation, all at the site of her virtuosic vocalization. The philosophical intelligence of her musical phrasing and narrative interpretation set a new standard of excellence in pop music.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“When you’re down and out / When you look up and see yourself on the street / When evening falls so hard / I’ll be there to comfort you / I’ll take your part / I’ll take it when darkness comes / And there’s no one you love around.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Aretha the conduit. Aretha the medium. Aretha the surrogate figure for the masses. She was, especially at this point in her career, between 1971-1973 (called by critics, her “artistically mature period”), a kind of performer who was able to “shap[e] her intimacies with the skill of a dramatist,” as Ann Powers has beautifully put it. Like a great “method actor” who slips into the specific landscape of a particular song to fully inhabit it, Aretha both disappears into the emotional terrain of her “bridge” and unveils a protagonist who expresses herself in the most intense emotive registers.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“Don’t trouble the water… Why don’t ya just let it be”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Yes, there are rumors that Simon wrote “Bridge Over Troubled Water” “for Aretha” or “with Aretha in mind.” All speculation, but certainly we can hear the ways that the song would operate as a crossroads in her career, a prescient recording that would forecast her historic transition, her own personal and professional bridge from pop superstardom \u003cem>back\u003c/em> to fully immersing herself in the music of the church.\u003c/p>\n\u003cp>“Bridge Over Troubled Water” is, after all, a gateway song — not simply a cover of a gorgeously wrought proclamation of harmony, intimacy and understanding shared between two New York City folkies — but a song that reaches back to a gospel classic which, in turn, draws its inspiration from the Bible.\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/lMvFKpqnsWU'\n title='//www.youtube.com/embed/lMvFKpqnsWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Listen carefully to the Swan Silvertones’ classic version of “Mary Don’t You Weep,” and one hears the famous line that would inspire Paul Simon to write a song about a bridge as wells as the seeds from Exodus that inspired that line.\u003c/p>\n\u003cp>“Mary Don’t You Weep” gives us the story, from the Gospel of John, of Mary of Bethany, a woman who, along with her sister Martha, mourns over the death of her brother Lazarus. When Jesus arrives at their house, he meets with both sisters. Before raising their brother to new life, he instructs Martha to draw on hope and faith. To Mary he offers added counsel and addresses her tears: “When Jesus saw her weeping, and the Jews who had come along with her also weeping, he was deeply moved in spirit and troubled.”\u003c/p>\n\u003cp>So sing the Swan Silvertones: \u003cem>“Oh Mary don’t you weep. Tell Martha not to moan.”\u003c/em>\u003c/p>\n\u003cp>“Mary Don’t You Weep” started out as a Negro spiritual, entrusted in the 20th century to the likes of the Fisk Jubilee Singers to deliver the Good Word to the segregated masses, and it is a song that has subsequently been picked up by artists as varied as Pete Seeger, Nat King Cole, Bruce Springsteen, Aaron Neville and Take 6 throughout the 20th century .\u003c/p>\n\u003cp>As Aaron Cohen points out in his book on Aretha’s \u003cem>Amazing Grace\u003c/em>, the version that would seemingly have the most overt impact on her is the 1958 recording \u003ca href=\"https://www.youtube.com/watch?v=c5UDBf9Q2bc\">by The Caravans\u003c/a>, the phenomenally influential gospel group of the ’50s and ’60s, founded by Albertine Walker and a launching pad for a run of future superstars of the genre: Shirley Caesar, James Cleveland and Inez Andrews to name but a few.\u003c/p>\n\u003cp>But the Swan Silvertones’ version from 1959 is the only one that features the marvelous lead singer Claude Jeter’s forthright interpolation: “I’ll be a bridge over deep water if you trust in my name.” It was a line that would stick with Paul Simon and one with roots to the greatest escape tale of all time.\u003c/p>\n\u003cp>Sings Jeter, \u003cem>“Pharoah’s Army got drowned in the sea, but Jesus said Mary, your little sister Martha don’t have to moan …. Now can I get a witness.”\u003c/em>\u003c/p>\n\u003cp>The Swan Silvertones version of “Mary Don’t You Weep” folds into its musical story the narrative of Exodus, one of the most famous passages in all of the Bible — when Moses, led by the Lord, saw the Israelites out of slavery in Egypt.\u003c/p>\n\u003cp>“Mary Don’t You Weep” bridges this holy miracle into the story of Jesus raising Lazarus from the dead in the Gospel of John. In doing so, it is a song that testifies to the wonder of heavenly power to comfort, to protect and to revive mortal souls.\u003c/p>\n\u003cp>\u003cem>“I’ll be a bridge over deep water if you trust in my name.” \u003c/em>Jeter’s line recalls the second half of the Exodus passage when the Israelites traveled for three days, battling heat and sun, thirsting for water. With their faith tested, as the tale goes, the “people grumbled against Moses, saying, ‘What are we to drink?’ And the Lord turned bitter water into the sweetest of drink, assuring the people that ‘I am the LORD, who heals you.'”\u003c/p>\n\u003cp>Many people remember this passage from Exodus (with or without the Cecil B. DeMille special effects from the \u003cem>Ten Commandments \u003c/em>film) because of the way that it so spectacularly showcases the might and power of the Almighty, bringing the waters of the Red Sea over Pharaoh’s army, turning bitter water into the sweetest of drink.\u003c/p>\n\u003cp>Oft-overlooked yet just as crucial to the Israelites deliverance are the women on hand who witness and musically testify to the extraordinary turn of events in their midst:\u003c/p>\n\u003cblockquote>\u003cp>“Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: ‘Sing to the LORD, for he is highly exalted. The horse and its rider he has hurled into the sea.'”\u003c/p>\u003c/blockquote>\n\u003cp>Like a bridge, Miriam and the women repeat in song this hallowed flight to freedom. With a “joyful noise,” their voices reanimate the “rock on which Moses stood” to “lead the Hebrew children through.” They are the ones who, like those sisters at the close of Toni Morrison’s \u003cem>Beloved\u003c/em>, “buil[d] voice upon voice until they found it, and when they did it was a wave of sound wide enough to sound deep water and knock the pods off chestnut trees.”\u003c/p>\n\u003cp>We might think of how Aretha picks up the frequency of Claude Jeter singing “I’ll be your bridge over deep water if you trust my name,” so crystal clear that Paul Simon can hear his truth. And it’s she who can hear Miriam and the women’s truth as well as they amplify it, sustain it, make it manifest using “the right combination, the key, the code….”\u003c/p>\n\u003cp>Aretha the code breaker sings through this history, and she also ultimately re-centers that history in a legacy of black women’s agency and conviction.\u003c/p>\n\u003cp>As Cohen reminds, it is Inez Andrews’ “bluesy vamp and original sermonette about Lazarus rising from the tune” in The Caravans’ version of “Mary Don’t You Weep” that Aretha would potently bring to life during the historic \u003cem>Grace\u003c/em> recordings at New Temple Missionary Baptist Church, some nine months after her Fillmore concerts. In that epic, earth-shaking performance, we hear the voice of a black woman actively folding together into one the sacred, secular and sonic histories of the black radical tradition and reminding us of the woman-centered foundations of that tradition. On “Mary,” Aretha follows the road that she’d set for herself on a bridge and carries the congregation through the storm.\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/KA84TNAGWJM'\n title='//www.youtube.com/embed/KA84TNAGWJM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is paradigmatic soul at the apex of masterful storytelling. Worth recognizing then, that if in soul performance the very of-this-earth James Brown would make famous the line “take it to the bridge” — an emphatic way of egging his band on and signaling his own virtuosic ability to carry a song from the verse to the chorus to the climax — if in these moments James Brown was announcing his gift of stamina, fierce performative determination, improvisation, and ingenuity, we hear all of this on Aretha Franklin’s \u003cem>Amazing Grace\u003c/em> as well.\u003c/p>\n\u003cp>In Aretha’s stunning performance of “Mary,” alone, we hear Motor City black Baptist royalty meeting New York City Jewish folkie Simon, and we hear Simon meeting Kentucky-born coal miner turned gospel great Jeter. We hear her carrying both men back to Alabama gospel role model Inez Andrews in song, melding together the spiritual and the worldly, Old and New Testament tales of perseverance and faith. We hear her responding to the call made by Miriam, summoning those old school Biblical women’s sonic circuits of energy, and channeling and translating Inez and Paul and Claude.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“I’ll be your bridge over deep water if you trust my name.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>The larger lesson for me in that tiny verse in \u003cem>Exodus\u003c/em> and its various rippling echoes in The Caravans and the Swan Silvertones’ versions of “Mary,” rolling on through Aretha’s “Bridge” and on into her own \u003cem>Amazing Grace\u003c/em> performance is that Aretha Franklin is calling out to us to respond and bear witness to the foundations of her soul music revolution. Her music will forever hold the potential to bring the richest array of peoples together in a kind of humanist collectivity that, at its core, celebrates the sound of black womanhood as a site for radical social, spiritual and philosophical possibilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No time like now to take that bridge once more.\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=Aretha%27s+Bridge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "channeling-the-pain-of-depression-into-photography-and-finding-you-are-not-alone",
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"content": "\u003cp>In a particularly difficult season of depression, photography was one of the tools \u003ca href=\"https://www.tarawray.net/\">Tara Wray\u003c/a> used to cope.\u003c/p>\n\u003cp>“Just forcing myself to get out of my head and using the camera to do that is, in a way, a therapeutic tool,” says Wray, a photographer and filmmaker based in central Vermont. “It’s like exercise: You don’t want to do it, you have to make yourself do it, and you feel better after you do.”\u003c/p>\n\u003cfigure id=\"attachment_13847888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-800x585.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-520x380.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>In July, she published \u003ca href=\"http://www.yoffypress.com/too-tired-for-sunshine/\">Too Tired for Sunshine\u003c/a>, a book of her photos from that period, taken between 2011 and 2018. Some of the images show a stark beauty, others a raw loneliness, and some capture hints that the world may be slightly off-kilter.\u003c/p>\n\u003cp>Photographically, Wray says she’s drawn to light, the honesty of dogs and “things that are humorous and maybe aren’t trying to be.” Making these images helped keep her buoyant.\u003c/p>\n\u003cfigure id=\"attachment_13847886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-800x599.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>Having a camera functions as “a sort of protection, a buffer that gives me a reason to be somewhere,” she says. “It helps me move through an environment with a purpose when I might otherwise feel out of place.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And, like exercise, photography provides a kind of release. “When I’ve made what I think is a good picture, I can feel it, and everything else momentarily falls away.”\u003c/p>\n\u003cp>Through creative expression, Wray says she’s able to focus her “ruminating or obsessing” into “something bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13847885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-800x540.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-768x518.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>“There were moments that I felt alone and isolated in a dark place, and I wondered if I would see the other side of it,” she says. “Photography has given me those moments back … I can now see them in a different light.”\u003c/p>\n\u003cp>At the same time, Wray stresses that photography isn’t her \u003cem>only \u003c/em>tool.\u003c/p>\n\u003cp>“You’ve gotta have a whole arsenal of things to deal with mental illness, and I try to do all the things I can to stay healthy,” she says, adding that she knows she is fortunate to have a supportive family and access to therapy, medication and good doctors.\u003c/p>\n\u003cfigure id=\"attachment_13847884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847884\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-800x600.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>Wray is a self-described introvert and private person. For her, taking the photos was one thing, but the decision to publish a book about her experience with mental illness was another.\u003c/p>\n\u003cp>“I question that all the time,” she says. But her belief in the importance of breaking a stigma won out.\u003c/p>\n\u003cp>“These are things you wouldn’t necessarily talk about with the other parents at pickup at school, but here I am putting everything out there,” says Wray. “I’m using my own sort of shame and fear of sharing this with others to encourage others, to say, ‘It’s OK to do it.’ … There’s nothing to be ashamed about.”\u003c/p>\n\u003cfigure id=\"attachment_13847882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-800x592.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-520x385.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>“The act of sharing a photo — of being seen and understood by others — probably matters more than I would like to admit,” she says.\u003c/p>\n\u003cp>That connection, it turned out, went both ways. People who saw the book reached out to Wray to share their excitement and their own photography. She had struck a chord.\u003c/p>\n\u003cp>“People would say, ‘I make work similarly,’ or ‘The camera is something I use as a tool,’ or ‘Would you take a look at this series that I made when I was going through this?’ ” Wray says.\u003c/p>\n\u003cp>A month after her book was published, Wray invited others to share their photography.\u003c/p>\n\u003cp>[contextly_sidebar id=”WfNbRppmh2sU9qobCx3ZqnyBne6LXToA”]\u003c/p>\n\u003cp>She started an Instagram account, \u003ca href=\"https://www.instagram.com/tootiredproject/\">@TooTiredProject\u003c/a>, “to help those struggling with depression by offering a place for collective creative expression,” and asked people to tag their images \u003ca href=\"https://www.instagram.com/explore/tags/tootiredproject/\">#TooTiredProject\u003c/a>.\u003c/p>\n\u003cp>One thing that surprised Wray was how many people have wanted to share their work — but didn’t know how or where to do it.\u003c/p>\n\u003cp>One photographer, Alison Crouse, says she had been working on a project, \u003ca href=\"https://www.instagram.com/devastationportraits/\">Devastation Portraits\u003c/a>, for years before Wray encouraged her to make it public.\u003c/p>\n\u003cp>“It feels like so much of the Internet is just small talk,” says Wray. “On the [Too Tired Project], people are going a little bit beyond that, and I think that’s a good place to be.”\u003c/p>\n\u003cp>[contextly_sidebar id=”CKvcvvKCkeSIhKz5DcPRSRXAplmP8LBa”]\u003c/p>\n\u003cp>The images are often accompanied by revealing captions that can be as striking as the photos themselves. Wray describes one such submission from photographer \u003ca href=\"https://www.instagram.com/filmnotdead/\">@Filmnotdead\u003c/a>.\u003c/p>\n\u003cp>She shared an image she made in bed, looking out at her son with a caption that reads: “Grateful I have people and animals who love me and depend upon me to get up every day. Still grieving my mother’s passing nearly 5 months later.”\u003c/p>\n\u003cp>Wray chokes up as she recalls it. “I can relate, Mama,” she says, “I’ve been there.”\u003c/p>\n\u003cp>She plans to continue sharing submissions on the account (she has received nearly 5,000 to date) and organizing meetups to foster community and connect people with mental health services through \u003ca href=\"https://openpathcollective.org/\">Open Path Psychotherapy Collective\u003c/a>, a nonprofit network that helps people find affordable care. The first meetup was in Santa Fe, N.M., in October, and there are more in the works. (Future events will announced at the \u003ca href=\"https://www.instagram.com/tootiredproject/\">Too Tired Project\u003c/a>.)\u003c/p>\n\u003cp>Ultimately, Wray plans to collaborate with \u003ca href=\"http://www.yoffypress.com/\">Yoffy Press\u003c/a>, the publisher of \u003cem>Too Tired for Sunshine, \u003c/em>to turn the Instagram submissions into a book, much like her own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But this time, the final product will feature multiple perspectives and experiences, driving home the epiphany she had after sharing her own images: “I’m not alone.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=Channeling+The+Pain+Of+Depression+Into+Photography%2C+And+Finding+You+Are+Not+Alone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Tara Wray's book \u003cem>Too Tired for Sunshine\u003c/em> is a collection of images she made while struggling with depression. The work struck a chord with others, who are now sharing their images in an online project.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a particularly difficult season of depression, photography was one of the tools \u003ca href=\"https://www.tarawray.net/\">Tara Wray\u003c/a> used to cope.\u003c/p>\n\u003cp>“Just forcing myself to get out of my head and using the camera to do that is, in a way, a therapeutic tool,” says Wray, a photographer and filmmaker based in central Vermont. “It’s like exercise: You don’t want to do it, you have to make yourself do it, and you feel better after you do.”\u003c/p>\n\u003cfigure id=\"attachment_13847888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-800x585.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-520x380.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>In July, she published \u003ca href=\"http://www.yoffypress.com/too-tired-for-sunshine/\">Too Tired for Sunshine\u003c/a>, a book of her photos from that period, taken between 2011 and 2018. Some of the images show a stark beauty, others a raw loneliness, and some capture hints that the world may be slightly off-kilter.\u003c/p>\n\u003cp>Photographically, Wray says she’s drawn to light, the honesty of dogs and “things that are humorous and maybe aren’t trying to be.” Making these images helped keep her buoyant.\u003c/p>\n\u003cfigure id=\"attachment_13847886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-800x599.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>Having a camera functions as “a sort of protection, a buffer that gives me a reason to be somewhere,” she says. “It helps me move through an environment with a purpose when I might otherwise feel out of place.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And, like exercise, photography provides a kind of release. “When I’ve made what I think is a good picture, I can feel it, and everything else momentarily falls away.”\u003c/p>\n\u003cp>Through creative expression, Wray says she’s able to focus her “ruminating or obsessing” into “something bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13847885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-800x540.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-768x518.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>“There were moments that I felt alone and isolated in a dark place, and I wondered if I would see the other side of it,” she says. “Photography has given me those moments back … I can now see them in a different light.”\u003c/p>\n\u003cp>At the same time, Wray stresses that photography isn’t her \u003cem>only \u003c/em>tool.\u003c/p>\n\u003cp>“You’ve gotta have a whole arsenal of things to deal with mental illness, and I try to do all the things I can to stay healthy,” she says, adding that she knows she is fortunate to have a supportive family and access to therapy, medication and good doctors.\u003c/p>\n\u003cfigure id=\"attachment_13847884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847884\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-800x600.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>Wray is a self-described introvert and private person. For her, taking the photos was one thing, but the decision to publish a book about her experience with mental illness was another.\u003c/p>\n\u003cp>“I question that all the time,” she says. But her belief in the importance of breaking a stigma won out.\u003c/p>\n\u003cp>“These are things you wouldn’t necessarily talk about with the other parents at pickup at school, but here I am putting everything out there,” says Wray. “I’m using my own sort of shame and fear of sharing this with others to encourage others, to say, ‘It’s OK to do it.’ … There’s nothing to be ashamed about.”\u003c/p>\n\u003cfigure id=\"attachment_13847882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-800x592.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-520x385.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>“The act of sharing a photo — of being seen and understood by others — probably matters more than I would like to admit,” she says.\u003c/p>\n\u003cp>That connection, it turned out, went both ways. People who saw the book reached out to Wray to share their excitement and their own photography. She had struck a chord.\u003c/p>\n\u003cp>“People would say, ‘I make work similarly,’ or ‘The camera is something I use as a tool,’ or ‘Would you take a look at this series that I made when I was going through this?’ ” Wray says.\u003c/p>\n\u003cp>A month after her book was published, Wray invited others to share their photography.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She started an Instagram account, \u003ca href=\"https://www.instagram.com/tootiredproject/\">@TooTiredProject\u003c/a>, “to help those struggling with depression by offering a place for collective creative expression,” and asked people to tag their images \u003ca href=\"https://www.instagram.com/explore/tags/tootiredproject/\">#TooTiredProject\u003c/a>.\u003c/p>\n\u003cp>One thing that surprised Wray was how many people have wanted to share their work — but didn’t know how or where to do it.\u003c/p>\n\u003cp>One photographer, Alison Crouse, says she had been working on a project, \u003ca href=\"https://www.instagram.com/devastationportraits/\">Devastation Portraits\u003c/a>, for years before Wray encouraged her to make it public.\u003c/p>\n\u003cp>“It feels like so much of the Internet is just small talk,” says Wray. “On the [Too Tired Project], people are going a little bit beyond that, and I think that’s a good place to be.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The images are often accompanied by revealing captions that can be as striking as the photos themselves. Wray describes one such submission from photographer \u003ca href=\"https://www.instagram.com/filmnotdead/\">@Filmnotdead\u003c/a>.\u003c/p>\n\u003cp>She shared an image she made in bed, looking out at her son with a caption that reads: “Grateful I have people and animals who love me and depend upon me to get up every day. Still grieving my mother’s passing nearly 5 months later.”\u003c/p>\n\u003cp>Wray chokes up as she recalls it. “I can relate, Mama,” she says, “I’ve been there.”\u003c/p>\n\u003cp>She plans to continue sharing submissions on the account (she has received nearly 5,000 to date) and organizing meetups to foster community and connect people with mental health services through \u003ca href=\"https://openpathcollective.org/\">Open Path Psychotherapy Collective\u003c/a>, a nonprofit network that helps people find affordable care. The first meetup was in Santa Fe, N.M., in October, and there are more in the works. (Future events will announced at the \u003ca href=\"https://www.instagram.com/tootiredproject/\">Too Tired Project\u003c/a>.)\u003c/p>\n\u003cp>Ultimately, Wray plans to collaborate with \u003ca href=\"http://www.yoffypress.com/\">Yoffy Press\u003c/a>, the publisher of \u003cem>Too Tired for Sunshine, \u003c/em>to turn the Instagram submissions into a book, much like her own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But this time, the final product will feature multiple perspectives and experiences, driving home the epiphany she had after sharing her own images: “I’m not alone.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=Channeling+The+Pain+Of+Depression+Into+Photography%2C+And+Finding+You+Are+Not+Alone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "janelle-monae-on-her-dirty-world-dominating-year",
"title": "Janelle Monáe On Her Dirty, World-Dominating Year",
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"headTitle": "Janelle Monáe On Her Dirty, World-Dominating Year | KQED",
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"content": "\u003cp>It has been a very big year for \u003ca href=\"https://www.npr.org/artists/126833375/janelle-mon-e\">Janelle Monáe\u003c/a>.\u003c/p>\n\u003cp>She was named trailblazer of the year at \u003cem>Billboard\u003c/em>‘s Women in Music awards, woman of the year by \u003cem>Glamour\u003c/em>. She came out as pansexual in a sprawling \u003cem>Rolling Stone\u003c/em> cover story. And her album \u003ca href=\"https://www.npr.org/sections/allsongs/2018/04/27/606066039/janelle-mon-e-strips-the-hardware-for-humanity\">\u003cem>Dirty Computer\u003c/em>\u003c/a>, released this spring with a companion film — sorry, “emotion picture” — is Grammy-nominated for album of the year and can be found on practically every major list of the best albums of 2018, including ours.\u003c/p>\n\u003cp>[contextly_sidebar id=”8tVKPU6hLeXFgLhpAlKGK6SUj63pWcvU”]\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> was named NPR Music’s \u003ca href=\"https://www.npr.org/2018/12/04/671242319/the-50-best-albums-of-2018-page-5\">No. 1 album of 2018\u003c/a>, in part because of its message. As one staffer wrote, the songs take place in “a vivid dystopian world where anyone deemed ‘dirty’ is hunted and chemically lobotomized, or ‘cleaned.’ In this totalitarian world of Dirty Computers, not unlike the divisive reality of 2018, nonconformity can spell extinction if you don’t fight back. With every guitar riff, every interlude, every moment of loving, queer affection, Monáe fights.”\u003c/p>\n\u003cp>Janelle Monáe joined NPR’s Ailsa Chang from the Atlanta studios of her entertainment company, Wondaland Arts Society (whose film division recently entered into a production agreement with Universal), to talk about her process, her plans and why \u003cem>Dirty Computer\u003c/em> could only have been written now. Hear the radio version at the audio link, and read on for highlights — including some moments that didn’t make the broadcast.\u003c/p>\n\u003cp>[ad fullwidth]\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/678450755/679237341\" 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 what \u003c/strong>\u003cem>\u003cstrong>Dirty Computer\u003c/strong>\u003c/em>\u003cstrong> reveals about her career\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> was supposed to be the album that came out before my first album, \u003cem>The ArchAndroid\u003c/em>, [but] I felt like I needed to live more. It started to really make itself once I got my mind and my spirit fearless enough to dig deep and have conversations with myself.\u003c/p>\n\u003cp>One of the things that I felt was happening was, I was writing music only when I felt great. It was like, you go into the studio, and I want to go in when my heart is clear, when I know what I want to say. I got to point where it was crippling me, this idea of perfectionism, and it stopped me from writing for a minute. And what I decided to do was take some time. So when I wrote this album, it wasn’t about perfection. It was about the imperfections. It was about embracing all those things that make you unique, even if it makes your own self uncomfortable.\u003c/p>\n\u003cp>\u003cstrong>On the song “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zmG0LAbcmuM\">\u003cstrong>So Afraid\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/zmG0LAbcmuM\u003c/p>\n\u003cp>For me it was about my love and hate relationship with this country. I love being American, I love being born here and having roots here. But there are some really evil things that have happened and continue to happen. And it speaks to being afraid of forgiving. I think of being hurt again, or being manipulated, or not fully standing my ground. And forgiving myself, also — you know, it’s two parts. It’s about being able to love yourself through it all, being able to love where you are right now, and to give yourself permission to forgive yourself when you make mistakes, when you let other people down.\u003c/p>\n\u003cp>\u003cstrong>On the story told in the album’s structure\u003c/strong>\u003c/p>\n\u003cp>The album is broken up into three parts. The first few songs represent the reckoning — reckoning with what it means to be called a n***** for the first time by a white person, or being called a b**** for the first time by a man. And then you have the middle section, where “\u003ca href=\"https://www.youtube.com/watch?v=PaYvlVR_BEc\">Pynk\u003c/a>” falls in, and songs like “\u003ca href=\"https://www.youtube.com/watch?v=tGRzz0oqgUE\">Make Me Feel\u003c/a>,” that are celebratory of sexuality and of womanness. The latter part of the album deals with the reclamation: A song like “\u003ca href=\"https://www.youtube.com/watch?v=POZNheF-KdY\">Americans\u003c/a>” is about reclaiming what it means to be an American. My ancestors helped build the White House, helped build this country. And it’s not time to run away, it’s time to stand your ground and confront what I call the great divide — those who seek to divide us and highlight all our differences and make us fearful of each other.\u003c/p>\n\u003cp>\u003cstrong>On the mission of her film company, Wondaland Pictures\u003c/strong>\u003c/p>\n\u003cp>There’s so many stories out there. If I look at a \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\">\u003cem>Moonlight \u003c/em>\u003c/a>\u003cem>—\u003c/em> a movie that I was extremely excited about being a part of — having a young, gay, black boy highlighted in the way that \u003cem>Moonlight \u003c/em>highlighted his voice and story, I’d never seen in cinema. Even with \u003ca href=\"https://www.npr.org/sections/13.7/2017/02/08/514048864/math-to-the-stars-the-ladies-of-hidden-figures\">\u003cem>Hidden Figures\u003c/em>\u003c/a>\u003cem>,\u003c/em> another film that I was really honored to be a part of, I didn’t have any idea about those women who helped get John Glenn into orbit, or the human computers who were doing all the numbers that it took to get our astronauts into space. So I’m just looking for those unique stories. There are a lot of other people that I respect and admire, like Issa Rae and Lena Waithe and Jordan Peele, who are who are also pushing forward underrepresented voices. I just hope, and Wondaland hopes, to continue to push culture forward and and redefine how we are viewed. I want to make movies the dirty computers can feel proud of.\u003c/p>\n\u003cp>\u003cstrong>On being Janelle Monáe in 2018\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It feels like when you get off from school early in the first grade and your grandmother takes you to get ice cream, and you eat ice cream all night and you don’t have a tummy ache, and then you get to go to the amusement park all by yourself. It’s unexplainable, but it’s very humbling — that word keeps popping up in my mind, and in my heart.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=Janelle+Mon%C3%A1e+On+Her+Dirty%2C+World-Dominating+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has been a very big year for \u003ca href=\"https://www.npr.org/artists/126833375/janelle-mon-e\">Janelle Monáe\u003c/a>.\u003c/p>\n\u003cp>She was named trailblazer of the year at \u003cem>Billboard\u003c/em>‘s Women in Music awards, woman of the year by \u003cem>Glamour\u003c/em>. She came out as pansexual in a sprawling \u003cem>Rolling Stone\u003c/em> cover story. And her album \u003ca href=\"https://www.npr.org/sections/allsongs/2018/04/27/606066039/janelle-mon-e-strips-the-hardware-for-humanity\">\u003cem>Dirty Computer\u003c/em>\u003c/a>, released this spring with a companion film — sorry, “emotion picture” — is Grammy-nominated for album of the year and can be found on practically every major list of the best albums of 2018, including ours.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> was named NPR Music’s \u003ca href=\"https://www.npr.org/2018/12/04/671242319/the-50-best-albums-of-2018-page-5\">No. 1 album of 2018\u003c/a>, in part because of its message. As one staffer wrote, the songs take place in “a vivid dystopian world where anyone deemed ‘dirty’ is hunted and chemically lobotomized, or ‘cleaned.’ In this totalitarian world of Dirty Computers, not unlike the divisive reality of 2018, nonconformity can spell extinction if you don’t fight back. With every guitar riff, every interlude, every moment of loving, queer affection, Monáe fights.”\u003c/p>\n\u003cp>Janelle Monáe joined NPR’s Ailsa Chang from the Atlanta studios of her entertainment company, Wondaland Arts Society (whose film division recently entered into a production agreement with Universal), to talk about her process, her plans and why \u003cem>Dirty Computer\u003c/em> could only have been written now. Hear the radio version at the audio link, and read on for highlights — including some moments that didn’t make the broadcast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/678450755/679237341\" 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 what \u003c/strong>\u003cem>\u003cstrong>Dirty Computer\u003c/strong>\u003c/em>\u003cstrong> reveals about her career\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> was supposed to be the album that came out before my first album, \u003cem>The ArchAndroid\u003c/em>, [but] I felt like I needed to live more. It started to really make itself once I got my mind and my spirit fearless enough to dig deep and have conversations with myself.\u003c/p>\n\u003cp>One of the things that I felt was happening was, I was writing music only when I felt great. It was like, you go into the studio, and I want to go in when my heart is clear, when I know what I want to say. I got to point where it was crippling me, this idea of perfectionism, and it stopped me from writing for a minute. And what I decided to do was take some time. So when I wrote this album, it wasn’t about perfection. It was about the imperfections. It was about embracing all those things that make you unique, even if it makes your own self uncomfortable.\u003c/p>\n\u003cp>\u003cstrong>On the song “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zmG0LAbcmuM\">\u003cstrong>So Afraid\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/zmG0LAbcmuM'\n title='//www.youtube.com/embed/zmG0LAbcmuM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For me it was about my love and hate relationship with this country. I love being American, I love being born here and having roots here. But there are some really evil things that have happened and continue to happen. And it speaks to being afraid of forgiving. I think of being hurt again, or being manipulated, or not fully standing my ground. And forgiving myself, also — you know, it’s two parts. It’s about being able to love yourself through it all, being able to love where you are right now, and to give yourself permission to forgive yourself when you make mistakes, when you let other people down.\u003c/p>\n\u003cp>\u003cstrong>On the story told in the album’s structure\u003c/strong>\u003c/p>\n\u003cp>The album is broken up into three parts. The first few songs represent the reckoning — reckoning with what it means to be called a n***** for the first time by a white person, or being called a b**** for the first time by a man. And then you have the middle section, where “\u003ca href=\"https://www.youtube.com/watch?v=PaYvlVR_BEc\">Pynk\u003c/a>” falls in, and songs like “\u003ca href=\"https://www.youtube.com/watch?v=tGRzz0oqgUE\">Make Me Feel\u003c/a>,” that are celebratory of sexuality and of womanness. The latter part of the album deals with the reclamation: A song like “\u003ca href=\"https://www.youtube.com/watch?v=POZNheF-KdY\">Americans\u003c/a>” is about reclaiming what it means to be an American. My ancestors helped build the White House, helped build this country. And it’s not time to run away, it’s time to stand your ground and confront what I call the great divide — those who seek to divide us and highlight all our differences and make us fearful of each other.\u003c/p>\n\u003cp>\u003cstrong>On the mission of her film company, Wondaland Pictures\u003c/strong>\u003c/p>\n\u003cp>There’s so many stories out there. If I look at a \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\">\u003cem>Moonlight \u003c/em>\u003c/a>\u003cem>—\u003c/em> a movie that I was extremely excited about being a part of — having a young, gay, black boy highlighted in the way that \u003cem>Moonlight \u003c/em>highlighted his voice and story, I’d never seen in cinema. Even with \u003ca href=\"https://www.npr.org/sections/13.7/2017/02/08/514048864/math-to-the-stars-the-ladies-of-hidden-figures\">\u003cem>Hidden Figures\u003c/em>\u003c/a>\u003cem>,\u003c/em> another film that I was really honored to be a part of, I didn’t have any idea about those women who helped get John Glenn into orbit, or the human computers who were doing all the numbers that it took to get our astronauts into space. So I’m just looking for those unique stories. There are a lot of other people that I respect and admire, like Issa Rae and Lena Waithe and Jordan Peele, who are who are also pushing forward underrepresented voices. I just hope, and Wondaland hopes, to continue to push culture forward and and redefine how we are viewed. I want to make movies the dirty computers can feel proud of.\u003c/p>\n\u003cp>\u003cstrong>On being Janelle Monáe in 2018\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It feels like when you get off from school early in the first grade and your grandmother takes you to get ice cream, and you eat ice cream all night and you don’t have a tummy ache, and then you get to go to the amusement park all by yourself. It’s unexplainable, but it’s very humbling — that word keeps popping up in my mind, and in my heart.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=Janelle+Mon%C3%A1e+On+Her+Dirty%2C+World-Dominating+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "hip-hop-deserves-that-respect-honoring-the-notorious-b-i-g-wu-tang-clan-in-nyc",
"title": "'Hip-Hop Deserves That Respect': Honoring The Notorious B.I.G., Wu-Tang Clan In NYC",
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"headTitle": "‘Hip-Hop Deserves That Respect’: Honoring The Notorious B.I.G., Wu-Tang Clan In NYC | KQED",
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"content": "\u003cp>In one of its final acts of 2018, the New York City Council unanimously voted to name two streets after some of the city’s most legendary offspring: The Notorious B.I.G. (who was born Christopher Wallace) and Wu-Tang Clan.\u003c/p>\n\u003cp>Pending Mayor Bill de Blasio’s signature, Christopher Wallace Way would be located in Brooklyn and the Wu-Tang Clan District would be in Staten Island. The two naming initiatives were among dozens the council approved on Dec. 20, which also included streets to honor singer Woody Guthrie and poet Audre Lorde.\u003c/p>\n\u003cp>[contextly_sidebar id=”c94twHpYaF7reY50N9dYCnN6PviXgxqW”]\u003c/p>\n\u003cp>LeRoy McCarthy, a longtime New York City resident, led the naming effort to recognize the \u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\">Notorious B.I.G.\u003c/a>, who died in 1997, and \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">Wu-Tang Clan\u003c/a>. He tells NPR’s \u003cem>Morning Edition\u003c/em> he was inspired after reading a book on Wallace’s life and in 2013, began trying to convince city officials to create Christopher Wallace Way.\u003c/p>\n\u003cp>Official government recognition for hip-hop’s greats is long overdue, McCarthy says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a certain sense of dismissal for hip hop historically… they think it’s not worthy of being recognized of the recognition that you would give to classical music or jazz or rock and roll,” McCarthy says. “Hip-hop deserves that respect.”\u003c/p>\n\u003cp>[contextly_sidebar id=”cDnlVeMgAiiQ11zXP5wBivVqfQPiZKcc”]\u003c/p>\n\u003cp>This isn’t McCarthy’s first time pushing for recognition of hip-hop in public space. He also led the naming of Sylvia Robinson Place in New Jersey, which is dedicated to the founder of Sugar Hill Records, as well as Malik “Phife Dawg” Taylor Way in New York, which recognizes the late member of a Tribe Called Quest.\u003c/p>\n\u003cp>https://www.instagram.com/p/pPWUOuyjdZ/\u003c/p>\n\u003cp>Derek Alderman, professor of geography at the University of Tennessee, says that McCarthy’s campaign — and street naming more broadly — shapes the collective memory of a city’s past.\u003c/p>\n\u003cp>“[Street names] give us an idea of whose memories are important and the types of memories cities want to be identified with,” Alderman says. “As soon as you put a name on a street sign, you say something about the public importance of that individual.”\u003c/p>\n\u003cp>Alderman notes that public space throughout history has predominantly been named after white men, and that the addition of Christopher Wallace Way and Wu-Tang Clan District is a step toward a more inclusive cultural geography.\u003c/p>\n\u003cp>[contextly_sidebar id=”lFyO9BY6oSVY6kymfPE5sxToFHKjEonR”]\u003c/p>\n\u003cp>For McCarthy, there’s work left to be done. He’s proposed a street honoring the Beastie Boys in Manhattan and wants to assist an ongoing effort to recognize rapper Big Pun in the Bronx. Beyond the East Coast, McCarthy has his sights on Oakland, Calif., where he is looking to name a street after Tupac Shakur.\u003c/p>\n\u003cp>He says he hopes that young people in New York — he calls them the “hip-hop generation” — see themselves when they walk down the newly named roads.\u003c/p>\n\u003cp>“[I hope] people take pride in it and feel a sense of community and a part of themselves seeing these street signs up,” he says. “Just because you’re not the A+ student or a doctor or lawyer doesn’t mean you can’t feel proud of where you come from and see someone who looks like you honored in this way.”\u003c/p>\n\u003cp>\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/680283885/680385295\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=%27Hip-Hop+Deserves+That+Respect%27%3A+Honoring+The+Notorious+B.I.G.%2C+Wu-Tang+Clan+In+NYC&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In one of its final acts of 2018, the New York City Council unanimously voted to name two streets after some of the city’s most legendary offspring: The Notorious B.I.G. (who was born Christopher Wallace) and Wu-Tang Clan.\u003c/p>\n\u003cp>Pending Mayor Bill de Blasio’s signature, Christopher Wallace Way would be located in Brooklyn and the Wu-Tang Clan District would be in Staten Island. The two naming initiatives were among dozens the council approved on Dec. 20, which also included streets to honor singer Woody Guthrie and poet Audre Lorde.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>LeRoy McCarthy, a longtime New York City resident, led the naming effort to recognize the \u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\">Notorious B.I.G.\u003c/a>, who died in 1997, and \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">Wu-Tang Clan\u003c/a>. He tells NPR’s \u003cem>Morning Edition\u003c/em> he was inspired after reading a book on Wallace’s life and in 2013, began trying to convince city officials to create Christopher Wallace Way.\u003c/p>\n\u003cp>Official government recognition for hip-hop’s greats is long overdue, McCarthy says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a certain sense of dismissal for hip hop historically… they think it’s not worthy of being recognized of the recognition that you would give to classical music or jazz or rock and roll,” McCarthy says. “Hip-hop deserves that respect.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This isn’t McCarthy’s first time pushing for recognition of hip-hop in public space. He also led the naming of Sylvia Robinson Place in New Jersey, which is dedicated to the founder of Sugar Hill Records, as well as Malik “Phife Dawg” Taylor Way in New York, which recognizes the late member of a Tribe Called Quest.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Derek Alderman, professor of geography at the University of Tennessee, says that McCarthy’s campaign — and street naming more broadly — shapes the collective memory of a city’s past.\u003c/p>\n\u003cp>“[Street names] give us an idea of whose memories are important and the types of memories cities want to be identified with,” Alderman says. “As soon as you put a name on a street sign, you say something about the public importance of that individual.”\u003c/p>\n\u003cp>Alderman notes that public space throughout history has predominantly been named after white men, and that the addition of Christopher Wallace Way and Wu-Tang Clan District is a step toward a more inclusive cultural geography.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For McCarthy, there’s work left to be done. He’s proposed a street honoring the Beastie Boys in Manhattan and wants to assist an ongoing effort to recognize rapper Big Pun in the Bronx. Beyond the East Coast, McCarthy has his sights on Oakland, Calif., where he is looking to name a street after Tupac Shakur.\u003c/p>\n\u003cp>He says he hopes that young people in New York — he calls them the “hip-hop generation” — see themselves when they walk down the newly named roads.\u003c/p>\n\u003cp>“[I hope] people take pride in it and feel a sense of community and a part of themselves seeing these street signs up,” he says. “Just because you’re not the A+ student or a doctor or lawyer doesn’t mean you can’t feel proud of where you come from and see someone who looks like you honored in this way.”\u003c/p>\n\u003cp>\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/680283885/680385295\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=%27Hip-Hop+Deserves+That+Respect%27%3A+Honoring+The+Notorious+B.I.G.%2C+Wu-Tang+Clan+In+NYC&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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": "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.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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