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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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"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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"slug": "arethas-bridge",
"title": "Aretha's Bridge",
"publishDate": 1546369580,
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"headTitle": "Aretha’s Bridge | KQED",
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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",
"title": "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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"title": "Channeling The Pain Of Depression Into Photography, And Finding You Are Not Alone | KQED",
"description": "Tara Wray's book Too Tired for Sunshine 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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"headline": "Channeling The Pain Of Depression Into Photography, And Finding You Are Not Alone",
"datePublished": "2018-12-31T12:25:54-08:00",
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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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"content": "\u003cp>In a year of big headlines, \u003cem>Fresh Air\u003c/em> continued to dive deep, broadcasting in-depth interviews on topics that ranged from the \u003ca href=\"https://www.npr.org/2018/08/01/634456181/scientists-are-spying-on-whales-to-learn-how-they-eat-talk-and-walked\">magnificent\u003c/a> to the \u003ca href=\"https://www.npr.org/sections/health-shots/2018/11/12/666933600/counting-the-bugs-and-bacteria-youre-never-home-alone-and-thats-ok\">microscopic\u003c/a>. We spoke with \u003ca href=\"https://www.npr.org/sections/health-shots/2018/01/02/575055148/neuroscientist-predicts-much-better-treatment-for-alzheimers-is-10-years-away\">scientists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/03/06/591130207/journalist-charts-the-bizarre-twists-and-turns-of-the-trump-russia-dossier\">journalists\u003c/a>, \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2018/09/04/644498267/after-her-cousins-honor-killing-khalida-brohi-became-a-womens-rights-activist\">activists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/10/10/656118568/first-man-director-armstrongs-moon-walk-is-a-story-of-coping-and-grief\">filmmakers\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/20/669573056/dawn-wall-climbers-gripped-razor-thin-edges-up-el-capitans-impossible-face\">two free climbers\u003c/a> who conquered a surface on Yosemite’s El Capitan that was once thought impenetrable. Our conversations with \u003ca href=\"https://www.npr.org/2018/04/17/602849276/james-comey-to-fresh-air-the-fbi-isnt-on-anybodys-side\">James Comey\u003c/a> and \u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">Bob Woodward\u003c/a> gave us a deeper understanding of the Trump presidency.\u003c/p>\n\u003cp>When we looked at the numbers, we found the most clicked-upon interview of the year was with former Secretary of State Madeleine Albright, who warned of a rise of authoritarianism worldwide.\u003c/p>\n\u003cp>You’ll find that conversation, and many more, in this list of the 10 most popular \u003cem>Fresh Air \u003c/em>interviews of 2018:\u003c/p>\n\u003cp>\u003cstrong>1. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/03/599120190/madeleine-albright-warns-dont-let-fascism-go-unnoticed-until-its-too-late\">\u003cstrong>Madeleine Albright Warns: Don’t Let Fascism Go ‘Unnoticed Until It’s Too Late’\u003c/strong>\u003c/a> The former secretary of state describes President Trump as “the most anti-democratic leader that I have studied in American history.” Albright’s new book is \u003cem>Fascism: A Warning.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>2. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/05/01/607262463/comic-michelle-wolf-responds-to-backlash-im-glad-i-stuck-to-my-guns\">\u003cstrong>Comic Michelle Wolf Responds To Backlash: ‘I’m Glad I Stuck To My Guns’\u003c/strong>\u003c/a> Though critics argued that the comedian’s barbed monologue at this year’s White House Correspondents’ Dinner was too pointed, in this exclusive interview, Wolf stood by her set: “I wouldn’t change a single word.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>3. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/07/11/628000131/once-militantly-anti-abortion-evangelical-minister-now-lives-with-regret\">\u003cstrong>Once Militantly Anti-Abortion, Evangelical Minister Now Lives ‘With Regret’\u003c/strong>\u003c/a> After decades working to block access to clinics, the Rev. Rob Schenck says he had a change of heart and sees abortion as an issue that should be resolved by “an individual and his or her conscience.”\u003c/p>\n\u003cp>\u003cstrong>4. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/12/601783346/first-ever-evictions-database-shows-were-in-the-middle-of-a-housing-crisis\">\u003cstrong>First-Ever Evictions Database Shows: ‘We’re In the Middle Of A Housing Crisis’\u003c/strong>\u003c/a> Matthew Desmond estimates that 2.3 million evictions were filed in the U.S. in 2016 — a rate of four every minute. “Eviction isn’t just a condition of poverty; it’s a cause of poverty,” he says.\u003c/p>\n\u003cp>\u003cstrong>5. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/05/15/611225541/reluctant-psychonaut-michael-pollan-embraces-the-new-science-of-psychedelics\">\u003cstrong>Reluctant Psychonaut’ Michael Pollan Embraces The ‘New Science’ Of Psychedelics\u003c/strong>\u003c/a> Author Michael Pollan, who experimented with mushrooms, LSD and other psychedelics while researching his latest book, says: “I had an experience that was by turns frightening and ecstatic and weird.”\u003c/p>\n\u003cp>\u003cstrong>6. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/03/07/591457135/john-oliver-finds-humor-in-the-news-no-one-wants-to-hear-about\">\u003cstrong>John Oliver Finds Humor In The News No One Wants To Hear About\u003c/strong>\u003c/a> On \u003cem>Last Week Tonight, \u003c/em>Oliver dives into often obscure stories, like NRATV and the laws that govern televangelism. He describes the show’s style as “the slowest improv you’ve ever seen.”\u003c/p>\n\u003cp>\u003cstrong>7. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/18/648737143/memoirist-evangelical-purity-movement-sees-womens-bodies-as-a-threat\">\u003cstrong>Memoirist: Evangelical Purity Movement Sees Women’s Bodies As A ‘Threat’\u003c/strong>\u003c/a> In \u003cem>Pure\u003c/em>, Linda Kay Klein reflects on the “deep, long-lasting shame” caused by churches that claim women and girls are responsible for the sexual desires of men.\u003c/p>\n\u003cp>\u003cstrong>8. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">\u003cstrong>Bob Woodward: ‘People Need To Wake Up’ To What’s Happening Under Trump\u003c/strong>\u003c/a> The veteran journalist was shocked by the tactics White House staff use to circumvent Trump: “I’ve never heard in any way of staff going around a president this way.” Woodward’s latest book is \u003cem>Fear\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>9. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/02/20/587244230/memoirist-retraces-her-journey-from-survivalist-childhood-to-cambridge-ph-d\">\u003cstrong>Memoirist Retraces Her Journey From Survivalist Childhood To Cambridge Ph.D.\u003c/strong>\u003c/a> Growing up, Tara Westover had no birth certificate, never saw a doctor and didn’t go to school. She writes about her awkward transition into the mainstream in \u003cem>Educated: A Memoir\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>10. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/03/27/597159133/how-bad-medicine-dismisses-and-misdiagnoses-womens-symptoms\">\u003cstrong>How ‘Bad Medicine’ Dismisses And Misdiagnoses Women’s Symptoms\u003c/strong>\u003c/a> Journalist Maya Dusenbery argues that medicine has a “systemic and unconscious bias” against women that is rooted in “what doctors, regardless of their own gender, are learning in medical schools.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Case+You+Missed+%27Em%3A+The+10+Most+Popular+%27Fresh+Air%27+Interviews+Of+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>In the Lebanese movie \u003cem>Capernaum\u003c/em> (the title translates to “chaos,” an apt description of the world of the film), skinny, sad-eyed Zain (Zain Al Rafeea) is 12 years old, though he’s so tiny he could pass for eight. \u003c/p>\n\u003cp>He’s running and playing with other kids in the streets of Beirut under the opening credits. Once those credits are done, we watch as he’s led past TV reporters into a courtroom, where he barely comes up to the waist of the soldier who’s brought him. He looks firmly at the judge who asks him why he’s there.\u003c/p>\n\u003cp>“I want to sue my parents,” he says. \u003c/p>\n\u003cp>The judge asks him why.\u003c/p>\n\u003cp>“Because I was born,” he says, his voice breaking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a searing indictment—one that we watch his mother and father silently absorb from their seats across the courtroom. \u003c/p>\n\u003cp>https://youtu.be/ULUo0048xZE\u003c/p>\n\u003cp>We then flash back to their home life, if you can call it that—crammed into a crumbling slum apartment where opiates are dissolved just inches from the mattress on which half a dozen kids lie sleeping. \u003c/p>\n\u003cp>Zain does what he can to protect his siblings—he’s tough and streetwise despite his size—but when he can’t keep his folks from sending off his eleven-year-old sister to be married to the landlord, he leaves. \u003c/p>\n\u003cp>He lives on the street, and looks for work in a garish, seaside amusement park, where he meets a pink-and-blue-costumed Cockroach-Man who claims to be Spider-Man’s cousin, and an Ethiopian cleaning lady (Yordanos Shiferaw) with a baby (Boluwatife Treasure Bankole), but no immigration papers. If he’ll keep the baby safe, she decides, she’ll give Zain shelter, a home away from home. \u003c/p>\n\u003cp>Had Charles Dickens lived in modern-day Beirut, he might have penned a story like \u003cem>Capernaum\u003c/em>—feisty, resourceful kid stealing food for his adopted family, caring for an infant as life takes cataclysmic turns involving human traffickers, scam artists, cops. \u003c/p>\n\u003cp>Nadine Labaki has written and directed a couple of lovely small films, but nothing suggesting she could make an epic like this. Or shepherd a first-timer like her young star to such an accomplished performance. \u003c/p>\n\u003cp>That he shares his name, Zain, with the character he portrays is very much the point. All of her actors are non-professionals, cast because their lives resemble those of the folks in the story she’s crafted. They don’t just play these parts, they’ve lived them. \u003c/p>\n\u003cp>On screen, they’re surrounded by images both tender and wrenching: a mother in jail squeezing her breast-milk onto the floor, sobbing to her absent infant that she’s sorry; a bedtime that’s a tangle of children’s arms and legs; bird’s-eye shots of a shantytown stretching for miles. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Capernaum\u003c/em>—chaos—and at its center, this astonishing child, who is profane, protective, profoundly compelling—a Dickensian hero in a saga that defies all odds, and finds hope in kids doing what they can … in a hell made by adults. \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=A+Boy+Grows+Up+Fast+On+The+Streets+Of+Beirut+In+The+Dickensian+%27Capernaum%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a searing indictment—one that we watch his mother and father silently absorb from their seats across the courtroom. \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/ULUo0048xZE'\n title='//www.youtube.com/embed/ULUo0048xZE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We then flash back to their home life, if you can call it that—crammed into a crumbling slum apartment where opiates are dissolved just inches from the mattress on which half a dozen kids lie sleeping. \u003c/p>\n\u003cp>Zain does what he can to protect his siblings—he’s tough and streetwise despite his size—but when he can’t keep his folks from sending off his eleven-year-old sister to be married to the landlord, he leaves. \u003c/p>\n\u003cp>He lives on the street, and looks for work in a garish, seaside amusement park, where he meets a pink-and-blue-costumed Cockroach-Man who claims to be Spider-Man’s cousin, and an Ethiopian cleaning lady (Yordanos Shiferaw) with a baby (Boluwatife Treasure Bankole), but no immigration papers. If he’ll keep the baby safe, she decides, she’ll give Zain shelter, a home away from home. \u003c/p>\n\u003cp>Had Charles Dickens lived in modern-day Beirut, he might have penned a story like \u003cem>Capernaum\u003c/em>—feisty, resourceful kid stealing food for his adopted family, caring for an infant as life takes cataclysmic turns involving human traffickers, scam artists, cops. \u003c/p>\n\u003cp>Nadine Labaki has written and directed a couple of lovely small films, but nothing suggesting she could make an epic like this. Or shepherd a first-timer like her young star to such an accomplished performance. \u003c/p>\n\u003cp>That he shares his name, Zain, with the character he portrays is very much the point. All of her actors are non-professionals, cast because their lives resemble those of the folks in the story she’s crafted. They don’t just play these parts, they’ve lived them. \u003c/p>\n\u003cp>On screen, they’re surrounded by images both tender and wrenching: a mother in jail squeezing her breast-milk onto the floor, sobbing to her absent infant that she’s sorry; a bedtime that’s a tangle of children’s arms and legs; bird’s-eye shots of a shantytown stretching for miles. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Capernaum\u003c/em>—chaos—and at its center, this astonishing child, who is profane, protective, profoundly compelling—a Dickensian hero in a saga that defies all odds, and finds hope in kids doing what they can … in a hell made by adults. \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=A+Boy+Grows+Up+Fast+On+The+Streets+Of+Beirut+In+The+Dickensian+%27Capernaum%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Penny Marshall, Filmmaker And 'Laverne & Shirley' Star, Dies At 75",
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"content": "\u003cp>\u003cstrong>Updated at 2:58 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Penny Marshall, who became a household name as Laverne in the TV sitcom \u003cem>Laverne & Shirley\u003c/em> and went on to direct several popular movies, has died at the age of 75.\u003c/p>\n\u003cp>Marshall died Monday night at her Los Angeles home from complications of diabetes, family publicist Michelle Bega tells NPR.\u003c/p>\n\u003cp>In the early ’70s, Marshall got her start on shows like \u003cem>The Odd Couple\u003c/em> and \u003cem>The Bob Newhart Show\u003c/em>. She built her fame co-starring with Cindy Williams in \u003cem>Laverne & Shirley\u003c/em>, the popular sitcom created by her older brother, Garry Marshall (as was \u003cem>The Odd Couple\u003c/em>).\u003c/p>\n\u003cp>The \u003cem>Happy Days\u003c/em> spinoff series was also where she began her directing career, directing several episodes of the show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the late ’80s, Marshall made the leap from small-screen actress to big-screen director.\u003c/p>\n\u003cp>She directed \u003cem>Big\u003c/em>, starring Tom Hanks as a boy in a man’s body, and \u003cem>A League of Their Own\u003c/em>, based on the true story of a professional women’s baseball league in the 1940s.\u003c/p>\n\u003cp>Then, as now, film directing was a male-dominated field. In 1992, NPR reported that women made up just 10 percent of the membership of the Directors Guild, even as successful movies like Marshall’s drew attention—\u003cem>Big\u003c/em> was the first film from a female director to top $100 million at the box office.\u003c/p>\n\u003cp>Director Ava DuVernay remembered Marshall on Twitter on Tuesday, \u003ca href=\"https://twitter.com/ava/status/1075107218758918144\" target=\"_blank\" rel=\"noopener\">thanking her\u003c/a> “for the trails you blazed. The laughs you gave. The hearts you warmed.”\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences, the body that awards the Oscars, also \u003ca href=\"https://twitter.com/TheAcademy/status/1075113129388822528\" target=\"_blank\" rel=\"noopener\">remembered\u003c/a> Marshall on Twitter, calling her “one of the greats.”\u003c/p>\n\u003cp>In life, Marshall was \u003ca href=\"https://filmschoolrejects.com/the-losers-penny-marshall-should-have-won-an-oscar-da16c3f2bec0/\">never nominated for an Oscar\u003c/a>—not even when her film \u003cem>Awakenings\u003c/em> was in the running for Best Picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Marshall’s work on \u003cem>Laverne & Shirley\u003c/em> was also never recognized with an Emmy nomination, as The Hollywood Reporter \u003ca href=\"https://www.hollywoodreporter.com/news/penny-marshall-dead-laverne-shirley-star-75-686405\" target=\"_blank\" rel=\"noopener\">notes with astonishment.\u003c/a>\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=Penny+Marshall%2C+Filmmaker+And+%27Laverne+%26+Shirley%27+Star%2C+Dies+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 2:58 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Penny Marshall, who became a household name as Laverne in the TV sitcom \u003cem>Laverne & Shirley\u003c/em> and went on to direct several popular movies, has died at the age of 75.\u003c/p>\n\u003cp>Marshall died Monday night at her Los Angeles home from complications of diabetes, family publicist Michelle Bega tells NPR.\u003c/p>\n\u003cp>In the early ’70s, Marshall got her start on shows like \u003cem>The Odd Couple\u003c/em> and \u003cem>The Bob Newhart Show\u003c/em>. She built her fame co-starring with Cindy Williams in \u003cem>Laverne & Shirley\u003c/em>, the popular sitcom created by her older brother, Garry Marshall (as was \u003cem>The Odd Couple\u003c/em>).\u003c/p>\n\u003cp>The \u003cem>Happy Days\u003c/em> spinoff series was also where she began her directing career, directing several episodes of the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the late ’80s, Marshall made the leap from small-screen actress to big-screen director.\u003c/p>\n\u003cp>She directed \u003cem>Big\u003c/em>, starring Tom Hanks as a boy in a man’s body, and \u003cem>A League of Their Own\u003c/em>, based on the true story of a professional women’s baseball league in the 1940s.\u003c/p>\n\u003cp>Then, as now, film directing was a male-dominated field. In 1992, NPR reported that women made up just 10 percent of the membership of the Directors Guild, even as successful movies like Marshall’s drew attention—\u003cem>Big\u003c/em> was the first film from a female director to top $100 million at the box office.\u003c/p>\n\u003cp>Director Ava DuVernay remembered Marshall on Twitter on Tuesday, \u003ca href=\"https://twitter.com/ava/status/1075107218758918144\" target=\"_blank\" rel=\"noopener\">thanking her\u003c/a> “for the trails you blazed. The laughs you gave. The hearts you warmed.”\u003c/p>\n\u003cp>The Academy of Motion Picture Arts and Sciences, the body that awards the Oscars, also \u003ca href=\"https://twitter.com/TheAcademy/status/1075113129388822528\" target=\"_blank\" rel=\"noopener\">remembered\u003c/a> Marshall on Twitter, calling her “one of the greats.”\u003c/p>\n\u003cp>In life, Marshall was \u003ca href=\"https://filmschoolrejects.com/the-losers-penny-marshall-should-have-won-an-oscar-da16c3f2bec0/\">never nominated for an Oscar\u003c/a>—not even when her film \u003cem>Awakenings\u003c/em> was in the running for Best Picture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Marshall’s work on \u003cem>Laverne & Shirley\u003c/em> was also never recognized with an Emmy nomination, as The Hollywood Reporter \u003ca href=\"https://www.hollywoodreporter.com/news/penny-marshall-dead-laverne-shirley-star-75-686405\" target=\"_blank\" rel=\"noopener\">notes with astonishment.\u003c/a>\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=Penny+Marshall%2C+Filmmaker+And+%27Laverne+%26+Shirley%27+Star%2C+Dies+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Trevor Paglen writes the kinds of books that get you into weird conversations with strangers. He takes the kinds of pictures that are slightly unnerving until you read the title card, and then it becomes a regular amount of unnerving.\u003c/p>\n\u003cp>He also just sent a giant inflatable mirror up into space.\u003c/p>\n\u003cp>That last one is just the latest art piece in a career all about being watched by things you can’t see.\u003c/p>\n\u003cp>[contextly_sidebar id=”3ik7TOVrqXsWjKQIusKcHwbwTrgsmzMN”]\u003c/p>\n\u003cp>It’s a topic that’s interested Paglen since the early 2000s. He was thinking about the growth of the private prison system — how prisons used to be big, visible structures inside cities, and how they were now more often built in remote areas. Out of sight, out of mind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He was getting his Ph.D. in geography at the University of California, Berkeley, and he was spending a lot of looking at United States Geological Survey aerial images. While looking at these maps he’d find spots that were blank — edited out of the original negative.\u003c/p>\n\u003cp>[contextly_sidebar id=”5fw6FI0bY4MtW7GPFoCEl2lZCwQAnawT”]\u003c/p>\n\u003cp>“When I was doing my dissertation research, it was really the middle of this emergent war on terror,” Paglen says. “It was a moment when it was clear that the United States had set up a kind of secret architecture for warfare. I wanted to understand, if you were a state: How do you create places, or programs, or even people that ‘don’t exist’?”\u003c/p>\n\u003cp>He’d publish that dissertation research as a book called\u003cem> Blank Spots on the Map: The Dark Geography of the Pentagon’s Secret World\u003c/em>. He wrote about booking hotel rooms in Las Vegas to photograph airplanes bringing people to and from work at secret military bases; about learning how to track secret satellites in the sky from online amateur communities; about climbing mountains and ridges with telescopes to see what military installations look like.\u003c/p>\n\u003cp>[contextly_sidebar id=”KwzzjJ7Jtmp2i0hYJnXW9dl5DLE7LVFY”]\u003c/p>\n\u003cp>Laid out that way, it sounds like the stuff of sleek, clandestine espionage. But it’s written in a cold, dry tone. This passage is as argumentative as it gets:\u003c/p>\n\u003cblockquote>\u003cp>State secrecy is a form of executive power. It is the power to unilaterally and legitimately conceal events, actions, budgets, programs, and plans from the legislature and public at large — the people who are paying for it. State secrecy is a form of monarchical power that contemporary states have inherited from the kingdoms of yesteryear. In our American system, state secrecy is the provenance of the executive branch; it has little statutory basis. It is a tool of kings.\u003c/p>\n\u003cfigure id=\"attachment_13847019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg\" alt='In the video projection \"89 Landscapes,\" Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. ' width=\"800\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34.jpg 907w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the video projection “89 Landscapes,” Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/blockquote>\n\u003cp>That said, Trevor Paglen is having an extended moment in the public spotlight. There was that \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/11/556891441/here-are-the-2017-macarthur-genius-grant-winners\">MacArthur Fellowship he won\u003c/a> last year. He’s been touring a performance around the world with the \u003ca href=\"https://www.npr.org/artists/14983141/kronos-quartet\">Kronos Quartet\u003c/a>, a musical piece about computer vision and artificial intelligence.\u003c/p>\n\u003cp>And this past summer, the Smithsonian American Art Museum in Washington, D.C. opened an exhibition of his art called \u003ca href=\"https://americanart.si.edu/exhibitions/paglen\">“Trevor Paglen: Sites Unseen.”\u003c/a>\u003c/p>\n\u003cp>It collects his grainy pictures of secret government buildings, printouts of redacted emails, military patches with symbols we don’t know the meanings of. It’s mundane stuff — maybe even boring — until you realize what you’re looking at.\u003c/p>\n\u003cp>For example, one set of photographs is just pictures of cables that run underwater. But they’ve got titles like “NSA-Tapped Undersea Cables, North Pacific Ocean,” or “Bahamas Internet Cable System (BICS-1) NSA/GCHQ-Tapped Undersea Cable Atlantic Ocean.”\u003c/p>\n\u003cp>Another set of diptych images pairs a nautical chart indicating the locations of underseas communications cables (which Paglen has annotated with his own images) with a photograph of a shoreline where such cables land (and where they may be tapped).\u003c/p>\n\u003cfigure id=\"attachment_13847020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847020\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg\" alt='\"NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.\" The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. ' width=\"800\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-768x302.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1020x400.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1200x471.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1920x754.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.” The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kirsten Johnson is a documentary filmmaker and a friend of Paglen’s. They worked together as cinematographers for \u003cem>Citizenfour\u003c/em>, the Academy Award-winning documentary about NSA whistleblower Edward Snowden.\u003c/p>\n\u003cp>She says that Paglen’s work shows the edge “between what we can see and what is actively being hidden from us. Often by governments or military forces. And that edge is where we as citizens can try to investigate what governments want to hide from us.”\u003c/p>\n\u003cp>“It’s not as if Trevor has any answers as to what we should do upon learning this information,” Johnson says. “His work is not prescriptive. And for me, any artwork of value, is not prescriptive, and any documentary that tells you what to think isn’t worth sitting through.”\u003c/p>\n\u003cp>Michael O’Hanlon isn’t super familiar with Paglen’s work, but he is a senior fellow at the Brookings Institution who specializes in national security policy, and was also on an external advisory board for the CIA. So what do people from his world think of a guy like Paglen?\u003c/p>\n\u003cp>“I do think a lot of them would begin with a certain amount of nervousness once they hear the initial report on what this guy does,” O’Hanlon says. “For the most part what he’s doing is pretty interesting, within the First amendment, and even putting on my national security cap I had a hard time seeing how major damage could result.”\u003c/p>\n\u003cp>Paglen doesn’t seem like he’s out to cause major damage. He doesn’t have any interest in getting arrested, and his work also doesn’t explicitly state any arguments.\u003c/p>\n\u003cp>“I’m very conscious about the legal environment that I’m in,” says Paglen. “I kind of know where the literal and metaphorical boundaries are and I tend to stick within them.”\u003c/p>\n\u003cp>But he does want his art to call attention to these systems of surveillance. He talks a lot about how art can help people “see things differently,” which might be coded art-speak for “see things how I see them.”\u003c/p>\n\u003cp>“When I’m walking through everyday life, I’m questioning things,” Paglen says. “If a store asks me for a phone number, I’m thinking, ‘Why do you want my phone number and what do you want to do with it? Are you going to sell it to somebody?’ … One sees the things that one pays attention to.”\u003c/p>\n\u003cfigure id=\"attachment_13847021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847021\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg\" alt='A conceptual rendering of \"Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.\" The final version of the nonfunctional satellite was just launched into space.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A conceptual rendering of “Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.” The final version of the nonfunctional satellite was just launched into space. \u003ccite>(Courtesy of Trevor Paglen and Nevada Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That brings us to his new project: \u003ca href=\"https://www.orbitalreflector.com/\">“Orbital Reflector.”\u003c/a>\u003c/p>\n\u003cp>It’s the nonfunctional satellite he’s been working on with the Nevada Museum of Art, that, as of this past Monday, Dec. 3, is currently orbiting us in space. It’s meant to reflect sunlight back down to Earth so we can easily spot it from the ground. It’s about as bright as a star in the Big Dipper.\u003c/p>\n\u003cp>Paglen says that the history of spaceflight is closely tied to the history of nuclear war — e.g., how Sputnik was a flex to show that sending a nuclear warhead across the world was possible. And “Orbital Reflector” is a speculative piece asking: What if that weren’t the case? What if satellites were mainly aesthetically beautiful, and didn’t exist to track climate patterns or field phone calls or follow military targets?\u003c/p>\n\u003cp>Krystal Wilson is the director of space applications programs at the Secure World Foundation, a private group that promotes space sustainability. She appreciates that Paglen is getting people interested in what people are doing in space.\u003c/p>\n\u003cp>“Whether this is the most effective way to do that or not, that’s a question,” Wilson says.\u003c/p>\n\u003cp>Wilson says there have been other similar experiments (to the annoyance of some space-watchers), and that you can already see the International Space Station with the naked eye. And she points to the robust online community of amateur satellite trackers (that Paglen learned from) as evidence that you can already, with a little bit of know-how, see a satellite in the sky.\u003c/p>\n\u003cp>“You have to know where to look for it,” she says. “But essentially anyone can look up. There’s no magic cloak.”\u003c/p>\n\u003cp>But that’s true of most of Paglen’s work. One could walk into the desert and find a nondescript government building, or use a telescope to spot a surveillance drone, or swim underwater and look at tapped Internet cables. They’re hiding in plain sight.\u003c/p>\n\u003cp>Paglen says he knows his art won’t change how we use these technologies.\u003c/p>\n\u003cp>“What I can do is just ask people to literally look at the sky,” he says.\u003c/p>\n\u003cp>You just have to know where to look.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/669482142/669482143\" 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=The+Man+Making+Art+From+Government+Surveillance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Trevor Paglen writes the kinds of books that get you into weird conversations with strangers. He takes the kinds of pictures that are slightly unnerving until you read the title card, and then it becomes a regular amount of unnerving.\u003c/p>\n\u003cp>He also just sent a giant inflatable mirror up into space.\u003c/p>\n\u003cp>That last one is just the latest art piece in a career all about being watched by things you can’t see.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s a topic that’s interested Paglen since the early 2000s. He was thinking about the growth of the private prison system — how prisons used to be big, visible structures inside cities, and how they were now more often built in remote areas. Out of sight, out of mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He was getting his Ph.D. in geography at the University of California, Berkeley, and he was spending a lot of looking at United States Geological Survey aerial images. While looking at these maps he’d find spots that were blank — edited out of the original negative.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“When I was doing my dissertation research, it was really the middle of this emergent war on terror,” Paglen says. “It was a moment when it was clear that the United States had set up a kind of secret architecture for warfare. I wanted to understand, if you were a state: How do you create places, or programs, or even people that ‘don’t exist’?”\u003c/p>\n\u003cp>He’d publish that dissertation research as a book called\u003cem> Blank Spots on the Map: The Dark Geography of the Pentagon’s Secret World\u003c/em>. He wrote about booking hotel rooms in Las Vegas to photograph airplanes bringing people to and from work at secret military bases; about learning how to track secret satellites in the sky from online amateur communities; about climbing mountains and ridges with telescopes to see what military installations look like.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Laid out that way, it sounds like the stuff of sleek, clandestine espionage. But it’s written in a cold, dry tone. This passage is as argumentative as it gets:\u003c/p>\n\u003cblockquote>\u003cp>State secrecy is a form of executive power. It is the power to unilaterally and legitimately conceal events, actions, budgets, programs, and plans from the legislature and public at large — the people who are paying for it. State secrecy is a form of monarchical power that contemporary states have inherited from the kingdoms of yesteryear. In our American system, state secrecy is the provenance of the executive branch; it has little statutory basis. It is a tool of kings.\u003c/p>\n\u003cfigure id=\"attachment_13847019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg\" alt='In the video projection \"89 Landscapes,\" Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. ' width=\"800\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/89-landscapes_enl-f1ff6382db38e780784c608130acad3350251b34.jpg 907w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the video projection “89 Landscapes,” Paglen compiled his short films of intelligence facilities around the world, originally shot for the documentary Citizenfour. Courtesy of the artist and Metro Pictures, New York. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/blockquote>\n\u003cp>That said, Trevor Paglen is having an extended moment in the public spotlight. There was that \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/11/556891441/here-are-the-2017-macarthur-genius-grant-winners\">MacArthur Fellowship he won\u003c/a> last year. He’s been touring a performance around the world with the \u003ca href=\"https://www.npr.org/artists/14983141/kronos-quartet\">Kronos Quartet\u003c/a>, a musical piece about computer vision and artificial intelligence.\u003c/p>\n\u003cp>And this past summer, the Smithsonian American Art Museum in Washington, D.C. opened an exhibition of his art called \u003ca href=\"https://americanart.si.edu/exhibitions/paglen\">“Trevor Paglen: Sites Unseen.”\u003c/a>\u003c/p>\n\u003cp>It collects his grainy pictures of secret government buildings, printouts of redacted emails, military patches with symbols we don’t know the meanings of. It’s mundane stuff — maybe even boring — until you realize what you’re looking at.\u003c/p>\n\u003cp>For example, one set of photographs is just pictures of cables that run underwater. But they’ve got titles like “NSA-Tapped Undersea Cables, North Pacific Ocean,” or “Bahamas Internet Cable System (BICS-1) NSA/GCHQ-Tapped Undersea Cable Atlantic Ocean.”\u003c/p>\n\u003cp>Another set of diptych images pairs a nautical chart indicating the locations of underseas communications cables (which Paglen has annotated with his own images) with a photograph of a shoreline where such cables land (and where they may be tapped).\u003c/p>\n\u003cfigure id=\"attachment_13847020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847020\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg\" alt='\"NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.\" The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. ' width=\"800\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-800x314.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-768x302.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1020x400.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1200x471.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020-1920x754.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/nsatapped_enl-bf341a90fdcbcbdf768bdd18be7f53578bbd8020.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States 2016.” The Metropolitan Museum of Art, New York, Purchase, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. \u003ccite>(Image courtesy of the artist; Metro Pictures, New York; Altman Siegel Gallery, San Francisco.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kirsten Johnson is a documentary filmmaker and a friend of Paglen’s. They worked together as cinematographers for \u003cem>Citizenfour\u003c/em>, the Academy Award-winning documentary about NSA whistleblower Edward Snowden.\u003c/p>\n\u003cp>She says that Paglen’s work shows the edge “between what we can see and what is actively being hidden from us. Often by governments or military forces. And that edge is where we as citizens can try to investigate what governments want to hide from us.”\u003c/p>\n\u003cp>“It’s not as if Trevor has any answers as to what we should do upon learning this information,” Johnson says. “His work is not prescriptive. And for me, any artwork of value, is not prescriptive, and any documentary that tells you what to think isn’t worth sitting through.”\u003c/p>\n\u003cp>Michael O’Hanlon isn’t super familiar with Paglen’s work, but he is a senior fellow at the Brookings Institution who specializes in national security policy, and was also on an external advisory board for the CIA. So what do people from his world think of a guy like Paglen?\u003c/p>\n\u003cp>“I do think a lot of them would begin with a certain amount of nervousness once they hear the initial report on what this guy does,” O’Hanlon says. “For the most part what he’s doing is pretty interesting, within the First amendment, and even putting on my national security cap I had a hard time seeing how major damage could result.”\u003c/p>\n\u003cp>Paglen doesn’t seem like he’s out to cause major damage. He doesn’t have any interest in getting arrested, and his work also doesn’t explicitly state any arguments.\u003c/p>\n\u003cp>“I’m very conscious about the legal environment that I’m in,” says Paglen. “I kind of know where the literal and metaphorical boundaries are and I tend to stick within them.”\u003c/p>\n\u003cp>But he does want his art to call attention to these systems of surveillance. He talks a lot about how art can help people “see things differently,” which might be coded art-speak for “see things how I see them.”\u003c/p>\n\u003cp>“When I’m walking through everyday life, I’m questioning things,” Paglen says. “If a store asks me for a phone number, I’m thinking, ‘Why do you want my phone number and what do you want to do with it? Are you going to sell it to somebody?’ … One sees the things that one pays attention to.”\u003c/p>\n\u003cfigure id=\"attachment_13847021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847021\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg\" alt='A conceptual rendering of \"Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.\" The final version of the nonfunctional satellite was just launched into space.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/diamond-balloon-rendering_wide-e533d1b50d883f1b9f11195ae91173193fc74226.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A conceptual rendering of “Trevor Paglen: Orbital Reflector, co-produced and presented by the Nevada Museum of Art.” The final version of the nonfunctional satellite was just launched into space. \u003ccite>(Courtesy of Trevor Paglen and Nevada Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That brings us to his new project: \u003ca href=\"https://www.orbitalreflector.com/\">“Orbital Reflector.”\u003c/a>\u003c/p>\n\u003cp>It’s the nonfunctional satellite he’s been working on with the Nevada Museum of Art, that, as of this past Monday, Dec. 3, is currently orbiting us in space. It’s meant to reflect sunlight back down to Earth so we can easily spot it from the ground. It’s about as bright as a star in the Big Dipper.\u003c/p>\n\u003cp>Paglen says that the history of spaceflight is closely tied to the history of nuclear war — e.g., how Sputnik was a flex to show that sending a nuclear warhead across the world was possible. And “Orbital Reflector” is a speculative piece asking: What if that weren’t the case? What if satellites were mainly aesthetically beautiful, and didn’t exist to track climate patterns or field phone calls or follow military targets?\u003c/p>\n\u003cp>Krystal Wilson is the director of space applications programs at the Secure World Foundation, a private group that promotes space sustainability. She appreciates that Paglen is getting people interested in what people are doing in space.\u003c/p>\n\u003cp>“Whether this is the most effective way to do that or not, that’s a question,” Wilson says.\u003c/p>\n\u003cp>Wilson says there have been other similar experiments (to the annoyance of some space-watchers), and that you can already see the International Space Station with the naked eye. And she points to the robust online community of amateur satellite trackers (that Paglen learned from) as evidence that you can already, with a little bit of know-how, see a satellite in the sky.\u003c/p>\n\u003cp>“You have to know where to look for it,” she says. “But essentially anyone can look up. There’s no magic cloak.”\u003c/p>\n\u003cp>But that’s true of most of Paglen’s work. One could walk into the desert and find a nondescript government building, or use a telescope to spot a surveillance drone, or swim underwater and look at tapped Internet cables. They’re hiding in plain sight.\u003c/p>\n\u003cp>Paglen says he knows his art won’t change how we use these technologies.\u003c/p>\n\u003cp>“What I can do is just ask people to literally look at the sky,” he says.\u003c/p>\n\u003cp>You just have to know where to look.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Vox Lux' Is Too Much — And That's What Makes It So Invigorating",
"headTitle": "‘Vox Lux’ Is Too Much — And That’s What Makes It So Invigorating | KQED",
"content": "\u003cp>\u003cem>“That’s what I love about pop music. I don’t want people to think too hard. I just want them to feel good.” – Celeste \u003c/em>\u003c/p>\n\u003cp>Boy, there’s something so comforting about those fairy tales in which an unknown talent is plucked from obscurity to live out a dream of being rich and famous. We got a big ol’ tissue-grabber along those lines this year … what was it, about a star being born? Nothing bad can happen during a birth, right?\u003c/p>\n\u003cp>Well, \u003cem>Vox Lux\u003c/em> is not \u003cem>A Star Is Born\u003c/em>. It’s more like some kind of glitter-bombing Toxic Avenger, forged from the deadly waste that had to melt off the Bradley Cooper/Lady Gaga remake in order to make \u003cem>that \u003c/em>story of unchecked music stardom palatable to a mass audience. If you thought alcoholism was the worst thing that could happen to a dream, then, friends, you thought wrong.\u003c/p>\n\u003cp>https://youtu.be/zxdVqr4hmZU\u003c/p>\n\u003cp>Brady Corbet’s second film as writer-director is a popstar mythmaker of epic, fable-like proportions, charting a small-town teen named Celeste (Raffey Cassidy) who vaulted into the national spotlight after a horrific tragedy grants an opening, through Hell, into her budding music career. Mentally and physically unprepared for the scrutiny that follows her unexpected fame, the older Celeste (Natalie Portman in a five-alarm performance) spirals into a prism of self-loathing as she sells her image and essence, the very fact of her survival, to an insatiable industry and public. The film is drowning in lush colors and big, flamboyant makeup and hairstyles, all of them consuming Celeste while her dream-self barrels down a long, dark tunnel, unsure of what will await her on the other side.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pivotal tragedy occurs in the film’s first five minutes, yet describing it in detail would push expectations for \u003cem>Vox Lux\u003c/em> into the territory of one type of film when it is most assuredly in another. (Of equal importance to the act itself is the fact that it takes place in a music class.) What can be said is that the movie, in its two cleaved halves, conjures many different spectrums of violent death: political and personal, grandiose and self-inflicted, through different hands from 1999 through the present day. All inform, or are informed by, Celeste and the kind of art she makes: vaguely uplifting dance-pop that’s abstract enough in its message to find a home in many different corners of the universe. “Sci-fi anthems,” she tells a reporter in a demonic voice. “An experience that’s as relentless and addictive as possible.”\u003c/p>\n\u003cp>Think Sia, because she wrote the disturbingly jaunty songs featured in the movie and also serves as an executive producer. Also think Lady Gaga, because \u003cem>Vox Lux\u003c/em> is a more precise rendering of her global aesthetic than Gaga’s own serviceable-yet-gooey acoustic jams in that other movie. Maybe think Gypsy and Mama Rose, for the tear of monstrous behavior that somehow adds up to a fully exposed human. And finally, think the entire spectrum of celebrity breakdowns, from Sinead O’Connor to Britney Spears, Marilyn Monroe to Kanye West. All of them feed into Portman’s gum-chewing, eye-rolling, angel-winged persona: her fears, tics, politics of pure narcissism (“I’m the new faith”), and self-destructive tendencies. And all of them inform, in no small way, the bleak and miserable world we live in today. \u003c/p>\n\u003cp>Corbet is biting off a lot here, like he did in his directorial debut \u003cem>The Childhood of a Leader\u003c/em>. Some of his points about the direction of our celebrity-and-violence-obsessed culture feel obvious in the rearview mirror, but seeing the umpteenth movie about this stuff shimmer with an actual purpose is invigorating.\u003c/p>\n\u003cp>It would be easy to call Portman’s performance just more of the broad, camp-baiting work that won her an Oscar for \u003cem>Black Swan\u003c/em>, or to dismiss her as “overacting” just because it’s operatic in tone. Doing so would overlook all the different spirits she’s channeling into an uncompromising whole, the rage and fear she carries until it’s time to shine to her fans. Jude Law, as her manager, has the most menacing role of the piece: Initially presenting himself as a champion and defender of her integrity, he eventually reveals himself to be as vampiric and manipulative as everyone else in Celeste’s orbit. Less well-developed is the relationship between Celeste and her sister (Stacy Martin), who’s meant to be a pivotal figure in her life but never quite gets the opportunity to prove it.\u003c/p>\n\u003cp>Is this broad and bloody canvas, on a whole, too much? Sure. Portman’s pompadour and blubbering temper tantrums are too much. Willem Dafoe’s narration, hitting every beat of every theme, is too much. The double-casting of Cassidy, as both the young Celeste and the elder’s teenage daughter, is a naughty trick to pull, and it’s also too much. And the in-concert climax, set entirely onstage with the pumping bass and front-row seats to the hand-waving choreography, is \u003cem>much\u003c/em> too much. It is, after all, an experience that’s as relentless and addictive as possible.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the magic of the movie is exactly this: its grand ambitions, the way it reaches for the stars just as Celeste commands all her “little angels” to do. A film with this much style, ambition and potency shouldn’t be dismissed with lazy, empty words like “pretentious.” It should be celebrated as prophecy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“That’s what I love about pop music. I don’t want people to think too hard. I just want them to feel good.” – Celeste \u003c/em>\u003c/p>\n\u003cp>Boy, there’s something so comforting about those fairy tales in which an unknown talent is plucked from obscurity to live out a dream of being rich and famous. We got a big ol’ tissue-grabber along those lines this year … what was it, about a star being born? Nothing bad can happen during a birth, right?\u003c/p>\n\u003cp>Well, \u003cem>Vox Lux\u003c/em> is not \u003cem>A Star Is Born\u003c/em>. It’s more like some kind of glitter-bombing Toxic Avenger, forged from the deadly waste that had to melt off the Bradley Cooper/Lady Gaga remake in order to make \u003cem>that \u003c/em>story of unchecked music stardom palatable to a mass audience. If you thought alcoholism was the worst thing that could happen to a dream, then, friends, you thought wrong.\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/zxdVqr4hmZU'\n title='//www.youtube.com/embed/zxdVqr4hmZU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Brady Corbet’s second film as writer-director is a popstar mythmaker of epic, fable-like proportions, charting a small-town teen named Celeste (Raffey Cassidy) who vaulted into the national spotlight after a horrific tragedy grants an opening, through Hell, into her budding music career. Mentally and physically unprepared for the scrutiny that follows her unexpected fame, the older Celeste (Natalie Portman in a five-alarm performance) spirals into a prism of self-loathing as she sells her image and essence, the very fact of her survival, to an insatiable industry and public. The film is drowning in lush colors and big, flamboyant makeup and hairstyles, all of them consuming Celeste while her dream-self barrels down a long, dark tunnel, unsure of what will await her on the other side.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pivotal tragedy occurs in the film’s first five minutes, yet describing it in detail would push expectations for \u003cem>Vox Lux\u003c/em> into the territory of one type of film when it is most assuredly in another. (Of equal importance to the act itself is the fact that it takes place in a music class.) What can be said is that the movie, in its two cleaved halves, conjures many different spectrums of violent death: political and personal, grandiose and self-inflicted, through different hands from 1999 through the present day. All inform, or are informed by, Celeste and the kind of art she makes: vaguely uplifting dance-pop that’s abstract enough in its message to find a home in many different corners of the universe. “Sci-fi anthems,” she tells a reporter in a demonic voice. “An experience that’s as relentless and addictive as possible.”\u003c/p>\n\u003cp>Think Sia, because she wrote the disturbingly jaunty songs featured in the movie and also serves as an executive producer. Also think Lady Gaga, because \u003cem>Vox Lux\u003c/em> is a more precise rendering of her global aesthetic than Gaga’s own serviceable-yet-gooey acoustic jams in that other movie. Maybe think Gypsy and Mama Rose, for the tear of monstrous behavior that somehow adds up to a fully exposed human. And finally, think the entire spectrum of celebrity breakdowns, from Sinead O’Connor to Britney Spears, Marilyn Monroe to Kanye West. All of them feed into Portman’s gum-chewing, eye-rolling, angel-winged persona: her fears, tics, politics of pure narcissism (“I’m the new faith”), and self-destructive tendencies. And all of them inform, in no small way, the bleak and miserable world we live in today. \u003c/p>\n\u003cp>Corbet is biting off a lot here, like he did in his directorial debut \u003cem>The Childhood of a Leader\u003c/em>. Some of his points about the direction of our celebrity-and-violence-obsessed culture feel obvious in the rearview mirror, but seeing the umpteenth movie about this stuff shimmer with an actual purpose is invigorating.\u003c/p>\n\u003cp>It would be easy to call Portman’s performance just more of the broad, camp-baiting work that won her an Oscar for \u003cem>Black Swan\u003c/em>, or to dismiss her as “overacting” just because it’s operatic in tone. Doing so would overlook all the different spirits she’s channeling into an uncompromising whole, the rage and fear she carries until it’s time to shine to her fans. Jude Law, as her manager, has the most menacing role of the piece: Initially presenting himself as a champion and defender of her integrity, he eventually reveals himself to be as vampiric and manipulative as everyone else in Celeste’s orbit. Less well-developed is the relationship between Celeste and her sister (Stacy Martin), who’s meant to be a pivotal figure in her life but never quite gets the opportunity to prove it.\u003c/p>\n\u003cp>Is this broad and bloody canvas, on a whole, too much? Sure. Portman’s pompadour and blubbering temper tantrums are too much. Willem Dafoe’s narration, hitting every beat of every theme, is too much. The double-casting of Cassidy, as both the young Celeste and the elder’s teenage daughter, is a naughty trick to pull, and it’s also too much. And the in-concert climax, set entirely onstage with the pumping bass and front-row seats to the hand-waving choreography, is \u003cem>much\u003c/em> too much. It is, after all, an experience that’s as relentless and addictive as possible.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the magic of the movie is exactly this: its grand ambitions, the way it reaches for the stars just as Celeste commands all her “little angels” to do. A film with this much style, ambition and potency shouldn’t be dismissed with lazy, empty words like “pretentious.” It should be celebrated as prophecy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Royal Hue: 'Living Coral' Crowned Color Of The Year For 2019",
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"headTitle": "A Royal Hue: ‘Living Coral’ Crowned Color Of The Year For 2019 | KQED",
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"content": "\u003cp>\u003cstrong>Updated at 5:56 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>As December draws its darkest hours ever longer, inching moment by moment toward the shortest day of the year — in the northern hemisphere, at least — the Pantone Color Institute is striking a defiant tone. The global experts in hue have crowned “living coral” as their annual color of the year for 2019.\u003c/p>\n\u003cp>You can also call it by its official Pantone code, 16-1546 — though admittedly that doesn’t have quite the same ring to it. It would also miss the point, in a way, since the institute selected the color for its “vibrant, yet mellow” life-affirming qualities — both our physical lives and those we lead online.\u003c/p>\n\u003cp>[contextly_sidebar id=”G84nWDenJxBif9UgAloJBocIkj80MIvp”]\u003c/p>\n\u003cp>“Representing the fusion of modern life, PANTONE Living Coral is a nurturing color that appears in our natural surroundings and at the same time, displays a lively presence within social media,” the institute \u003ca href=\"https://www.pantone.com/color-intelligence/color-of-the-year/color-of-the-year-2019\">explained in a release\u003c/a> Wednesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/PantoneColor/videos/272055183660346/\">http://www.facebook.com/PantoneColor/videos/272055183660346/\u003c/a>\u003c/p>\n\u003cp>Since naming cerulean blue the color of 2000, the Pantone Color Institute has been passing the crown to a new shade each year, basing its choice on trends observed in a wide variety of areas — including “entertainment industry and films in production, traveling art collections and new artists, fashion, all areas of design, popular travel destinations …”\u003c/p>\n\u003cp>The list goes on.\u003c/p>\n\u003cp>Living coral is receiving the baton from a cousin on the color wheel, ultra violet — which, as NPR’s Camila Domonoske \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/07/569153010/purple-is-the-color-of-the-year-for-2018\">pointed out last year\u003c/a>, is not to be confused with invisible ultraviolet (note the lack of a space!) light. That deep purple \u003ca href=\"https://www.pantone.com/color-of-the-year-2018\">earned the laurels\u003c/a> for its “originality, ingenuity, and visionary thinking that points us towards the future.”\u003c/p>\n\u003cfigure id=\"attachment_13846490\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846490 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1020x764.jpg\" alt=\"Here's how the shade looks on a swatch released by the Pantone Color Institute, which describes living coral as "vibrant, yet mellow."\" width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1200x898.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1920x1437.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Here’s how the shade looks on a swatch released by the Pantone Color Institute, which describes living coral as “vibrant, yet mellow.” \u003ccite>(Pantone Color Institute via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for living coral, the future may present a more complicated prospect.\u003c/p>\n\u003cp>When it comes to most headlines these days, the word “coral” doesn’t often get the opportunity to be paired with “living.” It’s “dying” that gets that distinction more often than not, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/25/580227045/plastic-pollution-is-killing-coral-reefs-4-year-study-finds\">report \u003c/a>after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/04/18/602995137/climate-change-is-killing-coral-on-the-great-barrier-reef\">report \u003c/a>after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/05/14/477963623/new-photos-show-the-rapid-pace-of-great-barrier-reef-bleaching\">report \u003c/a>after \u003ca href=\"https://www.npr.org/2018/05/15/611258056/battered-by-bleaching-floridas-coral-reefs-now-face-mysterious-disease\">report \u003c/a>— \u003ca href=\"https://www.npr.org/tags/450307054/coral-reefs\">and so on\u003c/a> — reveal the alarming extent to which human actions have played a role in bleaching and killing coral reefs around the world.\u003c/p>\n\u003cp>[contextly_sidebar id=”CiVPhu0l0khw9MXrDdOSccDrLnfDJ2LL”]\u003c/p>\n\u003cp>In this respect, a dark irony lurks in the fact that Pantone announced its honors for living coral on the same day climate scientists revealed that \u003ca href=\"https://www.npr.org/2018/12/05/673821051/carbon-dioxide-emissions-are-up-again-what-now-climate\">global carbon emissions are climbing\u003c/a>, despite many countries’ \u003ca href=\"https://www.npr.org/2018/12/03/671243911/high-stakes-as-international-climate-conference-begins\">ambitious pledges\u003c/a> to rein them in.\u003c/p>\n\u003cp>Pantone says it selected living coral partly as a way to remind people of “the desired, familiar, and energizing aspects of color found in nature.”\u003c/p>\n\u003cp>“In its glorious, yet unfortunately more elusive, display beneath the sea, this vivifying and effervescent color mesmerizes the eye and mind,” the institute says. “Lying at the center of our naturally vivid and chromatic ecosystem, PANTONE Living Coral is evocative of how coral reefs provide shelter to a diverse kaleidoscope of color.”\u003c/p>\n\u003cp>[contextly_sidebar id=”pCnQftFUubgoDGDmLY7yLnokdizyQaNh”]\u003c/p>\n\u003cp>And that kaleidoscope is to be found not just in the natural world but on our devices, making the color a perfect bridge for the modern world’s complex dimensions, according to Pantone Executive Director \u003ca href=\"http://leatriceeiseman.com/\">Leatrice Eiseman\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Color is an equalizing lens through which we experience our natural and digital realities, and this is particularly true for Living Coral,” she said in a statement Wednesday. “With consumers craving human interaction and social connection, the humanizing and heartening qualities displayed by the convivial PANTONE Living Coral hit a responsive chord.”\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=A+Royal+Hue%3A+%27Living+Coral%27+Crowned+Color+Of+The+Year+For+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Pantone chose the \"vibrant, yet mellow\" shade for its ability to bridge the natural and digital worlds. The pick comes at a poignant time, given the existential threats the color's namesake now faces.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 5:56 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>As December draws its darkest hours ever longer, inching moment by moment toward the shortest day of the year — in the northern hemisphere, at least — the Pantone Color Institute is striking a defiant tone. The global experts in hue have crowned “living coral” as their annual color of the year for 2019.\u003c/p>\n\u003cp>You can also call it by its official Pantone code, 16-1546 — though admittedly that doesn’t have quite the same ring to it. It would also miss the point, in a way, since the institute selected the color for its “vibrant, yet mellow” life-affirming qualities — both our physical lives and those we lead online.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Representing the fusion of modern life, PANTONE Living Coral is a nurturing color that appears in our natural surroundings and at the same time, displays a lively presence within social media,” the institute \u003ca href=\"https://www.pantone.com/color-intelligence/color-of-the-year/color-of-the-year-2019\">explained in a release\u003c/a> Wednesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/PantoneColor/videos/272055183660346/\">http://www.facebook.com/PantoneColor/videos/272055183660346/\u003c/a>\u003c/p>\n\u003cp>Since naming cerulean blue the color of 2000, the Pantone Color Institute has been passing the crown to a new shade each year, basing its choice on trends observed in a wide variety of areas — including “entertainment industry and films in production, traveling art collections and new artists, fashion, all areas of design, popular travel destinations …”\u003c/p>\n\u003cp>The list goes on.\u003c/p>\n\u003cp>Living coral is receiving the baton from a cousin on the color wheel, ultra violet — which, as NPR’s Camila Domonoske \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/07/569153010/purple-is-the-color-of-the-year-for-2018\">pointed out last year\u003c/a>, is not to be confused with invisible ultraviolet (note the lack of a space!) light. That deep purple \u003ca href=\"https://www.pantone.com/color-of-the-year-2018\">earned the laurels\u003c/a> for its “originality, ingenuity, and visionary thinking that points us towards the future.”\u003c/p>\n\u003cfigure id=\"attachment_13846490\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846490 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1020x764.jpg\" alt=\"Here's how the shade looks on a swatch released by the Pantone Color Institute, which describes living coral as "vibrant, yet mellow."\" width=\"640\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1200x898.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2-1920x1437.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/ap_18338794698980-149e4222e0067bede4d28ca0d4627d6c190f00b2.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Here’s how the shade looks on a swatch released by the Pantone Color Institute, which describes living coral as “vibrant, yet mellow.” \u003ccite>(Pantone Color Institute via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for living coral, the future may present a more complicated prospect.\u003c/p>\n\u003cp>When it comes to most headlines these days, the word “coral” doesn’t often get the opportunity to be paired with “living.” It’s “dying” that gets that distinction more often than not, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/25/580227045/plastic-pollution-is-killing-coral-reefs-4-year-study-finds\">report \u003c/a>after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/04/18/602995137/climate-change-is-killing-coral-on-the-great-barrier-reef\">report \u003c/a>after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/05/14/477963623/new-photos-show-the-rapid-pace-of-great-barrier-reef-bleaching\">report \u003c/a>after \u003ca href=\"https://www.npr.org/2018/05/15/611258056/battered-by-bleaching-floridas-coral-reefs-now-face-mysterious-disease\">report \u003c/a>— \u003ca href=\"https://www.npr.org/tags/450307054/coral-reefs\">and so on\u003c/a> — reveal the alarming extent to which human actions have played a role in bleaching and killing coral reefs around the world.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In this respect, a dark irony lurks in the fact that Pantone announced its honors for living coral on the same day climate scientists revealed that \u003ca href=\"https://www.npr.org/2018/12/05/673821051/carbon-dioxide-emissions-are-up-again-what-now-climate\">global carbon emissions are climbing\u003c/a>, despite many countries’ \u003ca href=\"https://www.npr.org/2018/12/03/671243911/high-stakes-as-international-climate-conference-begins\">ambitious pledges\u003c/a> to rein them in.\u003c/p>\n\u003cp>Pantone says it selected living coral partly as a way to remind people of “the desired, familiar, and energizing aspects of color found in nature.”\u003c/p>\n\u003cp>“In its glorious, yet unfortunately more elusive, display beneath the sea, this vivifying and effervescent color mesmerizes the eye and mind,” the institute says. “Lying at the center of our naturally vivid and chromatic ecosystem, PANTONE Living Coral is evocative of how coral reefs provide shelter to a diverse kaleidoscope of color.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And that kaleidoscope is to be found not just in the natural world but on our devices, making the color a perfect bridge for the modern world’s complex dimensions, according to Pantone Executive Director \u003ca href=\"http://leatriceeiseman.com/\">Leatrice Eiseman\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Color is an equalizing lens through which we experience our natural and digital realities, and this is particularly true for Living Coral,” she said in a statement Wednesday. “With consumers craving human interaction and social connection, the humanizing and heartening qualities displayed by the convivial PANTONE Living Coral hit a responsive chord.”\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=A+Royal+Hue%3A+%27Living+Coral%27+Crowned+Color+Of+The+Year+For+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv>\u003cem>Earlonne Woods, co-host of the popular prison podcast \u003ca href=\"https://www.kqed.org/arts/13428651/producer-of-ear-hustle-radiotopias-new-podcast-on-the-reality-of-prison-life\" target=\"_blank\" rel=\"noopener\">Ear Hustle\u003c/a>, had his sentence commuted by California Gov. Jerry Brown. Woods has served 21 years of a 31 to life prison sentence.\u003c/em>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/670313799/670313800\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\u003ch1>Transcript\u003c/h1>\n\u003cdiv>\n\u003cp>ARI SHAPIRO, HOST:\u003c/p>\n\u003cp>Earlier this year, we introduced you to a man named Earlonne Woods who got some big news yesterday. Woods is an inmate of the San Quentin State Prison in California. He was sentenced to 31 years to life for attempted robbery in 1999. He’s also co-host of the podcast “Ear Hustle,” which is why we had him on this program. “Ear Hustle” features stories from prison told by prisoners – their intimate, honest conversations about family visits, cellmates, solitary confinement – conversations like this one between Earlonne Woods and his co-host Nigel Poor, who’s not an inmate.\u003c/p>\n\u003cp>(SOUNDBITE OF PODCAST, “EAR HUSTLE”)\u003c/p>\n\u003cp>NIGEL POOR: You know, E, you’ve been in prison 20 years. And you have another 11 to go. So how do you keep going? What keeps your hopes up?\u003c/p>\n\u003cp>EARLONNE WOODS: Well, I just keep getting up every morning, you know, thankful that I have another day, thankful that I’m alive, you know? And my mindset, regardless of where I’m at, I’m going to live to the best of my ability. You know, prison, I’m going to live to the best of my ability. Look. I’m on a podcast.\u003c/p>\n\u003cp>SHAPIRO: Well, yesterday, California Governor Jerry Brown commuted Earlonne Woods’ sentence. He said Woods has clearly shown that he is no longer the man he was when he committed the crime. We called up Nigel Poor today to ask her about it, and she said that when they got the news yesterday, they were in the middle of making an episode.\u003c/p>\n\u003cp>POOR: So we were in the media lab working and – you know, trying to work, trying to stay concentrated. But we knew that, you know, it’s traditional for the governor to do these commutations right before Thanksgiving. And the phone rang in the media lab. And I mean, we just knew that was the call. And so (laughter) it was just incredible.\u003c/p>\n\u003cp>SHAPIRO: Earlonne Woods had to leave the media lab to take the call.\u003c/p>\n\u003cp>POOR: I walked him to the gate; you know, wished him good luck. He went up there.\u003c/p>\n\u003cp>SHAPIRO: When you said goodbye to him, were you crying? Did you give him a hug? I mean…\u003c/p>\n\u003cp>POOR: No, I can’t hug him.\u003c/p>\n\u003cp>SHAPIRO: You’re not allowed?\u003c/p>\n\u003cp>POOR: No, we’re not allowed. So I gave him, you know, a handshake with as much emotion as I could muster…\u003c/p>\n\u003cp>(LAUGHTER)\u003c/p>\n\u003cp>POOR: …Appropriately. And I just said, when you come back, you’re going to be almost a free man.\u003c/p>\n\u003cp>SHAPIRO: Nigel Poor told us that when Earlonne Woods came back…\u003c/p>\n\u003cp>POOR: He was walking with a lot of air in his step. You know what I mean? Like, he just seemed lighter and shiny and fresh.\u003c/p>\n\u003cp>SHAPIRO: What was your emotion?\u003c/p>\n\u003cp>POOR: You know, a kind of joy I never really experienced before – I mean, it’s – you know, to be so happy for him and being in prison and not wanting to cry (laughter) – you know, trying to hold it together. But it was just – it was spectacular. And I keep thinking, like, a week from now, Earlonne and I could be having dinner outside the prison together (laughter).\u003c/p>\n\u003cp>SHAPIRO: Like in a restaurant, at your house, any…\u003c/p>\n\u003cp>POOR: Yes. Yes, he can come to my house. We can go to a restaurant. We can go to the gym and work out together. Like, all of a sudden, you know…\u003c/p>\n\u003cp>SHAPIRO: (Laughter).\u003c/p>\n\u003cp>POOR: …We’ll be like regular colleagues.\u003c/p>\n\u003cp>SHAPIRO: Earlonne Woods is 47. He’s been behind bars for more than 20 years. And, like a lot of inmates, he’s been thinking about this moment for a long time. We know because they did a whole episode on getting parole.\u003c/p>\n\u003cp>(SOUNDBITE OF PODCAST, “EAR HUSTLE”)\u003c/p>\n\u003cp>WOODS: That’s something that a lot of us behind bars fantasize about – getting out and leading a normal life.\u003c/p>\n\u003cp>POOR: What are some of the things you think about when you fantasize about your life when you’re out?\u003c/p>\n\u003cp>WOODS: Off the top of my head…\u003c/p>\n\u003cp>POOR: Yeah.\u003c/p>\n\u003cp>WOODS: …It’s unrealistic, but I think about just getting out of San Quentin, jumping in the water and swimming to my yacht and going around the world.\u003c/p>\n\u003cp>POOR: Nice (laughter).\u003c/p>\n\u003cp>SHAPIRO: That’s Earlonne Woods from the podcast “Ear Hustle.” His sentence was commuted yesterday. Nigel Poor assures us the podcast will continue with Earlonne contributing stories from the outside.\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003cp class=\"disclaimer\">\u003cem>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=Earlonne+Woods%2C+Co-Host+Of+%27Ear+Hustle%27+Podcast%2C+Gets+Prison+Sentence+Commuted&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv>\u003cem>Earlonne Woods, co-host of the popular prison podcast \u003ca href=\"https://www.kqed.org/arts/13428651/producer-of-ear-hustle-radiotopias-new-podcast-on-the-reality-of-prison-life\" target=\"_blank\" rel=\"noopener\">Ear Hustle\u003c/a>, had his sentence commuted by California Gov. Jerry Brown. Woods has served 21 years of a 31 to life prison sentence.\u003c/em>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/670313799/670313800\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\u003ch1>Transcript\u003c/h1>\n\u003cdiv>\n\u003cp>ARI SHAPIRO, HOST:\u003c/p>\n\u003cp>Earlier this year, we introduced you to a man named Earlonne Woods who got some big news yesterday. Woods is an inmate of the San Quentin State Prison in California. He was sentenced to 31 years to life for attempted robbery in 1999. He’s also co-host of the podcast “Ear Hustle,” which is why we had him on this program. “Ear Hustle” features stories from prison told by prisoners – their intimate, honest conversations about family visits, cellmates, solitary confinement – conversations like this one between Earlonne Woods and his co-host Nigel Poor, who’s not an inmate.\u003c/p>\n\u003cp>(SOUNDBITE OF PODCAST, “EAR HUSTLE”)\u003c/p>\n\u003cp>NIGEL POOR: You know, E, you’ve been in prison 20 years. And you have another 11 to go. So how do you keep going? What keeps your hopes up?\u003c/p>\n\u003cp>EARLONNE WOODS: Well, I just keep getting up every morning, you know, thankful that I have another day, thankful that I’m alive, you know? And my mindset, regardless of where I’m at, I’m going to live to the best of my ability. You know, prison, I’m going to live to the best of my ability. Look. I’m on a podcast.\u003c/p>\n\u003cp>SHAPIRO: Well, yesterday, California Governor Jerry Brown commuted Earlonne Woods’ sentence. He said Woods has clearly shown that he is no longer the man he was when he committed the crime. We called up Nigel Poor today to ask her about it, and she said that when they got the news yesterday, they were in the middle of making an episode.\u003c/p>\n\u003cp>POOR: So we were in the media lab working and – you know, trying to work, trying to stay concentrated. But we knew that, you know, it’s traditional for the governor to do these commutations right before Thanksgiving. And the phone rang in the media lab. And I mean, we just knew that was the call. And so (laughter) it was just incredible.\u003c/p>\n\u003cp>SHAPIRO: Earlonne Woods had to leave the media lab to take the call.\u003c/p>\n\u003cp>POOR: I walked him to the gate; you know, wished him good luck. He went up there.\u003c/p>\n\u003cp>SHAPIRO: When you said goodbye to him, were you crying? Did you give him a hug? I mean…\u003c/p>\n\u003cp>POOR: No, I can’t hug him.\u003c/p>\n\u003cp>SHAPIRO: You’re not allowed?\u003c/p>\n\u003cp>POOR: No, we’re not allowed. So I gave him, you know, a handshake with as much emotion as I could muster…\u003c/p>\n\u003cp>(LAUGHTER)\u003c/p>\n\u003cp>POOR: …Appropriately. And I just said, when you come back, you’re going to be almost a free man.\u003c/p>\n\u003cp>SHAPIRO: Nigel Poor told us that when Earlonne Woods came back…\u003c/p>\n\u003cp>POOR: He was walking with a lot of air in his step. You know what I mean? Like, he just seemed lighter and shiny and fresh.\u003c/p>\n\u003cp>SHAPIRO: What was your emotion?\u003c/p>\n\u003cp>POOR: You know, a kind of joy I never really experienced before – I mean, it’s – you know, to be so happy for him and being in prison and not wanting to cry (laughter) – you know, trying to hold it together. But it was just – it was spectacular. And I keep thinking, like, a week from now, Earlonne and I could be having dinner outside the prison together (laughter).\u003c/p>\n\u003cp>SHAPIRO: Like in a restaurant, at your house, any…\u003c/p>\n\u003cp>POOR: Yes. Yes, he can come to my house. We can go to a restaurant. We can go to the gym and work out together. Like, all of a sudden, you know…\u003c/p>\n\u003cp>SHAPIRO: (Laughter).\u003c/p>\n\u003cp>POOR: …We’ll be like regular colleagues.\u003c/p>\n\u003cp>SHAPIRO: Earlonne Woods is 47. He’s been behind bars for more than 20 years. And, like a lot of inmates, he’s been thinking about this moment for a long time. We know because they did a whole episode on getting parole.\u003c/p>\n\u003cp>(SOUNDBITE OF PODCAST, “EAR HUSTLE”)\u003c/p>\n\u003cp>WOODS: That’s something that a lot of us behind bars fantasize about – getting out and leading a normal life.\u003c/p>\n\u003cp>POOR: What are some of the things you think about when you fantasize about your life when you’re out?\u003c/p>\n\u003cp>WOODS: Off the top of my head…\u003c/p>\n\u003cp>POOR: Yeah.\u003c/p>\n\u003cp>WOODS: …It’s unrealistic, but I think about just getting out of San Quentin, jumping in the water and swimming to my yacht and going around the world.\u003c/p>\n\u003cp>POOR: Nice (laughter).\u003c/p>\n\u003cp>SHAPIRO: That’s Earlonne Woods from the podcast “Ear Hustle.” His sentence was commuted yesterday. Nigel Poor assures us the podcast will continue with Earlonne contributing stories from the outside.\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003cp class=\"disclaimer\">\u003cem>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=Earlonne+Woods%2C+Co-Host+Of+%27Ear+Hustle%27+Podcast%2C+Gets+Prison+Sentence+Commuted&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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