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"content": "\u003cp>“Favour is a breeze that shifts direction all the time,” warns scheming snot Robert Harley, 1st Earl of Oxford and Earl Mortimer (Nicholas Hoult), early in Yorgos Lanthimos’ delightfully scabrous period comedy, \u003cem>The Favourite\u003c/em>. He’s right about that: In the early-18th-century court of Britain’s Queen Anne (Olivia Colman), that shifting breeze regularly reaches gale-force intensity.\u003c/p>\n\u003cp>And it’s not simply the Queen’s favor—er, favour—that proves so mercurial. As the film progresses, our sympathies get brutally buffeted about among its three major players: the weak-willed Anne; her sublimely vicious adviser Sarah, Duchess of Marlborough (Rachel Weisz); and the ambitious, wiser-than-she-lets-on servant Abigail (Emma Stone). 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It’s a remarkable performance, at once hilarious and achingly sad.\u003c/p>\n\u003cp>As Sarah, Rachel Weisz gazes out at the world from behind a fixed, steely, calculating expression, her mouth pressed into a thin reptilian smile that should be registered as a lethal weapon. As she trades waspishly witty barbs with Stone (the screenplay by Deborah Davis and Tony McNamara teems with quotable insults, both veiled and very, very not), what begins as a hairline fracture in her cocksure veneer soon spiders into a crackle finish; she’s worried about her station. She has every right to be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s because she’s watching, in horror, the same thing we’re watching: Emma Stone’s Abigail shuffling off her plain, humble outer layer to reveal the shrewd and cunning creature of raw ambition that lies beneath. Stone’s never been better than she is here, as the character of Abigail threads a perilous needle. The first time we see her, she’s literally thrown in the mud. She then proceeds to get dismissed, exploited, abused, and thrown into still more mud—this time at the bottom of a ditch—and if all that weren’t enough to win our sympathies, and our sympathetic thirst for vengeance, there’s also the small but telling fact that she’s played by Emma Freaking Stone, an actress who works with an audience’s empathy the way J.M.W. Turner worked with oils. As Abigail learns to play the game of court, we cheer her on—and when she goes further, and further still, and her lip inevitably curls into a sneer, we’re \u003cem>still\u003c/em> with her, though we should know better.\u003c/p>\n\u003cp>In films like \u003cem>Dogtooth\u003c/em>, \u003cem>The Lobster\u003c/em> and \u003cem>The Killing of A Sacred Deer\u003c/em>, director Lanthimos established his signature, deadpan aesthetic. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Favour is a breeze that shifts direction all the time,” warns scheming snot Robert Harley, 1st Earl of Oxford and Earl Mortimer (Nicholas Hoult), early in Yorgos Lanthimos’ delightfully scabrous period comedy, \u003cem>The Favourite\u003c/em>. He’s right about that: In the early-18th-century court of Britain’s Queen Anne (Olivia Colman), that shifting breeze regularly reaches gale-force intensity.\u003c/p>\n\u003cp>And it’s not simply the Queen’s favor—er, favour—that proves so mercurial. As the film progresses, our sympathies get brutally buffeted about among its three major players: the weak-willed Anne; her sublimely vicious adviser Sarah, Duchess of Marlborough (Rachel Weisz); and the ambitious, wiser-than-she-lets-on servant Abigail (Emma Stone). Weisz and Stone constantly plot and counter-plot against each other as Colman’s Anne dithers and waffles and screams at whatever unlucky attendant should happen to enter her field of vision.\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/SYb-wkehT1g'\n title='//www.youtube.com/embed/SYb-wkehT1g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At first, Colman makes Anne a downright hateful figure. Having spent her reign infantilized by those around her, she barks willfully childish demands from her bedchamber, throws tantrums, hurls herself into salty spirals of self-pity and too-willingly shunts the affairs of state onto Weisz’s Sarah. But Colman’s just too damn good to leave it at that; Anne’s initial repellent awfulness soon softens into something more pitiable, even empathetic, while her mewling self-pity hardens into a kind of resigned self-awareness—often over the course of a single scene. It’s a remarkable performance, at once hilarious and achingly sad.\u003c/p>\n\u003cp>As Sarah, Rachel Weisz gazes out at the world from behind a fixed, steely, calculating expression, her mouth pressed into a thin reptilian smile that should be registered as a lethal weapon. As she trades waspishly witty barbs with Stone (the screenplay by Deborah Davis and Tony McNamara teems with quotable insults, both veiled and very, very not), what begins as a hairline fracture in her cocksure veneer soon spiders into a crackle finish; she’s worried about her station. She has every right to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s because she’s watching, in horror, the same thing we’re watching: Emma Stone’s Abigail shuffling off her plain, humble outer layer to reveal the shrewd and cunning creature of raw ambition that lies beneath. Stone’s never been better than she is here, as the character of Abigail threads a perilous needle. The first time we see her, she’s literally thrown in the mud. She then proceeds to get dismissed, exploited, abused, and thrown into still more mud—this time at the bottom of a ditch—and if all that weren’t enough to win our sympathies, and our sympathetic thirst for vengeance, there’s also the small but telling fact that she’s played by Emma Freaking Stone, an actress who works with an audience’s empathy the way J.M.W. Turner worked with oils. As Abigail learns to play the game of court, we cheer her on—and when she goes further, and further still, and her lip inevitably curls into a sneer, we’re \u003cem>still\u003c/em> with her, though we should know better.\u003c/p>\n\u003cp>In films like \u003cem>Dogtooth\u003c/em>, \u003cem>The Lobster\u003c/em> and \u003cem>The Killing of A Sacred Deer\u003c/em>, director Lanthimos established his signature, deadpan aesthetic. His characters didn’t so much speak as intone their lines in a flat, affectless monotone which served at first to amuse and fascinate, then ultimately to unsettle, our perceptions. \u003cem>The Favourite\u003c/em> forgoes such verbal constraints to freely admit messy human emotions—it’s downright awash with them—and the vocal inflections that attend them. The fact that Lanthimos didn’t write the script means that the dialogue is sharper and more acidic than usual, favoring the venomous over the vacuous.\u003c/p>\n\u003cp>Yet this is unmistakably a Lanthimos joint: The world of the film feels both familiar and foreign. Here are all the expected period-drama trappings: wigs and Whigs, Tories and topiaries, bustles and corsets and flounces. But Lanthimos films the action from low angles, to highlight the well-appointed yet oppressive ceilings hanging over everything, and underscores the artifice by employing fish-eye lenses and double-exposure to allow us to see the world through his characters’ skewed perceptions. And he doesn’t skimp on the vaguely absurdist details: dandies in powdered wigs parade their beloved ducks; a naked man gleefully withstands an odd pomegranate fusillade; a decorous waltz transforms into a kind of antic soul-train line-dance.\u003c/p>\n\u003cp>Everything looks both stately and grubby, somehow. Cinematographer Robbie Ryan’s dull, colorless light leaches through heavily leaded windows to make the rooms, with their dark rich wood and sumptuous fabrics, look passionless, even sickly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That grayed-out quality of light suggests Anne’s emotional and physical state: She’s fading, and not terribly slowly. Gout and depression are catching up with her, leading to a final shot that’s even more arresting, and mysterious, and unforgettable than the uncompromising, charmingly merciless film that preceded it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Amid all the Internet is capable of — instant news updates, ranking everything from \u003ca href=\"https://www.npr.org/series/534681404/best-music-of-2018\">albums \u003c/a>to \u003ca href=\"https://www.npr.org/2018/11/20/668372321/turning-the-tables-your-list-of-the-21st-centurys-most-influential-women-musicia\">influential artists\u003c/a>, \u003ca href=\"https://www.npr.org/2017/05/02/526514168/why-social-media-isnt-always-very-social\">exacerbating our FOMO\u003c/a> — a pure-hearted collaboration occasionally arises to remind us why we’re all still here, clicking around. \u003ca href=\"https://www.npr.org/artists/90283085/queen\">Queen\u003c/a>‘s “Bohemian Rhapsody,” performed by 28 trombonists, is the Internet content you didn’t know you needed today.\u003c/p>\n\u003cp>[contextly_sidebar id=”xhFw1hWbN6SJGMUW5E0yJQYd1TVToFAy”]\u003c/p>\n\u003cp>“Bohemian Rhapsody” covers are plentiful enough that choosing only a few to highlight would be impossible, although \u003ca href=\"https://www.youtube.com/watch?v=eOU6UAjmVIk\">this toddler\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=cZnBNuqqz5g\">this Green Day concert\u003c/a> come to mind. Recorded during the 2018 \u003ca href=\"https://trombonefestival.net/\">International Trombone Festival\u003c/a>, this brass choir elevates the cover game. The mournful slide of the trombone — a highlight during the ballad-like verses — and the brassy, anthemic crescendo after the head-banging bridge creates a unexpectedly heartening rendition of the rocking original.\u003c/p>\n\u003cp>[contextly_sidebar id=”D3dkZcvZ9fVL9a3KKZGoY8RKdppLFLie”]\u003c/p>\n\u003cp>The video was produced by \u003ca href=\"https://classicaltrombone.com/about/\">Christopher Bill\u003c/a>, a trombonist and \u003ca href=\"https://www.youtube.com/channel/UCr-U9BPniu4AQA16baIPHYQ\">prolific YouTuber\u003c/a>, to draw attention to next year’s International Trombone Festival. How effective is this video as a call to enroll? Let’s just say the organizers might find a few beginners in the mix this summer, newly inspired to take up the instrument.\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=28+Trombonists+Play+%27Bohemian+Rhapsody%2C%27+Will+Send+Shivers+Down+Your+Spine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amid all the Internet is capable of — instant news updates, ranking everything from \u003ca href=\"https://www.npr.org/series/534681404/best-music-of-2018\">albums \u003c/a>to \u003ca href=\"https://www.npr.org/2018/11/20/668372321/turning-the-tables-your-list-of-the-21st-centurys-most-influential-women-musicia\">influential artists\u003c/a>, \u003ca href=\"https://www.npr.org/2017/05/02/526514168/why-social-media-isnt-always-very-social\">exacerbating our FOMO\u003c/a> — a pure-hearted collaboration occasionally arises to remind us why we’re all still here, clicking around. \u003ca href=\"https://www.npr.org/artists/90283085/queen\">Queen\u003c/a>‘s “Bohemian Rhapsody,” performed by 28 trombonists, is the Internet content you didn’t know you needed today.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Bohemian Rhapsody” covers are plentiful enough that choosing only a few to highlight would be impossible, although \u003ca href=\"https://www.youtube.com/watch?v=eOU6UAjmVIk\">this toddler\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=cZnBNuqqz5g\">this Green Day concert\u003c/a> come to mind. Recorded during the 2018 \u003ca href=\"https://trombonefestival.net/\">International Trombone Festival\u003c/a>, this brass choir elevates the cover game. The mournful slide of the trombone — a highlight during the ballad-like verses — and the brassy, anthemic crescendo after the head-banging bridge creates a unexpectedly heartening rendition of the rocking original.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The video was produced by \u003ca href=\"https://classicaltrombone.com/about/\">Christopher Bill\u003c/a>, a trombonist and \u003ca href=\"https://www.youtube.com/channel/UCr-U9BPniu4AQA16baIPHYQ\">prolific YouTuber\u003c/a>, to draw attention to next year’s International Trombone Festival. How effective is this video as a call to enroll? Let’s just say the organizers might find a few beginners in the mix this summer, newly inspired to take up the instrument.\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=28+Trombonists+Play+%27Bohemian+Rhapsody%2C%27+Will+Send+Shivers+Down+Your+Spine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Gone Girl: New York's 'Fearless Girl' Statue Is 'On The Move'",
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"content": "\u003cp>Early Wednesday morning, a girl — about 4 feet tall with bronze hair, bronze shoes and a bronze dress — went missing.\u003c/p>\n\u003cp>She was last seen in the New York City financial district standing akimbo and facing down a large bull. She left only a pair of footprints and a not-so-cryptic message in her wake.\u003c/p>\n\u003cp>“Fearless Girl is on the move to The New York Stock Exchange,” \u003ca href=\"https://twitter.com/StateStreetGA/status/1067754946559438849\">the message read\u003c/a>. “Until she’s there, stand for her.”\u003c/p>\n\u003cp>https://twitter.com/StateStreetGA/status/1067754946559438849\u003c/p>\n\u003cp>The \u003cem>Fearless Girl\u003c/em> statue was originally placed adjacent to that of the \u003cem>Charging Bull\u003c/em> in the northern corner of Bowling Green Park in March 2017. The group that installed the piece, State Street Global Advisors, says it did so \u003ca href=\"https://www.ssga.com/global/en/our-insights/viewpoints/wall-street-meet-fearless-girl.html\">“to raise awareness about the importance of gender diversity in corporate leadership.”\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”lVuxEGPA7lC57vmEoxFjzTZ4EubDMaQJ”]\u003c/p>\n\u003cp>The investment management firm claims that between the placement of the statue and late September, \u003ca href=\"https://newsroom.statestreet.com/press-release/corporate/state-street-global-advisors-reports-fearless-girls-impact-more-300-companie\">more than 300 companies have added a female director\u003c/a>.\u003c/p>\n\u003cp>However, the firm and its statue have been a the center of a few controversies.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/06/556058808/firm-behind-fearless-girl-statue-underpaid-female-black-execs-u-s-says\">NPR’s Camila Domonoske reported\u003c/a> in October 2017 that a Department of Labor investigation found the statue’s State Street sponsors had underpaid female and black executives.\u003c/p>\n\u003cp>In addition, the artist behind the \u003cem>Charging Bull, \u003c/em>Arturo Di Modica, has called the \u003cem>Fearless Girl\u003c/em> an “advertising trick” that makes the subject of his own sculpture into a villain. As a result, a different artist who supports Di Modica created a third sculpture of a dog peeing on the bronze girl’s leg, which made its brief cameo in this drama in May 2017, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/30/530749867/for-a-few-hours-a-sculpted-dog-was-urinating-on-the-fearless-girl\">reported by NPR’s Colin Dwyer\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”12e2mrS5wmxNgAVTfDVsTybYlqHvUSAX”]\u003c/p>\n\u003cp>The relocation of Kristen Visbal’s \u003cem>Fearless Girl\u003c/em> began late Tuesday night but was announced back in April in a \u003ca href=\"https://newsroom.statestreet.com/press-release/corporate/new-york-city-mayor-and-state-street-global-advisors-announce-new-location-f\">statement by State Street and New York City Mayor Bill de Blasio\u003c/a>.\u003c/p>\n\u003cp>“Our hope is that by moving her closer to the NYSE she will encourage more companies to take action and, more broadly, that she will continue to inspire people from all walks of life on the issue of gender diversity,” State Street Global Advisors President and CEO Cyrus Taraporevala said.\u003c/p>\n\u003cp>However, local television station \u003ca href=\"https://abc7ny.com/finance/fearless-girl-statue-moved-from-spot-opposite-bull/4779944/\">WABC reported\u003c/a> conversations among city officials regarding both the bull and girl statues have focused on the traffic hazard they present. They were both located on the narrow end of Bowling Green Park, which also acts as a median on busy Broadway — where crowds gathered around the statues often spilled over.\u003c/p>\n\u003cp>“This move to a new location will ensure that her message and impact will continue to be heard, as well as improve access for visitors,” De Blasio said in April’s statement.\u003c/p>\n\u003cp>The mayor’s spokesman \u003ca href=\"https://twitter.com/EricFPhillips/status/986982997231570946\">Eric Phillips also tweeted\u003c/a> around that time that the \u003cem>Charging Bull\u003c/em> statue “will almost certainly be moved” as well.\u003c/p>\n\u003cp>https://twitter.com/EricFPhillips/status/986982997231570946?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E986982997231570946&ref_url=https%3A%2F%2Fwww.npr.org%2F2018%2F11%2F28%2F671546407%2Fgone-girl-lower-manhattan-fearless-girl-statue-is-on-the-move\u003c/p>\n\u003cp>The more than three and a half ton, 18-foot-long bronze bull was originally placed on Broad Street right in front of the NYSE building on \u003ca href=\"http://chargingbull.com/chargingbull.html\">December 15, 1989, by Di Modica\u003c/a> but was removed later that day. It was relocated to its current home at Bowling Green Park.\u003c/p>\n\u003cp>Intended to be just a temporary display — for a few weeks — the smaller female icon became too popular to be removed, according to WABC.\u003c/p>\n\u003cp>The television station also spoke to the Aranda family, who walked by the statue on the way to school for the year plus that it had been there.\u003c/p>\n\u003cp>“We definitely are going to miss her,” Leonardo Aranda told the television station, adding that “raising boys who stand up for women and raising strong girls who go on to be strong women” is important and is something they try to communicate to their kids.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The relocation of the statue is expected to be complete before the end of this year.\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=Gone+Girl%3A+Lower+Manhattan+%27Fearless+Girl%27+Statue+Is+%27On+The+Move%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early Wednesday morning, a girl — about 4 feet tall with bronze hair, bronze shoes and a bronze dress — went missing.\u003c/p>\n\u003cp>She was last seen in the New York City financial district standing akimbo and facing down a large bull. She left only a pair of footprints and a not-so-cryptic message in her wake.\u003c/p>\n\u003cp>“Fearless Girl is on the move to The New York Stock Exchange,” \u003ca href=\"https://twitter.com/StateStreetGA/status/1067754946559438849\">the message read\u003c/a>. “Until she’s there, stand for her.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The \u003cem>Fearless Girl\u003c/em> statue was originally placed adjacent to that of the \u003cem>Charging Bull\u003c/em> in the northern corner of Bowling Green Park in March 2017. The group that installed the piece, State Street Global Advisors, says it did so \u003ca href=\"https://www.ssga.com/global/en/our-insights/viewpoints/wall-street-meet-fearless-girl.html\">“to raise awareness about the importance of gender diversity in corporate leadership.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The investment management firm claims that between the placement of the statue and late September, \u003ca href=\"https://newsroom.statestreet.com/press-release/corporate/state-street-global-advisors-reports-fearless-girls-impact-more-300-companie\">more than 300 companies have added a female director\u003c/a>.\u003c/p>\n\u003cp>However, the firm and its statue have been a the center of a few controversies.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/06/556058808/firm-behind-fearless-girl-statue-underpaid-female-black-execs-u-s-says\">NPR’s Camila Domonoske reported\u003c/a> in October 2017 that a Department of Labor investigation found the statue’s State Street sponsors had underpaid female and black executives.\u003c/p>\n\u003cp>In addition, the artist behind the \u003cem>Charging Bull, \u003c/em>Arturo Di Modica, has called the \u003cem>Fearless Girl\u003c/em> an “advertising trick” that makes the subject of his own sculpture into a villain. As a result, a different artist who supports Di Modica created a third sculpture of a dog peeing on the bronze girl’s leg, which made its brief cameo in this drama in May 2017, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/30/530749867/for-a-few-hours-a-sculpted-dog-was-urinating-on-the-fearless-girl\">reported by NPR’s Colin Dwyer\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The relocation of Kristen Visbal’s \u003cem>Fearless Girl\u003c/em> began late Tuesday night but was announced back in April in a \u003ca href=\"https://newsroom.statestreet.com/press-release/corporate/new-york-city-mayor-and-state-street-global-advisors-announce-new-location-f\">statement by State Street and New York City Mayor Bill de Blasio\u003c/a>.\u003c/p>\n\u003cp>“Our hope is that by moving her closer to the NYSE she will encourage more companies to take action and, more broadly, that she will continue to inspire people from all walks of life on the issue of gender diversity,” State Street Global Advisors President and CEO Cyrus Taraporevala said.\u003c/p>\n\u003cp>However, local television station \u003ca href=\"https://abc7ny.com/finance/fearless-girl-statue-moved-from-spot-opposite-bull/4779944/\">WABC reported\u003c/a> conversations among city officials regarding both the bull and girl statues have focused on the traffic hazard they present. They were both located on the narrow end of Bowling Green Park, which also acts as a median on busy Broadway — where crowds gathered around the statues often spilled over.\u003c/p>\n\u003cp>“This move to a new location will ensure that her message and impact will continue to be heard, as well as improve access for visitors,” De Blasio said in April’s statement.\u003c/p>\n\u003cp>The mayor’s spokesman \u003ca href=\"https://twitter.com/EricFPhillips/status/986982997231570946\">Eric Phillips also tweeted\u003c/a> around that time that the \u003cem>Charging Bull\u003c/em> statue “will almost certainly be moved” as well.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The more than three and a half ton, 18-foot-long bronze bull was originally placed on Broad Street right in front of the NYSE building on \u003ca href=\"http://chargingbull.com/chargingbull.html\">December 15, 1989, by Di Modica\u003c/a> but was removed later that day. It was relocated to its current home at Bowling Green Park.\u003c/p>\n\u003cp>Intended to be just a temporary display — for a few weeks — the smaller female icon became too popular to be removed, according to WABC.\u003c/p>\n\u003cp>The television station also spoke to the Aranda family, who walked by the statue on the way to school for the year plus that it had been there.\u003c/p>\n\u003cp>“We definitely are going to miss her,” Leonardo Aranda told the television station, adding that “raising boys who stand up for women and raising strong girls who go on to be strong women” is important and is something they try to communicate to their kids.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The relocation of the statue is expected to be complete before the end of this year.\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=Gone+Girl%3A+Lower+Manhattan+%27Fearless+Girl%27+Statue+Is+%27On+The+Move%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Margaret Atwood Is Writing A Sequel To 'The Handmaid's Tale'",
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"content": "\u003cp>More than 30 years after the release of \u003cem>The Handmaid’s Tale\u003c/em>, author Margaret Atwood has announced there’s going to be a sequel.\u003c/p>\n\u003cp>Penguin Random House \u003ca href=\"http://global.penguinrandomhouse.com/announcements/margaret-atwood-writing-handmaids-tale-sequel-for-publication-september-10/\">said Wednesday\u003c/a> that the new novel is set to be published on Sept. 10, 2019. It’s called \u003cem>The Testaments\u003c/em> and will take place 15 years after \u003cem>The Handmaid’s Tale\u003c/em> left off. The story will be told by three female characters, according to the U.S. publisher.\u003c/p>\n\u003cp>\u003cem>The Handmaid’s Tale\u003c/em>, a dystopian novel set in the fictional theocratic dictatorship of Gilead, has risen again to prominence with a critically acclaimed TV series based on the book that started airing in 2017.\u003c/p>\n\u003cp>[contextly_sidebar id=”nnIMDykalEpo8j5cIjzPAtxkrHoMuFN2″]\u003c/p>\n\u003cp>The action in the new book will be separate from the TV series, which is gearing up for a third season. In the second season, the action went beyond where the book left off.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a message to readers, Atwood said it was their questions that inspired her to return to Gilead.\u003c/p>\n\u003cp>“Dear Readers: Everything you’ve ever asked me about Gilead and its inner workings is the inspiration for this book. Well, almost everything!” the Canadian writer said.\u003c/p>\n\u003cp>She added: “The other inspiration is the world we’ve been living in.”\u003c/p>\n\u003cp>[contextly_sidebar id=”JI6rj7b5P2DiBUbFkiSeHPNF4hRkCOwc”]\u003c/p>\n\u003cp>In the brutal world of \u003cem>The Handmaid’s Tale\u003c/em>, environmental catastrophe has rendered many women infertile. Those who can still conceive are forced to become “handmaids,” a role in which they are sexual captives and bear children for government officials whose own wives cannot.\u003c/p>\n\u003cp>The book has struck a political chord in recent years. At protests around the world, particularly those regarding reproductive issues, women have rallied wearing the red cloaks and white bonnets of handmaids.\u003c/p>\n\u003cp>The press release noted that the book has gained new prominence since President Trump was elected. It said, “Handmaids became a symbol of the movement against him, representing female empowerment and resistance in the face of misogyny and the rolling back of women’s rights.”\u003c/p>\n\u003cp>[contextly_sidebar id=”jmB4R69bsZU2dRuxioDgmnJEIr0JyBlT”]\u003c/p>\n\u003cp>It’s not clear how this new book will relate to the first. The publisher didn’t say who the three narrators would be, nor whether they were characters in the first book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since it was first published in 1985, the book has sold 8 million copies in English, according to Penguin Random House.\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=Margaret+Atwood+Is+Writing+A+Sequel+To+%27The+Handmaid%27s+Tale%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More than 30 years after the release of \u003cem>The Handmaid’s Tale\u003c/em>, author Margaret Atwood has announced there’s going to be a sequel.\u003c/p>\n\u003cp>Penguin Random House \u003ca href=\"http://global.penguinrandomhouse.com/announcements/margaret-atwood-writing-handmaids-tale-sequel-for-publication-september-10/\">said Wednesday\u003c/a> that the new novel is set to be published on Sept. 10, 2019. It’s called \u003cem>The Testaments\u003c/em> and will take place 15 years after \u003cem>The Handmaid’s Tale\u003c/em> left off. The story will be told by three female characters, according to the U.S. publisher.\u003c/p>\n\u003cp>\u003cem>The Handmaid’s Tale\u003c/em>, a dystopian novel set in the fictional theocratic dictatorship of Gilead, has risen again to prominence with a critically acclaimed TV series based on the book that started airing in 2017.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The action in the new book will be separate from the TV series, which is gearing up for a third season. In the second season, the action went beyond where the book left off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a message to readers, Atwood said it was their questions that inspired her to return to Gilead.\u003c/p>\n\u003cp>“Dear Readers: Everything you’ve ever asked me about Gilead and its inner workings is the inspiration for this book. Well, almost everything!” the Canadian writer said.\u003c/p>\n\u003cp>She added: “The other inspiration is the world we’ve been living in.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the brutal world of \u003cem>The Handmaid’s Tale\u003c/em>, environmental catastrophe has rendered many women infertile. Those who can still conceive are forced to become “handmaids,” a role in which they are sexual captives and bear children for government officials whose own wives cannot.\u003c/p>\n\u003cp>The book has struck a political chord in recent years. At protests around the world, particularly those regarding reproductive issues, women have rallied wearing the red cloaks and white bonnets of handmaids.\u003c/p>\n\u003cp>The press release noted that the book has gained new prominence since President Trump was elected. It said, “Handmaids became a symbol of the movement against him, representing female empowerment and resistance in the face of misogyny and the rolling back of women’s rights.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s not clear how this new book will relate to the first. The publisher didn’t say who the three narrators would be, nor whether they were characters in the first book.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since it was first published in 1985, the book has sold 8 million copies in English, according to Penguin Random House.\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=Margaret+Atwood+Is+Writing+A+Sequel+To+%27The+Handmaid%27s+Tale%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'At Eternity's Gate': Dafoe Is Van Gogh, And You Should Go",
"headTitle": "‘At Eternity’s Gate’: Dafoe Is Van Gogh, And You Should Go | KQED",
"content": "\u003cp>The short, brilliant, tragic life of Vincent Van Gogh has long been a source of inspiration for creatives of all types. Something about the mystique of the artist with severe mental illness, whose greatness was only recognized years after his death, resonates with frustrated souls the world over. But it can be distressingly easy for a story as nuanced and contradictory as Van Gogh’s, with all its bright colors and violent strokes, to become flattened into easy answers under the harsh light of the camera, an artist’s implement that so rarely matches the delicacy of the paintbrush.\u003c/p>\n\u003cp>What a treat, then, to arrive \u003cem>At Eternity’s Gate\u003c/em>. The lovely new biopic by Julian Schnabel offers a vision of Van Gogh’s final days that is at once bold, blissful and deeply sad. Focusing on the final few years of the painter’s life, when he left Paris for the rural southern French town of Arles in order to be near the nature that so inspired him, Schnabel (with co-writers Jean-Claude Carrière and Louise Kugelberg) feeds his subject’s thirst for purpose without sugarcoating the immense darkness that plagued him as his mental and physical health deteriorated. This is a very textured film, like one of its subject’s paintings, with their great, big globs of color coming off the canvases.\u003c/p>\n\u003cp>https://youtu.be/T77PDm3e1iE\u003c/p>\n\u003cp>At 63, Willem Dafoe is nearly twice the age Van Gogh was when he died. Yet the actor helps close that noticeable gap with the tremendous physicality he brings to the role – one of the finest performances of the year. Gazing out at the dewy fields with glee, rubbing the blessed dirt on his face to better understand its properties, Dafoe’s Van Gogh is often too blissed-out on the feelings of life to take in much of any other sense. We see him paint in rough, rambunctious strokes fitting of someone who could churn out a completed work in an hour. He’s barely able to set up his easel in a field before he goes to town. \u003c/p>\n\u003cp>But the actor is also very good at making Van Gogh unpleasant to be around: blowing past social cues, exploding at a group of schoolchildren who invade his space, getting too close to people who clearly think he smells bad. As he loses his grip on sanity in the film’s second half, he can no longer allow his devotion to the work to overcome his shortcomings in life. Dafoe’s final scenes are dark and deflating, with only a desperate hope that someday in the future, people will enjoy his paintings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the film’s telling, Van Gogh had two important people left in his life during this time: brother Theo (Rupert Friend), an art dealer who supported him financially as he tried to drum up a market for his paintings; and friend and art-world contemporary Paul Gauguin (Oscar Isaac), who encouraged his talents even as he challenged the technique. Both men come to visit him as his mood seesaws, and he’s despondent when they leave, which leads to, yes, the ear. Yet it’s not some overwrought fit of madness that makes him cut it off, and in fact we don’t even see the action itself, only the shame of its aftermath. \u003c/p>\n\u003cp>The bond between Van Gogh and Gauguin is an uneven one, because Gauguin has money – he dresses in sharp suits and casually speaks of his travels to exotic locales, while his friend, who worships him, makes do with torn workpants and rarely bathes. Though the two artists are mostly friendly, trading musings on painting philosophy and the direction of the Paris art scene, there’s a tension between them that approaches the operatic. In one of the film’s best scenes, Van Gogh walks in on Gauguin painting a portrait of his boarding-house proprietor Madame Ginoux (Emmanuelle Seigner), and hurriedly unpacks his canvas to construct a \u003ca href=\"https://www.metmuseum.org/art/collection/search/436529\" target=\"_blank\" rel=\"noopener\">lickety-split portrait\u003c/a> of his own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schnabel often films scenes from Van Gogh’s point of view, the camera shaking as he trudges through farmland or tries to get a stranger to pose for him. The style can get exhausting, and occasionally ill-fitting for a film about someone who saw the world differently from the rest of us. Last year’s \u003ca href=\"https://www.npr.org/2017/09/26/553775055/-loving-vincent-paints-van-gough-into-a-murder-mystery\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving Vincent\u003c/em>\u003c/a>, an astonishing animated film about Van Gogh’s death, employed a large team of painters to craft every frame in an approximation of his own style, an example of artists rising to the challenge to render one of their finest in a new medium. That film might have been far prettier to look at, but the two movies are able to speak to different sides of Van Gogh’s life and legacy. \u003cem>At Eternity’s Gate\u003c/em> allows its portrait to be a bit uglier, more sorrowful, and embodied by an actor and script who know how painful the act of creating beauty can be sometimes. Hopefully this film, at least, can be appreciated in its lifetime.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The short, brilliant, tragic life of Vincent Van Gogh has long been a source of inspiration for creatives of all types. Something about the mystique of the artist with severe mental illness, whose greatness was only recognized years after his death, resonates with frustrated souls the world over. But it can be distressingly easy for a story as nuanced and contradictory as Van Gogh’s, with all its bright colors and violent strokes, to become flattened into easy answers under the harsh light of the camera, an artist’s implement that so rarely matches the delicacy of the paintbrush.\u003c/p>\n\u003cp>What a treat, then, to arrive \u003cem>At Eternity’s Gate\u003c/em>. The lovely new biopic by Julian Schnabel offers a vision of Van Gogh’s final days that is at once bold, blissful and deeply sad. Focusing on the final few years of the painter’s life, when he left Paris for the rural southern French town of Arles in order to be near the nature that so inspired him, Schnabel (with co-writers Jean-Claude Carrière and Louise Kugelberg) feeds his subject’s thirst for purpose without sugarcoating the immense darkness that plagued him as his mental and physical health deteriorated. This is a very textured film, like one of its subject’s paintings, with their great, big globs of color coming off the canvases.\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/T77PDm3e1iE'\n title='//www.youtube.com/embed/T77PDm3e1iE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At 63, Willem Dafoe is nearly twice the age Van Gogh was when he died. Yet the actor helps close that noticeable gap with the tremendous physicality he brings to the role – one of the finest performances of the year. Gazing out at the dewy fields with glee, rubbing the blessed dirt on his face to better understand its properties, Dafoe’s Van Gogh is often too blissed-out on the feelings of life to take in much of any other sense. We see him paint in rough, rambunctious strokes fitting of someone who could churn out a completed work in an hour. He’s barely able to set up his easel in a field before he goes to town. \u003c/p>\n\u003cp>But the actor is also very good at making Van Gogh unpleasant to be around: blowing past social cues, exploding at a group of schoolchildren who invade his space, getting too close to people who clearly think he smells bad. As he loses his grip on sanity in the film’s second half, he can no longer allow his devotion to the work to overcome his shortcomings in life. Dafoe’s final scenes are dark and deflating, with only a desperate hope that someday in the future, people will enjoy his paintings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the film’s telling, Van Gogh had two important people left in his life during this time: brother Theo (Rupert Friend), an art dealer who supported him financially as he tried to drum up a market for his paintings; and friend and art-world contemporary Paul Gauguin (Oscar Isaac), who encouraged his talents even as he challenged the technique. Both men come to visit him as his mood seesaws, and he’s despondent when they leave, which leads to, yes, the ear. Yet it’s not some overwrought fit of madness that makes him cut it off, and in fact we don’t even see the action itself, only the shame of its aftermath. \u003c/p>\n\u003cp>The bond between Van Gogh and Gauguin is an uneven one, because Gauguin has money – he dresses in sharp suits and casually speaks of his travels to exotic locales, while his friend, who worships him, makes do with torn workpants and rarely bathes. Though the two artists are mostly friendly, trading musings on painting philosophy and the direction of the Paris art scene, there’s a tension between them that approaches the operatic. In one of the film’s best scenes, Van Gogh walks in on Gauguin painting a portrait of his boarding-house proprietor Madame Ginoux (Emmanuelle Seigner), and hurriedly unpacks his canvas to construct a \u003ca href=\"https://www.metmuseum.org/art/collection/search/436529\" target=\"_blank\" rel=\"noopener\">lickety-split portrait\u003c/a> of his own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schnabel often films scenes from Van Gogh’s point of view, the camera shaking as he trudges through farmland or tries to get a stranger to pose for him. The style can get exhausting, and occasionally ill-fitting for a film about someone who saw the world differently from the rest of us. Last year’s \u003ca href=\"https://www.npr.org/2017/09/26/553775055/-loving-vincent-paints-van-gough-into-a-murder-mystery\" target=\"_blank\" rel=\"noopener\">\u003cem>Loving Vincent\u003c/em>\u003c/a>, an astonishing animated film about Van Gogh’s death, employed a large team of painters to craft every frame in an approximation of his own style, an example of artists rising to the challenge to render one of their finest in a new medium. That film might have been far prettier to look at, but the two movies are able to speak to different sides of Van Gogh’s life and legacy. \u003cem>At Eternity’s Gate\u003c/em> allows its portrait to be a bit uglier, more sorrowful, and embodied by an actor and script who know how painful the act of creating beauty can be sometimes. Hopefully this film, at least, can be appreciated in its lifetime.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Insomnia' Is Both a Celebration and Lament of Sleeplessness",
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"content": "\u003cp>This would be a terrible thing to say about most books but, in this case\u003cem>,\u003c/em> it might actually be a compliment: I kept falling asleep reading Marina Benjamin’s \u003cem>Insomnia.\u003c/em>\u003c/p>\n\u003cp>I wasn’t so much bored as somehow soothed by her velvety ruminations on night wakefulness, which run on, unbroken by chapters, with lots of airy white space between paragraphs. Awash in the comfort of a kindred soul, I relaxed enough to be lulled into sleep. Did her \u003cem>Insomnia \u003c/em>cure mine?\u003c/p>\n\u003cp>Think how many hours are lost to night frets, which Benjamin ties to a “turbocharged … overactive brain” and I liken to a washing machine’s spin cycle. I know that my insomnia has increased since the 2016 election, and I don’t think I’m alone. [contextly_sidebar id=”xuamSR6dIRBu37LnEXZQ7KXrQULI8p24″]\u003c/p>\n\u003cp>Benjamin’s \u003cem>Insomnia\u003c/em> follows \u003cem>Middlepause, \u003c/em>her memoir about reaching 50, and indeed, insomnia often follows menopause, almost as reliably as winter follows fall. Her eloquent description of the inconsolability and frustration of finding oneself irremediably awake during the witching hours, “cannibalized by your own gnawing thoughts,” will certainly strike a familiar chord for many. She nails the “shotgun awakenings,” the sense of being “jet-lagged in your native time zone,” and the exasperation of being stuck chewing over all the day’s insignificant “crud,” “like waterboarding the mind with meaningless overflow, a smothering drip, drip, drip of surplus thought.”\u003c/p>\n\u003cp>Even worse are the nocturnal worries: “In my bed, I flap and thrash like a grouper caught in the net, victim to an escalating anxiety,” she writes. “It is as if all the lights in my head had been lit at once, the whole engine coming to life, messages flying, dendrites flowering, synapses whipping snaps of electricity across my brain; and the brain itself, like some phosphorescent free-floating jellyfish of the deep, is luminescent, awake, alive.” She adds that, unable to find the off-button, “I pursue sleep so hard I become invigorated by the chase.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Benjamin’s book is more impressionistic than scientific: Don’t look here for an explanation of the chemistry or biology of nocturnal wakefulness. She pooh-poohs pharmaceutical sleep aids, and is also dismissive of a five-week course of cognitive behavioral therapy for insomniacs, which adds to her torment with its strictures about sleep hygiene and distressing, restrictive sleep diets. Meanwhile, her husband, whom she amusingly dubs “Zzz,” slumbers peacefully beside her, heightening her sense of isolation. [contextly_sidebar id=”0jkXEe54CyVy4ofLVXyQMKu6jv2rXI2J”]\u003c/p>\n\u003cp>Benjamin’s mind works like a wide-roving trawler that rakes an area repeatedly before moving on to adjacent territory. Among the live fish caught in her net: Greek mythology; Penelope weaving and unraveling Laertes’s shroud as she awaits Odysseus’ return; Sheherazade spinning nocturnal yarns to save her life; Nabokov’s dream diary; poet Charles Simic’s “The Congress of the Insomniacs”; Oliver Sacks’s \u003cem>Awakenings; \u003c/em>Rene Magritte’s surreal paintings that combine day and night; and the Pre-Raphaelites Edward Burne-Jones’s and William Morris’s depictions of sleeping maidens.\u003c/p>\n\u003cp>Her thoughts on some of these subjects are hit and miss—and sometimes soporific. But concerning Freud’s focus on the interplay between conscious and unconscious minds she writes amusingly, “It cheers me to note that because psychoanalysis works to excavate the brain’s nocturnal effusions and then drag them into the light, it is essentially an insomniac practice.” And her reflections on Robinson Crusoe lead to an unexpected discussion of slave labor and the dark side of capitalism and colonialism, in which she points out that what was being grown and imported were addictive stimulants: tobacco, coffee, sugar—”generators of mass insomnia.” [contextly_sidebar id=”EEPk4lmTPS3mOOMqn2wmx7otKevawBCo”]\u003c/p>\n\u003cp>\u003cem>Insomnia\u003c/em> turns out to be somewhat of a celebration of sleeplessness as well as a lament. It is strongest at its most personal, and is filled with memorable images—including a Cree dream catcher that “resembled a giant dangly earring,” and Benjamin’s nocturnal canine companion’s “legs splayed like bagpipes” on the sofa beside her. Especially vivid is the “trail of evidence” she leaves behind on insomniac nights, which resembles “the scene of a crime. All that is lacking is the body shape outlined on the floor: the missing body, wakeful when it should be sleeping.”\u003c/p>\n\u003cp>Benjamin’s book is more likely to elucidate than cure your insomnia, but it does offer a distracting brain-teaser for your next bout of sleeplessness: Try to come up with a collective noun for insomniacs. She toys with a flare, a fret, a brightness, before hitting on “a calculation of insomniacs.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m partial to a jitter.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This would be a terrible thing to say about most books but, in this case\u003cem>,\u003c/em> it might actually be a compliment: I kept falling asleep reading Marina Benjamin’s \u003cem>Insomnia.\u003c/em>\u003c/p>\n\u003cp>I wasn’t so much bored as somehow soothed by her velvety ruminations on night wakefulness, which run on, unbroken by chapters, with lots of airy white space between paragraphs. Awash in the comfort of a kindred soul, I relaxed enough to be lulled into sleep. Did her \u003cem>Insomnia \u003c/em>cure mine?\u003c/p>\n\u003cp>Think how many hours are lost to night frets, which Benjamin ties to a “turbocharged … overactive brain” and I liken to a washing machine’s spin cycle. I know that my insomnia has increased since the 2016 election, and I don’t think I’m alone. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Benjamin’s \u003cem>Insomnia\u003c/em> follows \u003cem>Middlepause, \u003c/em>her memoir about reaching 50, and indeed, insomnia often follows menopause, almost as reliably as winter follows fall. Her eloquent description of the inconsolability and frustration of finding oneself irremediably awake during the witching hours, “cannibalized by your own gnawing thoughts,” will certainly strike a familiar chord for many. She nails the “shotgun awakenings,” the sense of being “jet-lagged in your native time zone,” and the exasperation of being stuck chewing over all the day’s insignificant “crud,” “like waterboarding the mind with meaningless overflow, a smothering drip, drip, drip of surplus thought.”\u003c/p>\n\u003cp>Even worse are the nocturnal worries: “In my bed, I flap and thrash like a grouper caught in the net, victim to an escalating anxiety,” she writes. “It is as if all the lights in my head had been lit at once, the whole engine coming to life, messages flying, dendrites flowering, synapses whipping snaps of electricity across my brain; and the brain itself, like some phosphorescent free-floating jellyfish of the deep, is luminescent, awake, alive.” She adds that, unable to find the off-button, “I pursue sleep so hard I become invigorated by the chase.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Benjamin’s book is more impressionistic than scientific: Don’t look here for an explanation of the chemistry or biology of nocturnal wakefulness. She pooh-poohs pharmaceutical sleep aids, and is also dismissive of a five-week course of cognitive behavioral therapy for insomniacs, which adds to her torment with its strictures about sleep hygiene and distressing, restrictive sleep diets. Meanwhile, her husband, whom she amusingly dubs “Zzz,” slumbers peacefully beside her, heightening her sense of isolation. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Benjamin’s mind works like a wide-roving trawler that rakes an area repeatedly before moving on to adjacent territory. Among the live fish caught in her net: Greek mythology; Penelope weaving and unraveling Laertes’s shroud as she awaits Odysseus’ return; Sheherazade spinning nocturnal yarns to save her life; Nabokov’s dream diary; poet Charles Simic’s “The Congress of the Insomniacs”; Oliver Sacks’s \u003cem>Awakenings; \u003c/em>Rene Magritte’s surreal paintings that combine day and night; and the Pre-Raphaelites Edward Burne-Jones’s and William Morris’s depictions of sleeping maidens.\u003c/p>\n\u003cp>Her thoughts on some of these subjects are hit and miss—and sometimes soporific. But concerning Freud’s focus on the interplay between conscious and unconscious minds she writes amusingly, “It cheers me to note that because psychoanalysis works to excavate the brain’s nocturnal effusions and then drag them into the light, it is essentially an insomniac practice.” And her reflections on Robinson Crusoe lead to an unexpected discussion of slave labor and the dark side of capitalism and colonialism, in which she points out that what was being grown and imported were addictive stimulants: tobacco, coffee, sugar—”generators of mass insomnia.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Insomnia\u003c/em> turns out to be somewhat of a celebration of sleeplessness as well as a lament. It is strongest at its most personal, and is filled with memorable images—including a Cree dream catcher that “resembled a giant dangly earring,” and Benjamin’s nocturnal canine companion’s “legs splayed like bagpipes” on the sofa beside her. Especially vivid is the “trail of evidence” she leaves behind on insomniac nights, which resembles “the scene of a crime. All that is lacking is the body shape outlined on the floor: the missing body, wakeful when it should be sleeping.”\u003c/p>\n\u003cp>Benjamin’s book is more likely to elucidate than cure your insomnia, but it does offer a distracting brain-teaser for your next bout of sleeplessness: Try to come up with a collective noun for insomniacs. She toys with a flare, a fret, a brightness, before hitting on “a calculation of insomniacs.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m partial to a jitter.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Fantastic Beasts: The Crimes Of Grindelwald': Beasts? Check. Crimes? Check. Fantastic? Not Quite.",
"headTitle": "‘Fantastic Beasts: The Crimes Of Grindelwald’: Beasts? Check. Crimes? Check. Fantastic? Not Quite. | KQED",
"content": "\u003cp>Hands up, everyone who liked the \u003cem>Harry Potter \u003c/em>series — books and/or movies — at least well enough.\u003c/p>\n\u003cp>OK, well, that’s a \u003cem>lot \u003c/em>of you.\u003c/p>\n\u003cp>Keep them up if you made it all the way through 2016’s \u003cem>Fantastic Beasts and Where to Find Them\u003c/em> — a prequel to the canonical Potter stories, in which Eddie Redmayne played magizoologist Newt Scamander, who came to New York City in 1926 with a magical valise and an annoying, squirrelly affect.\u003c/p>\n\u003cp>Hunh. Thought that would eliminate more of you than it did.\u003c/p>\n\u003cp>Okay, now \u003cem>only \u003c/em>keep them up if you came away from \u003cem>Fantastic Beasts \u003c/em>disappointed. If you liked the setting — the so-called Wizarding World, U.S. edition — but felt the story a meandering, muddled, overstuffed mess that leaned too hard into the cutesy-wutesy magical critters. If to you it captured some of the stylistic flourishes of \u003cem>Harry Potter\u003c/em>, but none of the distinctive particulars, none of the \u003cem>feel\u003c/em>, none — let’s just get this out of the way — of the magic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Okay. Now. If your hand isn’t up, you’re excused. This next bit isn’t for you — you either don’t care about J.K. Rowling’s world, or you’re so devoted to it that you managed to ignore the fact that \u003cem>Fantastic Beasts \u003c/em>was a cinematic Obscurus — an noisy ball of violent, nonsensical narrative chaos, albeit one that did boffo B.O.\u003c/p>\n\u003cp>So off with you. Everyone else? The ones still sticking around? Here’s the scoop.\u003c/p>\n\u003cp>\u003cem>The Crimes of Grindelwald\u003c/em> is better than the first \u003cem>Beasts \u003c/em>film, and not just because that turns out to be such a low bar to clear, but because it has a firmer grasp on what kind of movie it wants to be. It feels more familiarly Potter-y, in that it assumes the distinctive narrative shape of Harry Potter stories.\u003c/p>\n\u003cp>Once again: Structurally, it’s \u003cem>familiar\u003c/em>, not, you know: \u003cem>good\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/8bYBOVWLNIs\u003c/p>\n\u003cp>Can we all admit, here, that the plots of Harry Potter books and movies were always frustrating in the extreme? Rowling’s characters delighted in keeping vital information from Harry — and by extension, the reader — turning every tale into an ersatz, low-rent mystery where the goal was never to uncover whodunnit, but to eke out even the most basic understanding of whatthehellsgoingon? Inevitably, we’d discover the answers — well, “discover” is inaccurate. We’d be \u003cem>told\u003c/em>, when Rowling would finally sit Harry down to have him listen to an extended monologue, filled with secret history to which neither he nor we could have been expected to be privy.\u003c/p>\n\u003cp>That’s the kind of plotting \u003cem>The Crimes of Grindelwald\u003c/em> serves up, down to a hilariously out-of-nowhere pseudo-climactic scene in which characters who’ve spent the movie scheming to murder one another just stand around listening patiently to a series of monologues like they’re sleepy kindergartners at storytime.\u003c/p>\n\u003cp>No, it doesn’t work. No, it’s not, not even a little bit, \u003cem>good\u003c/em>. But it’s familiar.\u003c/p>\n\u003cp>It’s actually an improvement, in a very small, specific way. You’ll recall that all of that information was kept from Harry and his friends because no one tells kids anything, forcing them to glean any and all actionable intel via that most overused trope in all of kid-lit: eavesdropping. \u003cem>Magical \u003c/em>eavesdropping, to be sure, but even so: They’d learn something, jump to the wrong conclusion, and proceed to labor under that misinformation until the penultimate chapter, when someone (usually Dumbledore) would finally explain the situation in full. Rinse, repeat. \u003cem>Accio \u003c/em>annoyance.\u003c/p>\n\u003cp>There’s none of that here, at least.\u003c/p>\n\u003cp>Eddie Redmayne’s Newt Scamander is an adult, and he finds things out using magic. There’s a cool sequence when he reconstructs a crime scene using a glittery gold magical powder — pixiedusting for fingerprints, as it were. This time out, the sheer number of putatively hilarious beasts on hand is dialed mercifully back, but the ones who do turn up tend to be used strategically, to bring about some concrete result, instead of simply as a means to up the film’s Whimsy Quotient.\u003c/p>\n\u003cp>Redmayne’s performance, as Newt, remains just as mannered and tic-ridden as ever. But thanks to a brief flashback sequence featuring a teenage Newt played by Joshua Shea, who gamely matches Redmayne’s every furtive head-tilt and skittering glance, it seems less hammy and indulgent, and more a defined, characterizing choice.\u003c/p>\n\u003cp>Of course, one of the main reasons that \u003cem>Grindelwald \u003c/em>works better than the film that preceded it is a function of its status as the middle film of a trilogy. The business of world-building, which the first film made such a corned-beef hash of, is over, and now there is only the task of moving the various characters across the board like the Wizard’s Chess pieces they are. As such, it has a more singular sense of purpose, as all the meandering subplots of the film’s first hour eventually lock in place and fit together.\u003c/p>\n\u003cp>The plot, such as it is: Young Dumbledore (Jude Law) sends Newt to Paris, where a newly escaped Grindelwald (Johnny Depp) is gathering his faithful — pure-blood wizards — in an attempt to rule both the Wizarding world and the human world. Meanwhile, Ezra Miller’s (checks notes) Credence Barebone is … (checks notes again, frowns, shrugs) … \u003cem>Credence Barebone\u003c/em> is also in Paris, searching for his mother, alongside sort-of-girlfriend Nagini (Claudia Kim) a Maledictus cursed to one day turn into a snake. (Yes.)\u003c/p>\n\u003cp>Also there’s love-interest stuff: Newt and his Auror girlfriend Tina (Katherine Waterston) are on the outs over a misunderstanding that could be clarified with a ten-second conversation, but isn’t, because Rowling gonna Rowling. Newt’s pals Jacob (Dan Fogler) and Queenie (Alison Sudol, doing a lot with one of the film’s many underwritten roles for women) show up, as well, and the script puts them through some clearly defined changes that at least \u003cem>feel \u003c/em>like narrative progress.\u003c/p>\n\u003cp>The film’s chief problem is Grindelwald, a dull-as-dishwater villain we’re repeatedly told is charming and deceitful, although Depp’s performance fights hard against any such reading. The character of Grindelwald is \u003cem>supposed \u003c/em>to use guile and rhetoric to win wizards to his side by promising them the chance to “live openly, and love freely” — a not-particularly coy attempt by the screenplay to underline the gay subtext between Grindelwald and Law’s Hot Dumbledore — but Depp just hams it up like a Pantomime baddie.\u003c/p>\n\u003cp>Everything about the guy is second-rate. Voldemort had disquieting slits where his nose should be; Grindelwald a single, discolored iris. When Voldemort summoned \u003cem>his \u003c/em>followers, a leering skull with a snake slithering through its eye-sockets manifested in the sky:\u003cem> that \u003c/em>wizard had \u003cem>style\u003c/em>. When Grindelwald attempts the same move, the buildings of Paris simply get shadowy tarps thrown over them; it’s unclear if he’s calling an army or renovating masonry.\u003c/p>\n\u003cp>So, now. All of you who stuck around? Relax. \u003cem>Grindelwald \u003c/em>is a better, more purposeful and thus more propulsive film than the first, and it does possess its unique charms: Several characters only alluded to in the \u003cem>Harry Potter\u003c/em> tales pop up here, goosing appreciative gasps from the audience in the process. The sight of Hogwarts, accompanied by John Williams’ familiar fanfare, elicits applause.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And not for nothing? Law looks \u003cem>great \u003c/em>as a Dumbledore in bespoke tweed (\u003cem>Fantastic Vests and Where To Find Them\u003c/em>!), even if seeing him so put-together evokes a twinge of sadness at the shapeless robes and chunky jewelry that we know lie in his future, just \u003cem>waiting \u003c/em>to turn him into the Wizarding World’s equivalent of a Santa Fe gallery owner named Jade.\u003c/p>\n\n",
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"title": "'Fantastic Beasts: The Crimes Of Grindelwald': Beasts? Check. Crimes? Check. Fantastic? Not Quite. | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hands up, everyone who liked the \u003cem>Harry Potter \u003c/em>series — books and/or movies — at least well enough.\u003c/p>\n\u003cp>OK, well, that’s a \u003cem>lot \u003c/em>of you.\u003c/p>\n\u003cp>Keep them up if you made it all the way through 2016’s \u003cem>Fantastic Beasts and Where to Find Them\u003c/em> — a prequel to the canonical Potter stories, in which Eddie Redmayne played magizoologist Newt Scamander, who came to New York City in 1926 with a magical valise and an annoying, squirrelly affect.\u003c/p>\n\u003cp>Hunh. Thought that would eliminate more of you than it did.\u003c/p>\n\u003cp>Okay, now \u003cem>only \u003c/em>keep them up if you came away from \u003cem>Fantastic Beasts \u003c/em>disappointed. If you liked the setting — the so-called Wizarding World, U.S. edition — but felt the story a meandering, muddled, overstuffed mess that leaned too hard into the cutesy-wutesy magical critters. If to you it captured some of the stylistic flourishes of \u003cem>Harry Potter\u003c/em>, but none of the distinctive particulars, none of the \u003cem>feel\u003c/em>, none — let’s just get this out of the way — of the magic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Okay. Now. If your hand isn’t up, you’re excused. This next bit isn’t for you — you either don’t care about J.K. Rowling’s world, or you’re so devoted to it that you managed to ignore the fact that \u003cem>Fantastic Beasts \u003c/em>was a cinematic Obscurus — an noisy ball of violent, nonsensical narrative chaos, albeit one that did boffo B.O.\u003c/p>\n\u003cp>So off with you. Everyone else? The ones still sticking around? Here’s the scoop.\u003c/p>\n\u003cp>\u003cem>The Crimes of Grindelwald\u003c/em> is better than the first \u003cem>Beasts \u003c/em>film, and not just because that turns out to be such a low bar to clear, but because it has a firmer grasp on what kind of movie it wants to be. It feels more familiarly Potter-y, in that it assumes the distinctive narrative shape of Harry Potter stories.\u003c/p>\n\u003cp>Once again: Structurally, it’s \u003cem>familiar\u003c/em>, not, you know: \u003cem>good\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8bYBOVWLNIs'\n title='//www.youtube.com/embed/8bYBOVWLNIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Can we all admit, here, that the plots of Harry Potter books and movies were always frustrating in the extreme? Rowling’s characters delighted in keeping vital information from Harry — and by extension, the reader — turning every tale into an ersatz, low-rent mystery where the goal was never to uncover whodunnit, but to eke out even the most basic understanding of whatthehellsgoingon? Inevitably, we’d discover the answers — well, “discover” is inaccurate. We’d be \u003cem>told\u003c/em>, when Rowling would finally sit Harry down to have him listen to an extended monologue, filled with secret history to which neither he nor we could have been expected to be privy.\u003c/p>\n\u003cp>That’s the kind of plotting \u003cem>The Crimes of Grindelwald\u003c/em> serves up, down to a hilariously out-of-nowhere pseudo-climactic scene in which characters who’ve spent the movie scheming to murder one another just stand around listening patiently to a series of monologues like they’re sleepy kindergartners at storytime.\u003c/p>\n\u003cp>No, it doesn’t work. No, it’s not, not even a little bit, \u003cem>good\u003c/em>. But it’s familiar.\u003c/p>\n\u003cp>It’s actually an improvement, in a very small, specific way. You’ll recall that all of that information was kept from Harry and his friends because no one tells kids anything, forcing them to glean any and all actionable intel via that most overused trope in all of kid-lit: eavesdropping. \u003cem>Magical \u003c/em>eavesdropping, to be sure, but even so: They’d learn something, jump to the wrong conclusion, and proceed to labor under that misinformation until the penultimate chapter, when someone (usually Dumbledore) would finally explain the situation in full. Rinse, repeat. \u003cem>Accio \u003c/em>annoyance.\u003c/p>\n\u003cp>There’s none of that here, at least.\u003c/p>\n\u003cp>Eddie Redmayne’s Newt Scamander is an adult, and he finds things out using magic. There’s a cool sequence when he reconstructs a crime scene using a glittery gold magical powder — pixiedusting for fingerprints, as it were. This time out, the sheer number of putatively hilarious beasts on hand is dialed mercifully back, but the ones who do turn up tend to be used strategically, to bring about some concrete result, instead of simply as a means to up the film’s Whimsy Quotient.\u003c/p>\n\u003cp>Redmayne’s performance, as Newt, remains just as mannered and tic-ridden as ever. But thanks to a brief flashback sequence featuring a teenage Newt played by Joshua Shea, who gamely matches Redmayne’s every furtive head-tilt and skittering glance, it seems less hammy and indulgent, and more a defined, characterizing choice.\u003c/p>\n\u003cp>Of course, one of the main reasons that \u003cem>Grindelwald \u003c/em>works better than the film that preceded it is a function of its status as the middle film of a trilogy. The business of world-building, which the first film made such a corned-beef hash of, is over, and now there is only the task of moving the various characters across the board like the Wizard’s Chess pieces they are. As such, it has a more singular sense of purpose, as all the meandering subplots of the film’s first hour eventually lock in place and fit together.\u003c/p>\n\u003cp>The plot, such as it is: Young Dumbledore (Jude Law) sends Newt to Paris, where a newly escaped Grindelwald (Johnny Depp) is gathering his faithful — pure-blood wizards — in an attempt to rule both the Wizarding world and the human world. Meanwhile, Ezra Miller’s (checks notes) Credence Barebone is … (checks notes again, frowns, shrugs) … \u003cem>Credence Barebone\u003c/em> is also in Paris, searching for his mother, alongside sort-of-girlfriend Nagini (Claudia Kim) a Maledictus cursed to one day turn into a snake. (Yes.)\u003c/p>\n\u003cp>Also there’s love-interest stuff: Newt and his Auror girlfriend Tina (Katherine Waterston) are on the outs over a misunderstanding that could be clarified with a ten-second conversation, but isn’t, because Rowling gonna Rowling. Newt’s pals Jacob (Dan Fogler) and Queenie (Alison Sudol, doing a lot with one of the film’s many underwritten roles for women) show up, as well, and the script puts them through some clearly defined changes that at least \u003cem>feel \u003c/em>like narrative progress.\u003c/p>\n\u003cp>The film’s chief problem is Grindelwald, a dull-as-dishwater villain we’re repeatedly told is charming and deceitful, although Depp’s performance fights hard against any such reading. The character of Grindelwald is \u003cem>supposed \u003c/em>to use guile and rhetoric to win wizards to his side by promising them the chance to “live openly, and love freely” — a not-particularly coy attempt by the screenplay to underline the gay subtext between Grindelwald and Law’s Hot Dumbledore — but Depp just hams it up like a Pantomime baddie.\u003c/p>\n\u003cp>Everything about the guy is second-rate. Voldemort had disquieting slits where his nose should be; Grindelwald a single, discolored iris. When Voldemort summoned \u003cem>his \u003c/em>followers, a leering skull with a snake slithering through its eye-sockets manifested in the sky:\u003cem> that \u003c/em>wizard had \u003cem>style\u003c/em>. When Grindelwald attempts the same move, the buildings of Paris simply get shadowy tarps thrown over them; it’s unclear if he’s calling an army or renovating masonry.\u003c/p>\n\u003cp>So, now. All of you who stuck around? Relax. \u003cem>Grindelwald \u003c/em>is a better, more purposeful and thus more propulsive film than the first, and it does possess its unique charms: Several characters only alluded to in the \u003cem>Harry Potter\u003c/em> tales pop up here, goosing appreciative gasps from the audience in the process. The sight of Hogwarts, accompanied by John Williams’ familiar fanfare, elicits applause.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And not for nothing? Law looks \u003cem>great \u003c/em>as a Dumbledore in bespoke tweed (\u003cem>Fantastic Vests and Where To Find Them\u003c/em>!), even if seeing him so put-together evokes a twinge of sadness at the shapeless robes and chunky jewelry that we know lie in his future, just \u003cem>waiting \u003c/em>to turn him into the Wizarding World’s equivalent of a Santa Fe gallery owner named Jade.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Anderson .Paak Comes Home: 'This Is What We Dreamed Of'",
"headTitle": "Anderson .Paak Comes Home: ‘This Is What We Dreamed Of’ | KQED",
"content": "\u003cp>The smoky, silky rasp of \u003ca href=\"https://www.npr.org/artists/464866525/anderson-paak\">Anderson .Paak\u003c/a>‘s voice boasts a soulfulness beyond his years. Though he’s only 32, the California native has done more living than many musicians do in their whole lives, and he has the war stories to prove it.\u003c/p>\n\u003cp>He grew up playing drums in church, watched his family torn apart by domestic abuse and prison stints, worked in an assisted living home, engineered for a punk band, followed a woman to L.A., and formed his band, The Free Nationals, while attending music school — all before the world knew his name. But even through his rocky moments, making music and going back to his hometown have remained two constant factors in his life.\u003c/p>\n\u003cp>[contextly_sidebar id=”LGnfQYtSPx1snjlWaOVgTWypS2NjCiu5″]\u003c/p>\n\u003cp>“I don’t know if it was faith or anything, but, naturally, I always had to be doing something creative or musical,” .Paak says. “I couldn’t help it. Even when I was saying I quit, I was always doing something — writing a little bit, or recording, helping somebody out.”\u003c/p>\n\u003cp>After years of grinding in the L.A. music scene, .Paak made a splash in 2015 on Dr. Dre’s \u003cem>Compton\u003c/em> and quickly followed that up with his own 2016 album, \u003cem>Malibu \u003c/em>— mixing ’70s funk, speakeasy soul and R&B elements with intricate, immersive (and sometimes hilariously raunchy) songwriting. Now, two years and a couple world tours later, .Paak is back.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Oxnard\u003c/em>, out Nov. 16, is an ode to the artist’s formative years growing up in Oxnard, Calif. and something of a homecoming, as the first album released under Dr. Dre’s Aftermath Entertainment. With features from \u003ca href=\"https://www.npr.org/artists/397293070/j-cole\">J. Cole\u003c/a>, \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a>, \u003ca href=\"https://www.npr.org/tags/126920109/snoop-dogg\">Snoop Dogg\u003c/a> and \u003ca href=\"https://www.npr.org/artists/597644166/kadhja-bonet\">Kadhja Bonet\u003c/a> ,and his mentor’s fingerprints all over the beats as executive producer, .Paak probes topics from unceremonious breakups to his own position in the music industry.\u003c/p>\n\u003cp>[contextly_sidebar id=”FXUntZjqQ9F4vy03llUcuQvBHTBrBcMp”]\u003c/p>\n\u003cp>.Paak joined NPR’s David Greene in-studio — over cups of “champeezy” — to discuss finding his confidence as a performer, getting through unstable times and \u003cem>Oxnard’\u003c/em>s overarching themes\u003cem>. \u003c/em>Hear the radio version of their conversation at the audio link, and read on for more that didn’t make the broadcast.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Anderson .Paak & The Free Nationals: NPR Music Tiny Desk Concert\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ferZnZ0_rSM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>David Greene: Whatever it is about you that strikes people — that other musicians are like, “You’ve \u003c/strong>\u003cem>\u003cstrong>got \u003c/strong>\u003c/em>\u003cstrong>to be out there, you’ve \u003c/strong>\u003cem>\u003cstrong>got \u003c/strong>\u003c/em>\u003cstrong>to play music” — where do we hear it on this new album?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak: \u003c/strong>You hear it in the production. There’s so much great drumming; there’s so much great musicianship in there.\u003c/p>\n\u003cp>\u003cstrong>Why is that the distinctive Anderson .Paak sound?\u003c/strong>\u003c/p>\n\u003cp>I don’t know if it’s distinctive, but there’s a way that I say things, relationship-wise, that I think is just unique to myself and really honest — making it simple but still not on the sleeve.\u003c/p>\n\u003cp>In [the song “Smile/Petty”] in particular, I’m actually talking about a situation that happened to my guitar player, where he got kicked out of his house and she put all his stuff in the street. He was trying to FaceTime her before he was on the plane, and he was like, “I \u003cem>just got\u003c/em> that stuff.” He was trying to talk to her as we were pulling off, then he just loses reception. It was great material for me to write about.\u003c/p>\n\u003cp>\u003cstrong>Probably not good for his belongings. \u003c/strong>\u003c/p>\n\u003cp>Yeah, but it made for a great song. Being able to put what’s going on in my life and everyone’s life into a way that everyone can relate to, that’s what I really love. And that song in particular is definitely about that.\u003c/p>\n\u003cp>\u003cstrong>Dr. Dre produced this album, right?\u003c/strong>\u003c/p>\n\u003cp>Yeah, he mixed the whole album. He was the main producer. That doesn’t necessarily mean that he was making all the beats and everything, but me and him were running the train. … Some artists, everything’s laid out for them. They get to the studio, song’s ready. “Here’s your song, just do it.”\u003c/p>\n\u003cp>\u003cstrong>What’s your relationship like? \u003c/strong>\u003c/p>\n\u003cp>Just two Aquariuses going at it: two control freaks, perfectionists that just can’t stop working on a project. I love it. It’s amazing, man. We met a few years ago, — they were working on his album \u003cem>Compton\u003c/em>, and some writers over there really liked my song “Suede”… and they were like, man, we want to get you on this Dre project. I went over there, not thinking I was gonna meet Dre or anything, and I walk in and he’s like the first person I meet, him and [rapper and Death Row Records co-founder] D.O.C.\u003c/p>\n\u003cp>\u003cstrong>Was that intimidating?\u003c/strong>\u003c/p>\n\u003cp>A little bit. He’s super tall. Like, everyone was tall in the ’90s — I don’t get it. But yeah it was great, and he threw me all over the album. The dope part was that [when] he put out his album, I wasn’t signed to him yet or anything like that, and I had \u003cem>Malibu \u003c/em>almost done. After he put out his album, I put out \u003cem>Malibu — \u003c/em>and signed to Dre after that.\u003c/p>\n\u003cp>\u003cstrong>Do you feel like you’ve made it? I just think about the rocky journey, and moments where you gave up music, and your parents and the uncertainty. Is this album a moment for you, where you feel that you’ve come through and you don’t have to worry?\u003c/strong>\u003c/p>\n\u003cp>I mean, dude, I could eat sushi every day if I wanted to. It’s dope not having to worry about my phone bill and stuff. But it’s always something next level. I’m always around people that are on that next level, and I want to aspire to do that. But this definitely feels like a welcome home — like, “Dang man, I’m proud of what we did.” All these different people we met. I’ve gotten to see the world, I’ve gotten to share all these experiences with people in my hometown and introduce my hometown to the world. It just feels great. This is what we dreamed of.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Web editor \u003c/em>\u003ca href=\"https://www.npr.org/people/565465074/sidney-madden\">\u003cem>Sidney Madden\u003c/em>\u003c/a>\u003cem> contributed to this story. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Anderson+.Paak+Comes+Home%3A+%27This+Is+What+We+Dreamed+Of%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The singer-songwriter-rapper-drummer is one of music's most venerable Renaissance men. .Paak discusses his early struggles, building confidence and his latest album, \u003cem>Oxnard\u003c/em>, with David Greene.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The smoky, silky rasp of \u003ca href=\"https://www.npr.org/artists/464866525/anderson-paak\">Anderson .Paak\u003c/a>‘s voice boasts a soulfulness beyond his years. Though he’s only 32, the California native has done more living than many musicians do in their whole lives, and he has the war stories to prove it.\u003c/p>\n\u003cp>He grew up playing drums in church, watched his family torn apart by domestic abuse and prison stints, worked in an assisted living home, engineered for a punk band, followed a woman to L.A., and formed his band, The Free Nationals, while attending music school — all before the world knew his name. But even through his rocky moments, making music and going back to his hometown have remained two constant factors in his life.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I don’t know if it was faith or anything, but, naturally, I always had to be doing something creative or musical,” .Paak says. “I couldn’t help it. Even when I was saying I quit, I was always doing something — writing a little bit, or recording, helping somebody out.”\u003c/p>\n\u003cp>After years of grinding in the L.A. music scene, .Paak made a splash in 2015 on Dr. Dre’s \u003cem>Compton\u003c/em> and quickly followed that up with his own 2016 album, \u003cem>Malibu \u003c/em>— mixing ’70s funk, speakeasy soul and R&B elements with intricate, immersive (and sometimes hilariously raunchy) songwriting. Now, two years and a couple world tours later, .Paak is back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Oxnard\u003c/em>, out Nov. 16, is an ode to the artist’s formative years growing up in Oxnard, Calif. and something of a homecoming, as the first album released under Dr. Dre’s Aftermath Entertainment. With features from \u003ca href=\"https://www.npr.org/artists/397293070/j-cole\">J. Cole\u003c/a>, \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a>, \u003ca href=\"https://www.npr.org/tags/126920109/snoop-dogg\">Snoop Dogg\u003c/a> and \u003ca href=\"https://www.npr.org/artists/597644166/kadhja-bonet\">Kadhja Bonet\u003c/a> ,and his mentor’s fingerprints all over the beats as executive producer, .Paak probes topics from unceremonious breakups to his own position in the music industry.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>.Paak joined NPR’s David Greene in-studio — over cups of “champeezy” — to discuss finding his confidence as a performer, getting through unstable times and \u003cem>Oxnard’\u003c/em>s overarching themes\u003cem>. \u003c/em>Hear the radio version of their conversation at the audio link, and read on for more that didn’t make the broadcast.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Anderson .Paak & The Free Nationals: NPR Music Tiny Desk Concert\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ferZnZ0_rSM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>David Greene: Whatever it is about you that strikes people — that other musicians are like, “You’ve \u003c/strong>\u003cem>\u003cstrong>got \u003c/strong>\u003c/em>\u003cstrong>to be out there, you’ve \u003c/strong>\u003cem>\u003cstrong>got \u003c/strong>\u003c/em>\u003cstrong>to play music” — where do we hear it on this new album?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak: \u003c/strong>You hear it in the production. There’s so much great drumming; there’s so much great musicianship in there.\u003c/p>\n\u003cp>\u003cstrong>Why is that the distinctive Anderson .Paak sound?\u003c/strong>\u003c/p>\n\u003cp>I don’t know if it’s distinctive, but there’s a way that I say things, relationship-wise, that I think is just unique to myself and really honest — making it simple but still not on the sleeve.\u003c/p>\n\u003cp>In [the song “Smile/Petty”] in particular, I’m actually talking about a situation that happened to my guitar player, where he got kicked out of his house and she put all his stuff in the street. He was trying to FaceTime her before he was on the plane, and he was like, “I \u003cem>just got\u003c/em> that stuff.” He was trying to talk to her as we were pulling off, then he just loses reception. It was great material for me to write about.\u003c/p>\n\u003cp>\u003cstrong>Probably not good for his belongings. \u003c/strong>\u003c/p>\n\u003cp>Yeah, but it made for a great song. Being able to put what’s going on in my life and everyone’s life into a way that everyone can relate to, that’s what I really love. And that song in particular is definitely about that.\u003c/p>\n\u003cp>\u003cstrong>Dr. Dre produced this album, right?\u003c/strong>\u003c/p>\n\u003cp>Yeah, he mixed the whole album. He was the main producer. That doesn’t necessarily mean that he was making all the beats and everything, but me and him were running the train. … Some artists, everything’s laid out for them. They get to the studio, song’s ready. “Here’s your song, just do it.”\u003c/p>\n\u003cp>\u003cstrong>What’s your relationship like? \u003c/strong>\u003c/p>\n\u003cp>Just two Aquariuses going at it: two control freaks, perfectionists that just can’t stop working on a project. I love it. It’s amazing, man. We met a few years ago, — they were working on his album \u003cem>Compton\u003c/em>, and some writers over there really liked my song “Suede”… and they were like, man, we want to get you on this Dre project. I went over there, not thinking I was gonna meet Dre or anything, and I walk in and he’s like the first person I meet, him and [rapper and Death Row Records co-founder] D.O.C.\u003c/p>\n\u003cp>\u003cstrong>Was that intimidating?\u003c/strong>\u003c/p>\n\u003cp>A little bit. He’s super tall. Like, everyone was tall in the ’90s — I don’t get it. But yeah it was great, and he threw me all over the album. The dope part was that [when] he put out his album, I wasn’t signed to him yet or anything like that, and I had \u003cem>Malibu \u003c/em>almost done. After he put out his album, I put out \u003cem>Malibu — \u003c/em>and signed to Dre after that.\u003c/p>\n\u003cp>\u003cstrong>Do you feel like you’ve made it? I just think about the rocky journey, and moments where you gave up music, and your parents and the uncertainty. Is this album a moment for you, where you feel that you’ve come through and you don’t have to worry?\u003c/strong>\u003c/p>\n\u003cp>I mean, dude, I could eat sushi every day if I wanted to. It’s dope not having to worry about my phone bill and stuff. But it’s always something next level. I’m always around people that are on that next level, and I want to aspire to do that. But this definitely feels like a welcome home — like, “Dang man, I’m proud of what we did.” All these different people we met. I’ve gotten to see the world, I’ve gotten to share all these experiences with people in my hometown and introduce my hometown to the world. It just feels great. This is what we dreamed of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Web editor \u003c/em>\u003ca href=\"https://www.npr.org/people/565465074/sidney-madden\">\u003cem>Sidney Madden\u003c/em>\u003c/a>\u003cem> contributed to this story. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Anderson+.Paak+Comes+Home%3A+%27This+Is+What+We+Dreamed+Of%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Aretha Franklin Touches The Infinite In The Long-Delayed Film 'Amazing Grace'",
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"headTitle": "Aretha Franklin Touches The Infinite In The Long-Delayed Film ‘Amazing Grace’ | KQED",
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"content": "\u003cp>Music fans have been waiting almost half a century to see a storied documentary that many thought might never see the light of day: \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a>‘s \u003cem>Amazing Grace\u003c/em>. Originally directed by Sydney Pollack and completed by Alan Elliott, the film has been talked about since it was filmed in a Watts, California church in 1972 during the recording sessions for a live album of the same name. Now, 46 years after it was shot, the \u003cem>Amazing Grace\u003c/em> movie was finally shown in public for the first time Monday, with initial screenings in New York City and more on the way nationwide. (It will be have limited runs in Los Angeles and New York before the end of the year in order to qualify for the 2019 Academy Awards; it’s then expected to go into wider circulation early next year.)\u003c/p>\n\u003cp>[contextly_sidebar id=”YDmuodBeetkpX9nsMCWREQF3PzXrFAPd”]\u003c/p>\n\u003cp>As a document of an iconic musician’s skills, the film is essential. But \u003cem>Amazing Grace \u003c/em>is far more than that: Watching it is a transcendent, spine-tingling, uplifting, utterly joyous experience. As cherished as the album version has been since its release, the film is nothing short of a revelation, soaring from one chill-inducing moment to another.\u003c/p>\n\u003cp>Recorded over two January nights at Watts’ New Temple Missionary Baptist Church, \u003cem>Amazing Grace \u003c/em>marked Franklin’s thrilling return to her gospel roots after she’d earned 11 consecutive No. 1 pop and R&B singles, won five Grammys and released more than 20 albums. (In a marketing plan that must have made demographic sense at the time but now seems almost unfathomably tone-deaf, Warner Bros. originally planned to pair the \u003cem>Amazing Grace\u003c/em> movie with \u003cem>Superfly\u003c/em> as a theatrical double-bill.)\u003c/p>\n\u003cp>In short order, the album version became a classic: It went double-platinum and remains one of the biggest-selling recordings in gospel music history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marvin Gaye, whose “Wholy Holy” Franklin covers on \u003cem>Amazing Grace\u003c/em>, told her biographer, David Ritz, that the album is “Aretha’s singular masterpiece … her greatest work.” And it’s with “Wholy Holy” that Franklin begins her performance, seated at the piano, with plushly arranged vocals from the choir backing her. It sets the reverent mood for the sessions.\u003c/p>\n\u003cp>That sense of shared spiritual experience, a communion of believers and their God, is what defines \u003cem>Amazing Grace\u003c/em> — a project recorded not in a studio, but in a living church. Moreover, Franklin is surrounded by a community that she understands innately, says Aaron Cohen, who saw the film’s raw footage about a decade ago at Elliott’s invitation. Cohen is a professor at the City Colleges of Chicago, as well as the author of a 2011 \u003ca href=\"https://bloomsbury.com/us/aretha-franklins-amazing-grace-9781441148889\">book\u003c/a> about the album \u003cem>Amazing Grace\u003c/em>.\u003c/p>\n\u003cp>Cohen says it’s essential to understand the community in which Franklin chose to record: the Watts neighborhood of Los Angeles, which, just six and a half years earlier, had \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4795093\">exploded\u003c/a> in riots. The unrest — which stemmed from deep-seated anger in the community over high unemployment, poor medical care, inferior housing, bad schools and tensions with police — left 34 people dead, hundreds injured and the neighborhood devastated.\u003c/p>\n\u003cfigure id=\"attachment_13844893\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844893 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-1020x720.jpg\" alt=\"Singer Aretha Franklin in a still from the documentary Amazing Grace.\" width=\"640\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-960x677.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220.jpg 1032w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Singer Aretha Franklin in a still from the documentary Amazing Grace. \u003ccite>(Courtesy of Al's Records And Tapes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The film shows not just Aretha performing,” he says, “but also this congregation and what it was like to be in a church in Watts in the early ’70s, in the post-civil rights era, in a time when the community was redirecting its energy and deciding where to go next. I believe you can feel that,” he continues, “through the music, through what she’s singing in ‘How I Got Over'” — a song that Clara Ward’s sister \u003ca href=\"http://www.bbc.com/culture/story/20130827-a-song-that-made-america-believe\">claimed\u003c/a> was inspired by a specific incident of racial bullying that the family experienced, but whose lyrics were a touchstone for many black Americans.\u003c/p>\n\u003cp>In David Ritz’s standalone biography of Franklin, 2014’s \u003cem>Respect: The Life of Aretha Franklin\u003c/em>, the singer’s late brother Cecil strikes a similar tone. “I see [\u003cem>Amazing Grace\u003c/em>] as the sacred moment in the life of black people,” he told Ritz. “Think back. We had lost Martin; we had lost Malcolm; we had lost Bobby Kennedy. We were still fighting an immoral war. We had Tricky Dick in the White House. Turmoil, anger, corruption, confusion. We needed reassurance and recommitment. We needed redirection.”\u003c/p>\n\u003cp>As dramatic as the footage is, the \u003cem>Amazing Grace \u003c/em>documentary was plagued by troubles from the outset. The film of the recording sessions was made at the behest of Warner Bros. (the parent company of Franklin’s label, Atlantic Records), which hired actor and director Sydney Pollack to create it. Pollack, who had recently earned his first Oscar nomination (for \u003cem>They Shoot Horses, Don’t They?\u003c/em>), was still green enough as a director to forget an essential need in the pre-digital era: clapper boards to mark the starting points of the visual and audio elements of the film, meaning that what one saw and what one heard were out of sync. The screw-up was so bad that the 20 hours of footage were deemed useless, and the film was jettisoned.\u003c/p>\n\u003cp>Pollack reportedly \u003ca href=\"https://www.hollywoodreporter.com/news/sydney-pollacks-amazing-grace-tortured-820294\">dreamed\u003c/a> of returning to the material, but that never came to fruition. There were other attempts, though. “It was a very tedious and long process. Initially they tried, and they only got through about 20 feet of film and they gave up,” Franklin’s niece and the executor of her estate, Sabrina Owens, tells NPR. “And so it ended up on somebody’s cutting floor somewhere for years — for decades, actually.”\u003c/p>\n\u003cp>Years later, a former Atlantic A&R staffer-turned-producer named Alan Elliott took up the cause of seeing the \u003cem>Amazing Grace\u003c/em> film through, and by around 2010 had painstakingly matched the movie with the sound. But Franklin wouldn’t allow the documentary to be released. In 2011, she sued Elliott on the grounds of using her likeness without her permission. In 2015, she sued \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/04/437648259/aretha-franklin-blocks-premiere-of-concert-film-amazing-grace\">again\u003c/a> to prevent the film from being screened at the Telluride Film Festival.\u003c/p>\n\u003cp>Elliott was tenacious, however. In the weeks after Franklin’s death in August, he persuaded her family to let the film be released at long last. Owens says it started with a call she received from Elliott. “He asked if he could come and preview the film for friends and family,” she recalls. “I said yes. They previewed it for us at the Charles H. Wright Museum of African-American History [in Detroit] before about 40 or 50 family members, and we all delighted in what we saw.”\u003c/p>\n\u003cp>Part of that pleasure is in seeing Franklin work alongside her colleagues; these are musicians who innately feel each other, who are able to anticipate each other’s every move. Franklin had a crack team of collaborators, including her band of stellar players (Bernard “Pretty” Purdie on drums, guitarist Cornell Dupree and bassist Chuck Rainey). The backing choir was directed by Rev. James Cleveland, who had formerly served as the minister of music at Aretha’s father’s church, New Bethel Baptist in Detroit, and was one of Franklin’s mentors and a gospel-music giant in his own right.\u003c/p>\n\u003cp>And, as \u003cem>Amazing Grace\u003c/em> abundantly demonstrates, his Southern California Community Choir was an extraordinary ensemble — a group which Franklin called “one of the best anywhere” in the 1999 autobiography, \u003cem>From These Roots\u003c/em>, which she co-wrote with author David Ritz. Cleveland also serves as the genial emcee for the recording sessions. (At the start of the first night, he reminds the people in attendance that this is a church service taking place in the Lord’s house — but adds at the beginning of the second session, “Don’t be bashful when the camera comes your way … so while it comin’ your way, get in on it, all right?!”)\u003c/p>\n\u003cp>There’s no narrative to the film, and — aside from nothing more of a glimpse of a rehearsal — no behind-the-scenes segments to make viewers feel as if they’re learning more about Franklin’s process or gaining insights into her day-to-day life.\u003c/p>\n\u003cp>Instead, what viewers bear witness to is the \u003cem>work\u003c/em> of creating ecstasy: the rivers of sweat on Franklin and Cleveland, the eye makeup streaking down her face. The you-are-there framing keeps a close watch on Aretha as she swoops and sweeps with the greatest of ease, skipping between dizzying runs and effortless slides that remind you of what a masterful jazz singer she was. We see mental wheels spinning as Cleveland and Alexander Hamilton, the assistant choir director, keep driving the choir into ever-greater surges of emotion while keeping them immaculately tight.\u003c/p>\n\u003cp>Moreover, the film captures the breathtaking force of feeling from both artists and congregants. Near the end of the song “Amazing Grace,” for which Cleveland has been accompanying Franklin on the piano, he slides off the piano bench, giving his space to Hamilton, and surrenders to shoulder-heaving sobs, rocking himself back and forth in a congregational seat. He’s not the only one — by this point, audience and performers alike are wiping tears from their faces — and when Franklin herself sinks down into a seat at the song’s conclusion, she well may be weeping, too. But her face is so sparkling with perspiration, it’s impossible to tell for sure.\u003c/p>\n\u003cp>Sabrina Owens says that such moments reveal an intimate facet of the resplendent Queen of Soul. “I think that seeing her in this setting helps them to understand Aretha as a person,” she says. “She came from the church. She is a daughter of the church. Her faith was so strong and she just loved gospel music. And I think seeing her in this element, it has to make you feel \u003cem>something\u003c/em>.”\u003c/p>\n\u003cp>Franklin was surrounded by family at these performances. There are some beautiful moments between Franklin and her father, the famed preacher Rev. C.L. Franklin, who comes to the second night’s session to sit in the front row alongside gospel legend Clara Ward, one of Aretha Franklin’s closest guides and her father’s longtime girlfriend. Ward seems caught between delight and other feelings — wistfulness? melancholy? — as Franklin, nearly 20 years younger, wails “Never Grow Old” from the piano a few feet away. Meanwhile, Clara Ward’s mother, Gertrude, the founder of the Ward Singers, appears to faint a short distance away, as Pollack gestures wildly to his cameramen to capture the scene. (There were at least a couple of other celebrities in attendance that night: The cameras alight upon Mick Jagger and Charlie Watts of The Rolling Stones at the back of the congregation.)\u003c/p>\n\u003cp>During that second night of recording, Franklin watches her father with shining eyes as he mounts the pulpit to wax ecstatic about her talents. After delivering remarks in his stentorian, mahogany tones, he gleefully tells the congregation, “She is a \u003cem>stone\u003c/em> singer,” while she melts into a smile. But in a gesture and response intimately familiar to generations of parents and children, we also see a flicker of annoyance in the nearly 30-year-old’s fleetingly pursed lips as her father, apparently unbidden, daubs some perspiration off her face while she sings.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Those kinds of understated and elemental moments, Sabrina Owens says, is what makes the film so special. “It was just Aretha standing there singing,” she says. “In her element, in a church setting, just doing what she does.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha+Franklin+Touches+The+Infinite+In+The+Long-Delayed+Film+%27Amazing+Grace%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music fans have been waiting almost half a century to see a storied documentary that many thought might never see the light of day: \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a>‘s \u003cem>Amazing Grace\u003c/em>. Originally directed by Sydney Pollack and completed by Alan Elliott, the film has been talked about since it was filmed in a Watts, California church in 1972 during the recording sessions for a live album of the same name. Now, 46 years after it was shot, the \u003cem>Amazing Grace\u003c/em> movie was finally shown in public for the first time Monday, with initial screenings in New York City and more on the way nationwide. (It will be have limited runs in Los Angeles and New York before the end of the year in order to qualify for the 2019 Academy Awards; it’s then expected to go into wider circulation early next year.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As a document of an iconic musician’s skills, the film is essential. But \u003cem>Amazing Grace \u003c/em>is far more than that: Watching it is a transcendent, spine-tingling, uplifting, utterly joyous experience. As cherished as the album version has been since its release, the film is nothing short of a revelation, soaring from one chill-inducing moment to another.\u003c/p>\n\u003cp>Recorded over two January nights at Watts’ New Temple Missionary Baptist Church, \u003cem>Amazing Grace \u003c/em>marked Franklin’s thrilling return to her gospel roots after she’d earned 11 consecutive No. 1 pop and R&B singles, won five Grammys and released more than 20 albums. (In a marketing plan that must have made demographic sense at the time but now seems almost unfathomably tone-deaf, Warner Bros. originally planned to pair the \u003cem>Amazing Grace\u003c/em> movie with \u003cem>Superfly\u003c/em> as a theatrical double-bill.)\u003c/p>\n\u003cp>In short order, the album version became a classic: It went double-platinum and remains one of the biggest-selling recordings in gospel music history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marvin Gaye, whose “Wholy Holy” Franklin covers on \u003cem>Amazing Grace\u003c/em>, told her biographer, David Ritz, that the album is “Aretha’s singular masterpiece … her greatest work.” And it’s with “Wholy Holy” that Franklin begins her performance, seated at the piano, with plushly arranged vocals from the choir backing her. It sets the reverent mood for the sessions.\u003c/p>\n\u003cp>That sense of shared spiritual experience, a communion of believers and their God, is what defines \u003cem>Amazing Grace\u003c/em> — a project recorded not in a studio, but in a living church. Moreover, Franklin is surrounded by a community that she understands innately, says Aaron Cohen, who saw the film’s raw footage about a decade ago at Elliott’s invitation. Cohen is a professor at the City Colleges of Chicago, as well as the author of a 2011 \u003ca href=\"https://bloomsbury.com/us/aretha-franklins-amazing-grace-9781441148889\">book\u003c/a> about the album \u003cem>Amazing Grace\u003c/em>.\u003c/p>\n\u003cp>Cohen says it’s essential to understand the community in which Franklin chose to record: the Watts neighborhood of Los Angeles, which, just six and a half years earlier, had \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4795093\">exploded\u003c/a> in riots. The unrest — which stemmed from deep-seated anger in the community over high unemployment, poor medical care, inferior housing, bad schools and tensions with police — left 34 people dead, hundreds injured and the neighborhood devastated.\u003c/p>\n\u003cfigure id=\"attachment_13844893\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844893 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-1020x720.jpg\" alt=\"Singer Aretha Franklin in a still from the documentary Amazing Grace.\" width=\"640\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-960x677.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220-520x367.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/amazing_grace_still_custom-29f6045ad5d7dd881d6e19729a762c7711791220.jpg 1032w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Singer Aretha Franklin in a still from the documentary Amazing Grace. \u003ccite>(Courtesy of Al's Records And Tapes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The film shows not just Aretha performing,” he says, “but also this congregation and what it was like to be in a church in Watts in the early ’70s, in the post-civil rights era, in a time when the community was redirecting its energy and deciding where to go next. I believe you can feel that,” he continues, “through the music, through what she’s singing in ‘How I Got Over'” — a song that Clara Ward’s sister \u003ca href=\"http://www.bbc.com/culture/story/20130827-a-song-that-made-america-believe\">claimed\u003c/a> was inspired by a specific incident of racial bullying that the family experienced, but whose lyrics were a touchstone for many black Americans.\u003c/p>\n\u003cp>In David Ritz’s standalone biography of Franklin, 2014’s \u003cem>Respect: The Life of Aretha Franklin\u003c/em>, the singer’s late brother Cecil strikes a similar tone. “I see [\u003cem>Amazing Grace\u003c/em>] as the sacred moment in the life of black people,” he told Ritz. “Think back. We had lost Martin; we had lost Malcolm; we had lost Bobby Kennedy. We were still fighting an immoral war. We had Tricky Dick in the White House. Turmoil, anger, corruption, confusion. We needed reassurance and recommitment. We needed redirection.”\u003c/p>\n\u003cp>As dramatic as the footage is, the \u003cem>Amazing Grace \u003c/em>documentary was plagued by troubles from the outset. The film of the recording sessions was made at the behest of Warner Bros. (the parent company of Franklin’s label, Atlantic Records), which hired actor and director Sydney Pollack to create it. Pollack, who had recently earned his first Oscar nomination (for \u003cem>They Shoot Horses, Don’t They?\u003c/em>), was still green enough as a director to forget an essential need in the pre-digital era: clapper boards to mark the starting points of the visual and audio elements of the film, meaning that what one saw and what one heard were out of sync. The screw-up was so bad that the 20 hours of footage were deemed useless, and the film was jettisoned.\u003c/p>\n\u003cp>Pollack reportedly \u003ca href=\"https://www.hollywoodreporter.com/news/sydney-pollacks-amazing-grace-tortured-820294\">dreamed\u003c/a> of returning to the material, but that never came to fruition. There were other attempts, though. “It was a very tedious and long process. Initially they tried, and they only got through about 20 feet of film and they gave up,” Franklin’s niece and the executor of her estate, Sabrina Owens, tells NPR. “And so it ended up on somebody’s cutting floor somewhere for years — for decades, actually.”\u003c/p>\n\u003cp>Years later, a former Atlantic A&R staffer-turned-producer named Alan Elliott took up the cause of seeing the \u003cem>Amazing Grace\u003c/em> film through, and by around 2010 had painstakingly matched the movie with the sound. But Franklin wouldn’t allow the documentary to be released. In 2011, she sued Elliott on the grounds of using her likeness without her permission. In 2015, she sued \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/04/437648259/aretha-franklin-blocks-premiere-of-concert-film-amazing-grace\">again\u003c/a> to prevent the film from being screened at the Telluride Film Festival.\u003c/p>\n\u003cp>Elliott was tenacious, however. In the weeks after Franklin’s death in August, he persuaded her family to let the film be released at long last. Owens says it started with a call she received from Elliott. “He asked if he could come and preview the film for friends and family,” she recalls. “I said yes. They previewed it for us at the Charles H. Wright Museum of African-American History [in Detroit] before about 40 or 50 family members, and we all delighted in what we saw.”\u003c/p>\n\u003cp>Part of that pleasure is in seeing Franklin work alongside her colleagues; these are musicians who innately feel each other, who are able to anticipate each other’s every move. Franklin had a crack team of collaborators, including her band of stellar players (Bernard “Pretty” Purdie on drums, guitarist Cornell Dupree and bassist Chuck Rainey). The backing choir was directed by Rev. James Cleveland, who had formerly served as the minister of music at Aretha’s father’s church, New Bethel Baptist in Detroit, and was one of Franklin’s mentors and a gospel-music giant in his own right.\u003c/p>\n\u003cp>And, as \u003cem>Amazing Grace\u003c/em> abundantly demonstrates, his Southern California Community Choir was an extraordinary ensemble — a group which Franklin called “one of the best anywhere” in the 1999 autobiography, \u003cem>From These Roots\u003c/em>, which she co-wrote with author David Ritz. Cleveland also serves as the genial emcee for the recording sessions. (At the start of the first night, he reminds the people in attendance that this is a church service taking place in the Lord’s house — but adds at the beginning of the second session, “Don’t be bashful when the camera comes your way … so while it comin’ your way, get in on it, all right?!”)\u003c/p>\n\u003cp>There’s no narrative to the film, and — aside from nothing more of a glimpse of a rehearsal — no behind-the-scenes segments to make viewers feel as if they’re learning more about Franklin’s process or gaining insights into her day-to-day life.\u003c/p>\n\u003cp>Instead, what viewers bear witness to is the \u003cem>work\u003c/em> of creating ecstasy: the rivers of sweat on Franklin and Cleveland, the eye makeup streaking down her face. The you-are-there framing keeps a close watch on Aretha as she swoops and sweeps with the greatest of ease, skipping between dizzying runs and effortless slides that remind you of what a masterful jazz singer she was. We see mental wheels spinning as Cleveland and Alexander Hamilton, the assistant choir director, keep driving the choir into ever-greater surges of emotion while keeping them immaculately tight.\u003c/p>\n\u003cp>Moreover, the film captures the breathtaking force of feeling from both artists and congregants. Near the end of the song “Amazing Grace,” for which Cleveland has been accompanying Franklin on the piano, he slides off the piano bench, giving his space to Hamilton, and surrenders to shoulder-heaving sobs, rocking himself back and forth in a congregational seat. He’s not the only one — by this point, audience and performers alike are wiping tears from their faces — and when Franklin herself sinks down into a seat at the song’s conclusion, she well may be weeping, too. But her face is so sparkling with perspiration, it’s impossible to tell for sure.\u003c/p>\n\u003cp>Sabrina Owens says that such moments reveal an intimate facet of the resplendent Queen of Soul. “I think that seeing her in this setting helps them to understand Aretha as a person,” she says. “She came from the church. She is a daughter of the church. Her faith was so strong and she just loved gospel music. And I think seeing her in this element, it has to make you feel \u003cem>something\u003c/em>.”\u003c/p>\n\u003cp>Franklin was surrounded by family at these performances. There are some beautiful moments between Franklin and her father, the famed preacher Rev. C.L. Franklin, who comes to the second night’s session to sit in the front row alongside gospel legend Clara Ward, one of Aretha Franklin’s closest guides and her father’s longtime girlfriend. Ward seems caught between delight and other feelings — wistfulness? melancholy? — as Franklin, nearly 20 years younger, wails “Never Grow Old” from the piano a few feet away. Meanwhile, Clara Ward’s mother, Gertrude, the founder of the Ward Singers, appears to faint a short distance away, as Pollack gestures wildly to his cameramen to capture the scene. (There were at least a couple of other celebrities in attendance that night: The cameras alight upon Mick Jagger and Charlie Watts of The Rolling Stones at the back of the congregation.)\u003c/p>\n\u003cp>During that second night of recording, Franklin watches her father with shining eyes as he mounts the pulpit to wax ecstatic about her talents. After delivering remarks in his stentorian, mahogany tones, he gleefully tells the congregation, “She is a \u003cem>stone\u003c/em> singer,” while she melts into a smile. But in a gesture and response intimately familiar to generations of parents and children, we also see a flicker of annoyance in the nearly 30-year-old’s fleetingly pursed lips as her father, apparently unbidden, daubs some perspiration off her face while she sings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those kinds of understated and elemental moments, Sabrina Owens says, is what makes the film so special. “It was just Aretha standing there singing,” she says. “In her element, in a church setting, just doing what she does.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha+Franklin+Touches+The+Infinite+In+The+Long-Delayed+Film+%27Amazing+Grace%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When he’s not busy on a movie set, Jeff Goldblum owns Wednesday nights in Los Angeles.\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/664380882/666038529\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The actor, known for roles in Hollywood blockbusters and a singular, chin-stroking comic persona, plays piano in a jazz band with a standing weekly gig, which he calls The Mildred Snitzer Orchestra. The performances are casual and unstructured, with the man of the hour playing keys one moment, holding court and posing for photos with attendees the next, just generally being … well, Jeff Goldblum.\u003c/p>\n\u003cp>[contextly_sidebar id=”cC8tpilx6wNodlavn9rqJiyEMm49iTkO”]\u003c/p>\n\u003cp>NPR’s David Greene joined Goldblum to talk about \u003cem>The Capitol Studios Sessions\u003c/em>, an album that captures the live show by recreating it — bringing a stage, a buffet, a live audience and guest stars including comedian Sarah Silverman into the storied recording space.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On discovering jazz as a teenager\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of these chords started to do something to me that I hadn’t experienced before, and that was just delicious to me — when I discovered that blues scale, my God. So I learned a little bit about that, and got to start to play things. And then — listen to this, what a strange boy I was — one day when I was 15, I locked the door from the inside in our study, where I didn’t think anybody would find me, hear me or bother me. Got the yellow pages, looked up cocktail lounges, and starting with A and going down to Z, I cold-called. I thought I was some kind of scammy salesman or something like that. And I said, “Hi, I understand you need a piano player.” Most of them would say, “No, you’ve been misinformed” — hang up on you. [But] some would say, “Well, jeez … we have a piano. Nobody’s been playing it. You play?” And so I did, and I got a couple of jobs. It was magical.\u003c/p>\n\u003cp>\u003cstrong>On how his two creative practices affect one another\u003c/strong>\u003c/p>\n\u003cp>There’s a cross-training aspect of this, so that my music, I’m just doing it for fun, without nerves really. It has bled over into my acting experience. … I didn’t [used to] feel like a fraud exactly, but I felt like I had to shock myself into functionality. I felt I had to rearrange my molecules and achieve some kind of condition of freedom or aliveness, in order to be worthy of participation in some show or another. The seeds of me knowing myself were there, but it was unformed and underdeveloped, and I had good reason to be scared.\u003c/p>\n\u003cp>\u003cstrong>On the social element of his jazz shows\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It has become kind of an improvised show, where I commune with people and meet them, and interesting people show up. It’s kind of a living room experience that we turn it into. No one’s turning on the lights or introducing me; I kind of start talking and taking pictures with them and finding out who they are and playing games with them, which I like to do. Everything is sort of playful. … People seem to get a kick out of it. And then I go on my Instagram account the next day, see if they’ve posted anything … see how I looked the night before, see how they looked. See if they’re people I can remember. “Oh, yeah. They were nice.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jeff+Goldblum+The+Jazz+Artist%3F+Life%2C+Uh%2C+Finds+A+Way&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When he’s not busy on a movie set, Jeff Goldblum owns Wednesday nights in Los Angeles.\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/664380882/666038529\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The actor, known for roles in Hollywood blockbusters and a singular, chin-stroking comic persona, plays piano in a jazz band with a standing weekly gig, which he calls The Mildred Snitzer Orchestra. The performances are casual and unstructured, with the man of the hour playing keys one moment, holding court and posing for photos with attendees the next, just generally being … well, Jeff Goldblum.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>NPR’s David Greene joined Goldblum to talk about \u003cem>The Capitol Studios Sessions\u003c/em>, an album that captures the live show by recreating it — bringing a stage, a buffet, a live audience and guest stars including comedian Sarah Silverman into the storied recording space.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On discovering jazz as a teenager\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of these chords started to do something to me that I hadn’t experienced before, and that was just delicious to me — when I discovered that blues scale, my God. So I learned a little bit about that, and got to start to play things. And then — listen to this, what a strange boy I was — one day when I was 15, I locked the door from the inside in our study, where I didn’t think anybody would find me, hear me or bother me. Got the yellow pages, looked up cocktail lounges, and starting with A and going down to Z, I cold-called. I thought I was some kind of scammy salesman or something like that. And I said, “Hi, I understand you need a piano player.” Most of them would say, “No, you’ve been misinformed” — hang up on you. [But] some would say, “Well, jeez … we have a piano. Nobody’s been playing it. You play?” And so I did, and I got a couple of jobs. It was magical.\u003c/p>\n\u003cp>\u003cstrong>On how his two creative practices affect one another\u003c/strong>\u003c/p>\n\u003cp>There’s a cross-training aspect of this, so that my music, I’m just doing it for fun, without nerves really. It has bled over into my acting experience. … I didn’t [used to] feel like a fraud exactly, but I felt like I had to shock myself into functionality. I felt I had to rearrange my molecules and achieve some kind of condition of freedom or aliveness, in order to be worthy of participation in some show or another. The seeds of me knowing myself were there, but it was unformed and underdeveloped, and I had good reason to be scared.\u003c/p>\n\u003cp>\u003cstrong>On the social element of his jazz shows\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It has become kind of an improvised show, where I commune with people and meet them, and interesting people show up. It’s kind of a living room experience that we turn it into. No one’s turning on the lights or introducing me; I kind of start talking and taking pictures with them and finding out who they are and playing games with them, which I like to do. Everything is sort of playful. … People seem to get a kick out of it. And then I go on my Instagram account the next day, see if they’ve posted anything … see how I looked the night before, see how they looked. See if they’re people I can remember. “Oh, yeah. They were nice.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jeff+Goldblum+The+Jazz+Artist%3F+Life%2C+Uh%2C+Finds+A+Way&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>It’s not enough to make list after list. The Turning the Tables project seeks to suggest alternatives to the traditional popular music canon, and to do more than that, too: to stimulate conversation about how hierarchies emerge and endure. This year, Turning the Tables considers how women and non-binary artists are shaping music in our moment, from the pop mainstream to the sinecures of jazz and contemporary classical music. Our list of the 200 Greatest Songs By Women+ offers a soundtrack to a new century. This series of essays takes on another task.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The 25 arguments writers make in these pieces challenge the usual definitions of influence. Some rethink the building legacies of popular artists; others celebrate those who create within subcultures, their innovations rippling outward over time. As always, women forge new pathways in sound; today, they also make waves under the surface of culture by confronting, in their music, the increased fluidity of “woman” itself. What is a woman? It’s a timeless question on the surface, but one deeply engaged with whatever historical moment in which it is asked. Our 25 Most Influential Women+ Musicians of the 21st Century illuminate its complexities. —Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>On the day after Halloween 2014, \u003ca href=\"https://www.npr.org/artists/504998599/big-freedia\">Big Freedia\u003c/a>‘s set at the Voodoo Experience festival in New Orleans’ City Park kicked off with a costume extravaganza evoking the French royal court from before Louisiana was purchased. Bedecked in rococo lace, feathers, ribbons and curled wigs, a cadre of dancers flanked their leader in a fierce \u003cem>tableau vivant\u003c/em> tribute to Versailles style (or, perhaps, Madonna circa the 1990 VMAs).\u003c/p>\n\u003cp>The hometown gig was the wrap for a six-week tour that capped off another successful year for Freedia, including more marquee festival gigs, the well-received release of \u003cem>Just Be Free — \u003c/em>Freedia’s first album of new material since the rapper’s 2003 debut \u003cem>Queen Diva\u003c/em> — and a GLAAD Media Award for the Fuse TV reality show “Big Freedia: Queen of Bounce.” The elaborate opening to the Voodoo performance was a big step up in production value from the years’ worth of shows that had more than succeeded on pure athleticism — and a visually literal coronation, on home turf, for the fast-rising star. But in the middle of the triumphant homecoming, the queen was quick to cede the throne to a pair of unannounced guests.\u003c/p>\n\u003cp>[contextly_sidebar id=”wmItkBRLagwu5CLbBifk5tJUSSVtTMcO”]\u003c/p>\n\u003cp>The Showboys were a New York rap duo whose 1986 Profile Records cut “Drag Rap (Trigger Man)” had become a sort of common ancestor for New Orleans bounce music. In the late ’80s and early ’90s, when bounce was taking shape live in nightclubs, “Drag Rap” hit big in New Orleans. When local artists started making original tracks, elements of the song — its booming 808 bass beat, an ominous synthesizer quotation of the \u003cem>Dragnet \u003c/em>theme and especially a tense, repetitive \u003cem>doodoodoodoo \u003c/em>run of short high notes that became known as the “Triggerman bells” — became signatures of the new sound. “Through repetition,” wrote Dr. Matt Miller in his 2012 book \u003cem>Bounce: Rap Music and Local Identity in New Orleans\u003c/em>, “the sample has become an icon of the bounce style, to the extent that even in isolation it connotes New Orleans for rap aficionados.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Showboys’ own story should surprise nobody familiar with the vagaries of the music industry; they never got to profit much off their song’s popularity down South in either money or renown. The audience watching Freedia at the 2014 Voodoo, which is mostly a popular rock and EDM festival and not particularly aimed at locals, wasn’t really one to get its mind blown open by the surprise showing. All of that is meant to say: Freedia used one of her moments in an increasingly bright spotlight to put the shine, instead, on the unsung history that came before.\u003c/p>\n\u003cp>It was a statement about visibility, which is key to Freedia’s mission and influence as an artist — the right to be seen. Big Freedia has always repped New Orleans, the creatively exceptional city that has always resolutely (and, uh, literally) marched to the beat of its own drummer, and the music and culture-makers that make it swing, even deep under the radar. She’s become famous doing it – way more so than any other practitioner of bounce, which for decades was a hyper-regional, street-level sound. In doing so, importantly, she’s amplified New Orleans history (and in an increasingly global pop world, really, the whole \u003cem>idea\u003c/em> of retaining fealty to deep-rooted local identity) to new audiences. And she’s done it by insisting on being her \u003cem>sui generis \u003c/em>self, a gay black man with a feminine stage name and fluid pronouns. You too, Freedia seems to say, should be proud of where you came from and be nothing less than who you are.\u003c/p>\n\u003cp>[contextly_sidebar id=”196Vw4E6m4hAnG52b9gYA7Af8aVJr8AZ”]\u003c/p>\n\u003cp>Though Freedia started out as a backup dancer for her friend Katey Red, a transgender bounce rapper who dropped her first album in 1999, she hit with real force just after Hurricane Katrina. In the wake of the floods, there was tremendous support for music from New Orleans nationally, and both emotional and pragmatic reasons to travel with it for artists: People in exile wanted to hear the sound of home, and with fewer stages in the city, the artists (who were sometimes unstable in their living situations in New Orleans themselves) needed to travel to work. Freedia built a name exponentially, performing a punishing regular schedule in New Orleans and Houston and soon, beyond. She also expanded her reach outside of the traditional Southern hip-hop scene after hooking up with Rusty Lazer, a DJ and drummer for a freaky-jazz cabaret group. On the road with him, Freedia crashed on couches and got introduced to a queer-friendly punk scene that loved to dance. (Fans of Peaches liking Big Freedia — who would have guessed?) Diplo got involved, and so did RuPaul, but the core essence of the sound stayed true: rattling beats and big, joyous, call-and-response shouts.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Big Freedia, Diplo, DJ Snake - Drop (Official video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/bHNiNP3hDkU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With the same force Freedia uses to command crowds to shake, twerk, wobble and exercise, if you ask the rapper what pronouns are preferred, she’ll tell you to pick. (I am using “she/her” here because those are the ones with which Freedia was introduced to me, somewhere around early 2008.) This fluidity sometimes seems less about Freedia’s own identity – she usually refers to herself as a gay man, when pressed – than a comment on what such labels mean, and whose problem they are. (If you require one, then it’s yours.)\u003c/p>\n\u003cp>That flexibility, too, has precedent in New Orleans, the city that builds its calendar around a lengthy holiday celebrating, in part, the whole idea of being more truly yourself by casting off boring strictures of dress and identity. Big Freedia fits into a grand lineage of black New Orleans performers who made gender identity fall in line behind who they were as artists and as people; for instance, Bobby Marchan, a gay man from Youngstown, Ohio, who arrived in the city with a female impersonators’ troupe called the Powder Box Revue in the late 1940s and made a splash at the New Orleans nitery the Dew Drop Inn.\u003c/p>\n\u003cp>[contextly_sidebar id=”M9zWrgJV0CpDCiyJcTP6szC8wYud4tbO”]\u003c/p>\n\u003cp>A restaurant, barbershop, and, crucially during the years of Jim Crow, a hotel where marquee black entertainers including Ray Charles and Duke Ellington stayed, the Dew Drop was more than just a stage. As the late Charles Neville put it in authors Jason Berry and Tad Jones’s sweeping postwar New Orleans music history \u003cem>Up From the Cradle of Jazz\u003c/em>, it was a clubhouse where you could find local music royalty at any hour of the day or night – and more than that, it was a place to nourish the spirit in a world that, for black artists, was fraught with danger for black artists plying their trade on the road.\u003c/p>\n\u003cp>“Okay, here’s what we wanted to do,” Neville told the writers. “Play music and pit ourselves against all of that. With little places like the Dew Drop, these oases where we could regroup and recover made the music that happened there kind of special. There were things projected into the music there that was not there on the road. There was that sense of security about being there, and that sense of belonging with the strangers who were there, but who were not, in fact, strangers, because they were members of this same order.”\u003c/p>\n\u003cp>The star of the Dew Drop, where Bobby Marchan became a regular patron and performer, was Irving Ale, who performed and presided over the entertainment as mistress of ceremonies Patsy Vidalia. Other out gay artists, like the wild pianists Esquerita and James Booker, were fixtures too, but Marchan is especially notable because of where his long career wound up. After a stint as a soul singer with a few solid hits, Bobby Marchan – who presented on and off as masculine or feminine as it pleased him over the years and liked to use the catchphrase “I’m not a woman, I’m not a man, I’m Bobby Marchan!” – settled into a second (third?) act. From the dawn of rap in New Orleans until his death, he was the godfather of New Orleans hip-hop, managing, advising and promoting artists including Mystikal and the Hot Boys. Cash Money Records footed the bill for his 1999 funeral.\u003c/p>\n\u003cp>All that considered, Freedia didn’t grow up as an artist in a community that necessarily accepted gay or gender-nonconforming artists across the board. There were still doors that were closed to Freedia – or only cracked open a little bit – in the local hip-hop scene for months and years after they would have swung wide open for straight-presenting men or women. But success bred success (an early indicator being, perhaps, \u003ca href=\"https://www.npr.org/artists/17682423/lil-wayne\">Lil Wayne\u003c/a> quoting Freedia’s signature early banger “Gin In My System” on a mixtape track) and soon, if counter-intuitively, national write-ups and awards begat total public local embrace. In turn, importantly, that led to greater visibility for younger gay artists on the grassroots New Orleans scene, including the late shooting star Nicky da B – who, like Freedia, was slowly and judiciously bringing dance influences from the wider world into the studio to meet what New Orleanians call That (Dat) Beat. After and because of Freedia, it’s less a city that lets everyone have their own room; it’s a city where everyone is in every room.\u003c/p>\n\u003cp>It would be reductive to say that bounce was a hothouse regional ’90s style that Freedia shot new life into, or helped to “cross over,” although both ideas have some truth to them. Could any other artist have done it? Years before \u003ca href=\"https://www.npr.org/artists/250250872/drake\">Drake \u003c/a>worked with Freedia and her longtime producer BlaqNMild on the hit “Nice for What,” or \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyoncé \u003c/a>hired her to lend that unmistakable bellow to “Formation,” top-selling artists were borrowing the sound – Bey on “Get Me Bodied,” for example, or T.I. collaborating with Lil Wayne on “Ball,” with its musical tip of the hat to the Triggerman bells and a video shot in the streets of Hollygrove, a stylistic throwback to the ’90s glory days of Cash Money videos. The imprimatur of the big guns takes Freedia, and her steadfast New Orleans identity, even more global, linking her to the biggest names in popular music (Freedia, in a “Formation”-referencing wide-brimmed black hat, introduced the Queen B herself onstage at the Superdome at the end of 2016; Lil Wayne invited her into his pantheon of guests and acknowledged influences at multiple Lil Weezyana Fests.) And she gives back, too: Any international star gets deep, regional, block-level terroir from Freedia, a singular factor. How could you see someone who loves and trusts herself so much and \u003cem>not\u003c/em> follow them to the dance floor?\u003c/p>\n\u003cp>[contextly_sidebar id=”uFEdcByMLtnO6mVBr3TH3h7ido2axI1y”]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>An oasis is by definition rare; it wouldn’t be so refreshing if the land surrounding it weren’t so barren. It’d be nice to think that the world out there is safer than when Charles Neville identified the Dew Drop as one, a place where you could finally relax enough to make your art, be yourself, shake it off. Either way, in solid New Orleans tradition, every Big Freedia show is a mobile oasis — pushing back the desert beat by beat.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Big+Freedia+Is+The+21st+Century%27s+Ambassador+Of+Freedom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>It’s not enough to make list after list. The Turning the Tables project seeks to suggest alternatives to the traditional popular music canon, and to do more than that, too: to stimulate conversation about how hierarchies emerge and endure. This year, Turning the Tables considers how women and non-binary artists are shaping music in our moment, from the pop mainstream to the sinecures of jazz and contemporary classical music. Our list of the 200 Greatest Songs By Women+ offers a soundtrack to a new century. This series of essays takes on another task.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The 25 arguments writers make in these pieces challenge the usual definitions of influence. Some rethink the building legacies of popular artists; others celebrate those who create within subcultures, their innovations rippling outward over time. As always, women forge new pathways in sound; today, they also make waves under the surface of culture by confronting, in their music, the increased fluidity of “woman” itself. What is a woman? It’s a timeless question on the surface, but one deeply engaged with whatever historical moment in which it is asked. Our 25 Most Influential Women+ Musicians of the 21st Century illuminate its complexities. —Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>On the day after Halloween 2014, \u003ca href=\"https://www.npr.org/artists/504998599/big-freedia\">Big Freedia\u003c/a>‘s set at the Voodoo Experience festival in New Orleans’ City Park kicked off with a costume extravaganza evoking the French royal court from before Louisiana was purchased. Bedecked in rococo lace, feathers, ribbons and curled wigs, a cadre of dancers flanked their leader in a fierce \u003cem>tableau vivant\u003c/em> tribute to Versailles style (or, perhaps, Madonna circa the 1990 VMAs).\u003c/p>\n\u003cp>The hometown gig was the wrap for a six-week tour that capped off another successful year for Freedia, including more marquee festival gigs, the well-received release of \u003cem>Just Be Free — \u003c/em>Freedia’s first album of new material since the rapper’s 2003 debut \u003cem>Queen Diva\u003c/em> — and a GLAAD Media Award for the Fuse TV reality show “Big Freedia: Queen of Bounce.” The elaborate opening to the Voodoo performance was a big step up in production value from the years’ worth of shows that had more than succeeded on pure athleticism — and a visually literal coronation, on home turf, for the fast-rising star. But in the middle of the triumphant homecoming, the queen was quick to cede the throne to a pair of unannounced guests.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Showboys were a New York rap duo whose 1986 Profile Records cut “Drag Rap (Trigger Man)” had become a sort of common ancestor for New Orleans bounce music. In the late ’80s and early ’90s, when bounce was taking shape live in nightclubs, “Drag Rap” hit big in New Orleans. When local artists started making original tracks, elements of the song — its booming 808 bass beat, an ominous synthesizer quotation of the \u003cem>Dragnet \u003c/em>theme and especially a tense, repetitive \u003cem>doodoodoodoo \u003c/em>run of short high notes that became known as the “Triggerman bells” — became signatures of the new sound. “Through repetition,” wrote Dr. Matt Miller in his 2012 book \u003cem>Bounce: Rap Music and Local Identity in New Orleans\u003c/em>, “the sample has become an icon of the bounce style, to the extent that even in isolation it connotes New Orleans for rap aficionados.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Showboys’ own story should surprise nobody familiar with the vagaries of the music industry; they never got to profit much off their song’s popularity down South in either money or renown. The audience watching Freedia at the 2014 Voodoo, which is mostly a popular rock and EDM festival and not particularly aimed at locals, wasn’t really one to get its mind blown open by the surprise showing. All of that is meant to say: Freedia used one of her moments in an increasingly bright spotlight to put the shine, instead, on the unsung history that came before.\u003c/p>\n\u003cp>It was a statement about visibility, which is key to Freedia’s mission and influence as an artist — the right to be seen. Big Freedia has always repped New Orleans, the creatively exceptional city that has always resolutely (and, uh, literally) marched to the beat of its own drummer, and the music and culture-makers that make it swing, even deep under the radar. She’s become famous doing it – way more so than any other practitioner of bounce, which for decades was a hyper-regional, street-level sound. In doing so, importantly, she’s amplified New Orleans history (and in an increasingly global pop world, really, the whole \u003cem>idea\u003c/em> of retaining fealty to deep-rooted local identity) to new audiences. And she’s done it by insisting on being her \u003cem>sui generis \u003c/em>self, a gay black man with a feminine stage name and fluid pronouns. You too, Freedia seems to say, should be proud of where you came from and be nothing less than who you are.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though Freedia started out as a backup dancer for her friend Katey Red, a transgender bounce rapper who dropped her first album in 1999, she hit with real force just after Hurricane Katrina. In the wake of the floods, there was tremendous support for music from New Orleans nationally, and both emotional and pragmatic reasons to travel with it for artists: People in exile wanted to hear the sound of home, and with fewer stages in the city, the artists (who were sometimes unstable in their living situations in New Orleans themselves) needed to travel to work. Freedia built a name exponentially, performing a punishing regular schedule in New Orleans and Houston and soon, beyond. She also expanded her reach outside of the traditional Southern hip-hop scene after hooking up with Rusty Lazer, a DJ and drummer for a freaky-jazz cabaret group. On the road with him, Freedia crashed on couches and got introduced to a queer-friendly punk scene that loved to dance. (Fans of Peaches liking Big Freedia — who would have guessed?) Diplo got involved, and so did RuPaul, but the core essence of the sound stayed true: rattling beats and big, joyous, call-and-response shouts.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Big Freedia, Diplo, DJ Snake - Drop (Official video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/bHNiNP3hDkU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With the same force Freedia uses to command crowds to shake, twerk, wobble and exercise, if you ask the rapper what pronouns are preferred, she’ll tell you to pick. (I am using “she/her” here because those are the ones with which Freedia was introduced to me, somewhere around early 2008.) This fluidity sometimes seems less about Freedia’s own identity – she usually refers to herself as a gay man, when pressed – than a comment on what such labels mean, and whose problem they are. (If you require one, then it’s yours.)\u003c/p>\n\u003cp>That flexibility, too, has precedent in New Orleans, the city that builds its calendar around a lengthy holiday celebrating, in part, the whole idea of being more truly yourself by casting off boring strictures of dress and identity. Big Freedia fits into a grand lineage of black New Orleans performers who made gender identity fall in line behind who they were as artists and as people; for instance, Bobby Marchan, a gay man from Youngstown, Ohio, who arrived in the city with a female impersonators’ troupe called the Powder Box Revue in the late 1940s and made a splash at the New Orleans nitery the Dew Drop Inn.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A restaurant, barbershop, and, crucially during the years of Jim Crow, a hotel where marquee black entertainers including Ray Charles and Duke Ellington stayed, the Dew Drop was more than just a stage. As the late Charles Neville put it in authors Jason Berry and Tad Jones’s sweeping postwar New Orleans music history \u003cem>Up From the Cradle of Jazz\u003c/em>, it was a clubhouse where you could find local music royalty at any hour of the day or night – and more than that, it was a place to nourish the spirit in a world that, for black artists, was fraught with danger for black artists plying their trade on the road.\u003c/p>\n\u003cp>“Okay, here’s what we wanted to do,” Neville told the writers. “Play music and pit ourselves against all of that. With little places like the Dew Drop, these oases where we could regroup and recover made the music that happened there kind of special. There were things projected into the music there that was not there on the road. There was that sense of security about being there, and that sense of belonging with the strangers who were there, but who were not, in fact, strangers, because they were members of this same order.”\u003c/p>\n\u003cp>The star of the Dew Drop, where Bobby Marchan became a regular patron and performer, was Irving Ale, who performed and presided over the entertainment as mistress of ceremonies Patsy Vidalia. Other out gay artists, like the wild pianists Esquerita and James Booker, were fixtures too, but Marchan is especially notable because of where his long career wound up. After a stint as a soul singer with a few solid hits, Bobby Marchan – who presented on and off as masculine or feminine as it pleased him over the years and liked to use the catchphrase “I’m not a woman, I’m not a man, I’m Bobby Marchan!” – settled into a second (third?) act. From the dawn of rap in New Orleans until his death, he was the godfather of New Orleans hip-hop, managing, advising and promoting artists including Mystikal and the Hot Boys. Cash Money Records footed the bill for his 1999 funeral.\u003c/p>\n\u003cp>All that considered, Freedia didn’t grow up as an artist in a community that necessarily accepted gay or gender-nonconforming artists across the board. There were still doors that were closed to Freedia – or only cracked open a little bit – in the local hip-hop scene for months and years after they would have swung wide open for straight-presenting men or women. But success bred success (an early indicator being, perhaps, \u003ca href=\"https://www.npr.org/artists/17682423/lil-wayne\">Lil Wayne\u003c/a> quoting Freedia’s signature early banger “Gin In My System” on a mixtape track) and soon, if counter-intuitively, national write-ups and awards begat total public local embrace. In turn, importantly, that led to greater visibility for younger gay artists on the grassroots New Orleans scene, including the late shooting star Nicky da B – who, like Freedia, was slowly and judiciously bringing dance influences from the wider world into the studio to meet what New Orleanians call That (Dat) Beat. After and because of Freedia, it’s less a city that lets everyone have their own room; it’s a city where everyone is in every room.\u003c/p>\n\u003cp>It would be reductive to say that bounce was a hothouse regional ’90s style that Freedia shot new life into, or helped to “cross over,” although both ideas have some truth to them. Could any other artist have done it? Years before \u003ca href=\"https://www.npr.org/artists/250250872/drake\">Drake \u003c/a>worked with Freedia and her longtime producer BlaqNMild on the hit “Nice for What,” or \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyoncé \u003c/a>hired her to lend that unmistakable bellow to “Formation,” top-selling artists were borrowing the sound – Bey on “Get Me Bodied,” for example, or T.I. collaborating with Lil Wayne on “Ball,” with its musical tip of the hat to the Triggerman bells and a video shot in the streets of Hollygrove, a stylistic throwback to the ’90s glory days of Cash Money videos. The imprimatur of the big guns takes Freedia, and her steadfast New Orleans identity, even more global, linking her to the biggest names in popular music (Freedia, in a “Formation”-referencing wide-brimmed black hat, introduced the Queen B herself onstage at the Superdome at the end of 2016; Lil Wayne invited her into his pantheon of guests and acknowledged influences at multiple Lil Weezyana Fests.) And she gives back, too: Any international star gets deep, regional, block-level terroir from Freedia, a singular factor. How could you see someone who loves and trusts herself so much and \u003cem>not\u003c/em> follow them to the dance floor?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An oasis is by definition rare; it wouldn’t be so refreshing if the land surrounding it weren’t so barren. It’d be nice to think that the world out there is safer than when Charles Neville identified the Dew Drop as one, a place where you could finally relax enough to make your art, be yourself, shake it off. Either way, in solid New Orleans tradition, every Big Freedia show is a mobile oasis — pushing back the desert beat by beat.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Big+Freedia+Is+The+21st+Century%27s+Ambassador+Of+Freedom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp style=\"font-weight: 400\">I prefer to read books without knowing anything about them. In the case of \u003ci>\u003cem style=\"font-weight: inherit\">Little\u003c/em>\u003c/i>, I didn’t need to know anything besides the fact that Edward Carey wrote it; I’ve loved and reviewed every volume in his \u003ci>\u003cem style=\"font-weight: inherit\">Iremonger\u003c/em>\u003c/i> trilogy, a series in which people are in constant danger of turning into things, used and traded and thrown away, but sometimes prone to revolution.\u003c/p>\n\u003cp style=\"font-weight: 400\">In \u003ci>\u003cem style=\"font-weight: inherit\">Little\u003c/em>\u003c/i>—a project fifteen years in the making, that began before the first \u003cem>Iremonger\u003c/em> volume was published and ended after the trilogy concluded—Carey again approaches themes of personhood and power, objects and their subjects, but rooted this time in real history: the years leading up to the French Revolution and its aftermath.[contextly_sidebar id=”uT7y32GtnSN6pQZHFheJdWjI6j6hmCle”]\u003c/p>\n\u003cp style=\"font-weight: 400\">Anne Marie Grosholtz—known as Little for her small stature—is born to a mother with a strong nose and a father with a strong chin, inheriting both their distinguishing features before losing her father to war, her mother to suicide. Orphaned at the age of six, she’s apprenticed to a solitary man named Curtius, a maker of anatomical models who’s accustomed to being shunned for his gruesome skill. Marie, however, is not put off, and Curtius introduces her to the craft by casting Marie’s face in wax—a departure from his usual modelling of internal organs. Once people begin to see themselves in Curtius’ work, they clamor for it, forcing Curtius and Marie flee to Paris, where they meet a cruel widow and her shy son, and together begin a tense and profitable household business of modeling notable people and dressing them in the widow’s handiwork. But as the revolution approaches, fashions change, and so do the relationships between people and the representations of nobility and notability: People steal wax heads to deface in the absence of their originals—until, eventually, they can lay hands on those originals.[contextly_sidebar id=”C0e8DnuI9UqSKhB3R4TMs4chG1wKIurC”]\u003c/p>\n\u003cp style=\"font-weight: 400\">It took me until the end of the book to realize this wasn’t a fantasy novel, but a work of historical fiction telling the origin story of Madame Tussaud. It took me that long because the book’s affect, its style, its concerns, its sadness and loneliness and empathy, were so thoroughly those of Carey’s fantasy series that I was left thinking helplessly about how inadequate are our conversations about genre. \u003ci>\u003cem style=\"font-weight: inherit\">Little \u003c/em>\u003c/i>is written as a memoir, told in phases of Marie’s life from childhood through adulthood, illustrated throughout by Carey in ways that allow the fantastical to both ease and trouble reality; when her mother hangs herself, Marie draws a broken-necked bird in her place. The slipperiness between people and things that I so admired in \u003ci>\u003cem style=\"font-weight: inherit\">Heap House\u003c/em>\u003c/i> is everywhere here, but inviting us to observe how thoroughly history teems with it—what is a subject, and what an object? In language and in life, these words shift and tumble against and polish each other. A king has subjects, whom he subjects to oppression, until they object so fiercely that they make an object of him. And where does wax come in? What is pressed into it along with a body’s lines?[contextly_sidebar id=”Ze6F8TQpKbfrAU85Wd682tnFXU8X7lRf”]\u003c/p>\n\u003cp style=\"font-weight: 400\">I marvel at the achievement of this book, even as I regret it. I didn’t want this to be about Madame Tussaud; I didn’t want the character of Marie, whom I loved as a fantasy, to resolve into a woman who really existed, who has written her own memoirs in her own voice that isn’t Little’s. I loved this book best when it showed me, with its stylized dialogue, its garroting commas, its punctuating illustrations, history as an art form, history as an argument. I loved it less when the Revolution began in earnest, and Marie’s narrative began to be swallowed into the gravity well of history as facts, history as a litany of horrors somehow less moving than the Widow Picot’s obsessive cruelty, Curtius’ oblivious neglect, the monstrosity and tenderness of Versailles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003ca href=\"https://www.theguardian.com/books/2018/oct/04/madame-tussaud-edward-carey-little\" target=\"_blank\" rel=\"noopener\">Writing for the \u003ci>\u003cem style=\"font-weight: inherit\">Guardian\u003c/em>\u003c/i>\u003c/a>, and speaking of having worked at Madame Tussaud’s once upon a time, Carey observes that “At its heart, Tussaud’s isn’t about history: it’s a museum of the human body.” \u003ci>\u003cem style=\"font-weight: inherit\">Little\u003c/em>\u003c/i> isn’t about history either; it’s about humans, and bodies, and art, and loneliness, and it’s deeply, painfully sad. I could talk about it forever. I’ll stop here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003ca href=\"http://amalelmohtar.com/\" target=\"_blank\" rel=\"noopener\">Amal El-Mohtar\u003c/a> \u003ci>\u003cem style=\"font-weight: inherit\">is the Hugo Award-winning author of\u003c/em>\u003c/i> The Honey Month \u003ci>\u003cem style=\"font-weight: inherit\">and the editor of \u003c/em>\u003c/i>\u003ca href=\"http://www.goblinfruit.net/\" target=\"_blank\" rel=\"noopener\">Goblin Fruit\u003c/a>\u003ci>\u003cem style=\"font-weight: inherit\">, an online poetry magazine.\u003c/em>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2018 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"font-weight: 400\">I prefer to read books without knowing anything about them. In the case of \u003ci>\u003cem style=\"font-weight: inherit\">Little\u003c/em>\u003c/i>, I didn’t need to know anything besides the fact that Edward Carey wrote it; I’ve loved and reviewed every volume in his \u003ci>\u003cem style=\"font-weight: inherit\">Iremonger\u003c/em>\u003c/i> trilogy, a series in which people are in constant danger of turning into things, used and traded and thrown away, but sometimes prone to revolution.\u003c/p>\n\u003cp style=\"font-weight: 400\">In \u003ci>\u003cem style=\"font-weight: inherit\">Little\u003c/em>\u003c/i>—a project fifteen years in the making, that began before the first \u003cem>Iremonger\u003c/em> volume was published and ended after the trilogy concluded—Carey again approaches themes of personhood and power, objects and their subjects, but rooted this time in real history: the years leading up to the French Revolution and its aftermath.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">Anne Marie Grosholtz—known as Little for her small stature—is born to a mother with a strong nose and a father with a strong chin, inheriting both their distinguishing features before losing her father to war, her mother to suicide. Orphaned at the age of six, she’s apprenticed to a solitary man named Curtius, a maker of anatomical models who’s accustomed to being shunned for his gruesome skill. Marie, however, is not put off, and Curtius introduces her to the craft by casting Marie’s face in wax—a departure from his usual modelling of internal organs. Once people begin to see themselves in Curtius’ work, they clamor for it, forcing Curtius and Marie flee to Paris, where they meet a cruel widow and her shy son, and together begin a tense and profitable household business of modeling notable people and dressing them in the widow’s handiwork. But as the revolution approaches, fashions change, and so do the relationships between people and the representations of nobility and notability: People steal wax heads to deface in the absence of their originals—until, eventually, they can lay hands on those originals.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">It took me until the end of the book to realize this wasn’t a fantasy novel, but a work of historical fiction telling the origin story of Madame Tussaud. It took me that long because the book’s affect, its style, its concerns, its sadness and loneliness and empathy, were so thoroughly those of Carey’s fantasy series that I was left thinking helplessly about how inadequate are our conversations about genre. \u003ci>\u003cem style=\"font-weight: inherit\">Little \u003c/em>\u003c/i>is written as a memoir, told in phases of Marie’s life from childhood through adulthood, illustrated throughout by Carey in ways that allow the fantastical to both ease and trouble reality; when her mother hangs herself, Marie draws a broken-necked bird in her place. The slipperiness between people and things that I so admired in \u003ci>\u003cem style=\"font-weight: inherit\">Heap House\u003c/em>\u003c/i> is everywhere here, but inviting us to observe how thoroughly history teems with it—what is a subject, and what an object? In language and in life, these words shift and tumble against and polish each other. A king has subjects, whom he subjects to oppression, until they object so fiercely that they make an object of him. And where does wax come in? What is pressed into it along with a body’s lines?\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">I marvel at the achievement of this book, even as I regret it. I didn’t want this to be about Madame Tussaud; I didn’t want the character of Marie, whom I loved as a fantasy, to resolve into a woman who really existed, who has written her own memoirs in her own voice that isn’t Little’s. I loved this book best when it showed me, with its stylized dialogue, its garroting commas, its punctuating illustrations, history as an art form, history as an argument. I loved it less when the Revolution began in earnest, and Marie’s narrative began to be swallowed into the gravity well of history as facts, history as a litany of horrors somehow less moving than the Widow Picot’s obsessive cruelty, Curtius’ oblivious neglect, the monstrosity and tenderness of Versailles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003ca href=\"https://www.theguardian.com/books/2018/oct/04/madame-tussaud-edward-carey-little\" target=\"_blank\" rel=\"noopener\">Writing for the \u003ci>\u003cem style=\"font-weight: inherit\">Guardian\u003c/em>\u003c/i>\u003c/a>, and speaking of having worked at Madame Tussaud’s once upon a time, Carey observes that “At its heart, Tussaud’s isn’t about history: it’s a museum of the human body.” \u003ci>\u003cem style=\"font-weight: inherit\">Little\u003c/em>\u003c/i> isn’t about history either; it’s about humans, and bodies, and art, and loneliness, and it’s deeply, painfully sad. I could talk about it forever. I’ll stop here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003ca href=\"http://amalelmohtar.com/\" target=\"_blank\" rel=\"noopener\">Amal El-Mohtar\u003c/a> \u003ci>\u003cem style=\"font-weight: inherit\">is the Hugo Award-winning author of\u003c/em>\u003c/i> The Honey Month \u003ci>\u003cem style=\"font-weight: inherit\">and the editor of \u003c/em>\u003c/i>\u003ca href=\"http://www.goblinfruit.net/\" target=\"_blank\" rel=\"noopener\">Goblin Fruit\u003c/a>\u003ci>\u003cem style=\"font-weight: inherit\">, an online poetry magazine.\u003c/em>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2018 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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