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"content": "\u003cp>Jeffrey Tambor, Emmy-winning star of \u003cem>Transparent\u003c/em>, will not be returning to the cast for the show’s upcoming fifth season. Amazon Studios confirmed the actor’s departure to NPR on Thursday.\u003c/p>\n\u003cp>The announcement comes several months after multiple claims of sexual misconduct surfaced against Tambor, who played trans woman Maura Pfefferman in the Amazon Studio series. As NPR’s Emma Bowman \u003ca href=\"https://www.npr.org/565254200\" target=\"_blank\" rel=\"noopener\">reported in November\u003c/a>, Tambor had been accused of groping his former assistant, transgender actress Van Barnes, and making inappropriate sexual advances on transgender co-star Trace Lysette.\u003c/p>\n\u003cp>“I have great respect and admiration for Van Barnes and Trace Lysette, whose courage in speaking out about their experience on \u003cem>Transparent \u003c/em>is an example of the leadership this moment in our culture requires,” show creator and co-writer Jill Soloway said in a statement to NPR.\u003c/p>\n\u003cp>“We are grateful to the many trans people who have supported our vision for \u003cem>Transparent \u003c/em>since its inception,” Soloway continued, “and remain heartbroken about the pain and mistrust their experience has generated in our community. We are taking definitive action to ensure our workplace respects the safety and dignity of every individual, and are taking steps to heal as a family.”\u003c/p>\n\u003cp>Tambor has apologized for any inadvertent misbehavior but has denied the allegations against him, which he called “simply and utterly untrue.” And even in November, he signaled in a statement that his time with the show may be ending: “Given the politicized atmosphere that seems to have afflicted our set, I don’t see how I can return to ‘Transparent.’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both Tambor and Soloway have won multiple Emmys for their work on the show — Tambor for lead acting and Soloway for directing \u003ca href=\"https://www.emmys.com/shows/transparent\">in 2015 and 2016\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amazon Studios did not immediately comment further beyond confirming the move. \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=Jeffrey+Tambor+Officially+Exits+%27Transparent%27+Following+Claims+Of+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jeffrey Tambor, Emmy-winning star of \u003cem>Transparent\u003c/em>, will not be returning to the cast for the show’s upcoming fifth season. Amazon Studios confirmed the actor’s departure to NPR on Thursday.\u003c/p>\n\u003cp>The announcement comes several months after multiple claims of sexual misconduct surfaced against Tambor, who played trans woman Maura Pfefferman in the Amazon Studio series. As NPR’s Emma Bowman \u003ca href=\"https://www.npr.org/565254200\" target=\"_blank\" rel=\"noopener\">reported in November\u003c/a>, Tambor had been accused of groping his former assistant, transgender actress Van Barnes, and making inappropriate sexual advances on transgender co-star Trace Lysette.\u003c/p>\n\u003cp>“I have great respect and admiration for Van Barnes and Trace Lysette, whose courage in speaking out about their experience on \u003cem>Transparent \u003c/em>is an example of the leadership this moment in our culture requires,” show creator and co-writer Jill Soloway said in a statement to NPR.\u003c/p>\n\u003cp>“We are grateful to the many trans people who have supported our vision for \u003cem>Transparent \u003c/em>since its inception,” Soloway continued, “and remain heartbroken about the pain and mistrust their experience has generated in our community. We are taking definitive action to ensure our workplace respects the safety and dignity of every individual, and are taking steps to heal as a family.”\u003c/p>\n\u003cp>Tambor has apologized for any inadvertent misbehavior but has denied the allegations against him, which he called “simply and utterly untrue.” And even in November, he signaled in a statement that his time with the show may be ending: “Given the politicized atmosphere that seems to have afflicted our set, I don’t see how I can return to ‘Transparent.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>While some of us were shelling out cash for flowers and chocolates, \u003ca href=\"https://www.npr.org/artists/137108917/frank-ocean\" target=\"_blank\" rel=\"noopener\">Frank Ocean\u003c/a> gifted his listeners with new music in honor of Valentine’s Day. The illusive R&B star released a cover of “Moon River” in the wee hours on his YouTube and Tumblr accounts. The 1961 original, by Henry Mancini with lyrics by Johnny Mercer, was written for Audrey Hepburn to sing in the cult classic \u003cem>Breakfast at Tiffany’s\u003c/em> and has been covered over the years by Jerry Butler, Aretha Franklin, Frank Sinatra and more.\u003c/p>\n\u003cp>For his version, Ocean starts by distorting his voice to resemble an innocent child (a similar tactic he frequently employed on his last album \u003cem>Blonde\u003c/em>) and croons over an achingly slow and beautiful bass line, providing his own supporting vocals and harmonies throughout. It’s far from the first time Ocean has put his own synthy spin on a pop classic; check out his covers of Stevie Wonder’s “\u003ca href=\"https://www.youtube.com/watch?v=Meij0gCWQb8\" target=\"_blank\" rel=\"noopener\">Close To You\u003c/a>” and The Isley Brothers’ “\u003ca href=\"https://www.youtube.com/watch?v=1kIOXNP5Ig0\" target=\"_blank\" rel=\"noopener\">At Your Best (You Are Love)\u003c/a>” for more nostalgia.\u003c/p>\n\u003cp>With a steady stream of releases in 2017 and now this new cover surfacing, it’s apparent the 30-year-old has every intention of making good on his promise that fans will “\u003ca href=\"http://frankocean.tumblr.com/post/169250081706/new-18-99\" target=\"_blank\" rel=\"noopener\">love 2018\u003c/a>.” \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=Frank+Ocean+Gifts+Fans+With+%27Moon+River%27+Cover+On+Valentine%27s+Night&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>While some of us were shelling out cash for flowers and chocolates, \u003ca href=\"https://www.npr.org/artists/137108917/frank-ocean\" target=\"_blank\" rel=\"noopener\">Frank Ocean\u003c/a> gifted his listeners with new music in honor of Valentine’s Day. The illusive R&B star released a cover of “Moon River” in the wee hours on his YouTube and Tumblr accounts. The 1961 original, by Henry Mancini with lyrics by Johnny Mercer, was written for Audrey Hepburn to sing in the cult classic \u003cem>Breakfast at Tiffany’s\u003c/em> and has been covered over the years by Jerry Butler, Aretha Franklin, Frank Sinatra and more.\u003c/p>\n\u003cp>For his version, Ocean starts by distorting his voice to resemble an innocent child (a similar tactic he frequently employed on his last album \u003cem>Blonde\u003c/em>) and croons over an achingly slow and beautiful bass line, providing his own supporting vocals and harmonies throughout. It’s far from the first time Ocean has put his own synthy spin on a pop classic; check out his covers of Stevie Wonder’s “\u003ca href=\"https://www.youtube.com/watch?v=Meij0gCWQb8\" target=\"_blank\" rel=\"noopener\">Close To You\u003c/a>” and The Isley Brothers’ “\u003ca href=\"https://www.youtube.com/watch?v=1kIOXNP5Ig0\" target=\"_blank\" rel=\"noopener\">At Your Best (You Are Love)\u003c/a>” for more nostalgia.\u003c/p>\n\u003cp>With a steady stream of releases in 2017 and now this new cover surfacing, it’s apparent the 30-year-old has every intention of making good on his promise that fans will “\u003ca href=\"http://frankocean.tumblr.com/post/169250081706/new-18-99\" target=\"_blank\" rel=\"noopener\">love 2018\u003c/a>.” \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=Frank+Ocean+Gifts+Fans+With+%27Moon+River%27+Cover+On+Valentine%27s+Night&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Paintings of Barack and Michelle Obama Unveiled at Portrait Gallery",
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"content": "\u003cp>Brand new portraits of former president Barack Obama and former first lady Michelle Obama — wearing matching calm, strong expressions — were revealed on Monday at the National Portrait Gallery in Washington, D.C.\u003c/p>\n\u003cp>Kehinde Wiley painted Barack Obama sitting in a chair, elbows in his knees, leaning forward with an intense expression. The background, typical of a Wiley painting, is a riotous pattern of intense greens.\u003c/p>\n\u003cp>“Pretty sharp,” Obama said with a grin.\u003c/p>\n\u003cp>Amy Sherald, a Baltimore-based artist, painted Michelle Obama sitting in a floor-length gown, chin on her hand, looking directly at the viewer with a calm, level gaze.\u003c/p>\n\u003cp>The paintings, like the presidency they honor, are a historic first. Wiley and Sherald — both already famous for their portraits of black Americans — are the first black painters to receive a presidential portrait commission from the museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrities from Shonda Rimes to Steven Spielberg, former administration officials from Josh Earnest to Eric Holder, and members of the media filed into the Portrait Gallery’s expansive, glass-covered central courtyard for the ceremony. Kim Sajet, the director of the gallery, told the audience that a portrait was not truly finished until a viewer, a member of the public, had a personal encounter with it.\u003c/p>\n\u003cp>Then came the unveiling — quite literally, as fabric covers were pulled off the portraits on a small stage.\u003c/p>\n\u003cfigure id=\"attachment_13824232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-800x617.jpg\" alt=\"Former U.S. President Barack Obama looks at former first lady Michelle Obama's newly unveiled portrait during a ceremony at the Smithsonian's National Portrait Gallery.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13824232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1920x1481.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1180x910.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-520x401.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former U.S. President Barack Obama looks at former first lady Michelle Obama’s newly unveiled portrait during a ceremony at the Smithsonian’s National Portrait Gallery. \u003ccite>(Mark Wilson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings exemplify the two artists’ trademark styles.\u003c/p>\n\u003cp>“Wiley typically portrays people of color posing as famous figures in Western art,” the Portrait Gallery writes. “Through this practice, he challenges the visual rhetoric of power that is dominated by elite white men.”\u003c/p>\n\u003cp>Sherald, “known for her stylized, archetypal portrayals of African Americans,” survived a heart transplant in 2012, the museum notes. “A personification of resilience herself, Sherald conveys the inner strength of her subjects through a combination of calm expressions and confrontational poses,” the gallery writes.\u003c/p>\n\u003cp>“I am a little overwhelmed, to say the least,” Michelle Obama said in a speech, after helping Sherald reveal her work. “As you may have guessed, I don’t think there is anybody in my family who has ever had a portrait done, let alone a portrait that will be hanging in the National Gallery — at least as far as I know, Mom,” she said. “But all those folks who helped me be here today, they are with us physically and they are with us in spirit.”\u003c/p>\n\u003cp>“I’m also thinking of all the young people, particularly girls and girls of color, who … will see an image of someone who looks like them hanging on the wall of this great American institution,” she said. “I know the kind of impact that will have on their lives, because I was one of those girls.”\u003c/p>\n\u003cp>It was a point Sherald echoed minutes later, when she emphasized that her portrait of Obama was conceptual and archetypal, bigger than just one model.\u003c/p>\n\u003cp>“You exist in our minds and our hearts in the way that we do because we can see ourselves in you,” she said, turning toward Michelle Obama.\u003c/p>\n\u003cp>Barack Obama, for his part, said he admired how Wiley’s photos “challenge our conventional views of power and privilege.”\u003c/p>\n\u003cp>But he said he rejected Wiley’s ideas that involved him, for instance, riding a horse.\u003c/p>\n\u003cp>“‘I’ve got enough political problems without you making me look like Napoleon,'” he remembered telling Wiley. “‘You’ve got to bring it down a touch.’ And that’s what he did.”\u003c/p>\n\u003cp>“How do you explain that a lot of that is just simply not true?” Wiley said, when he took to the lectern. Then he got more serious.\u003c/p>\n\u003cfigure id=\"attachment_13824230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-800x546.jpg\" alt=\"Former President Barack Obama stands with his and former first lady Michelle Obama's newly unveiled portraits during a ceremony at the Smithsonian's National Portrait Gallery in Washington, D.C.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13824230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1920x1309.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama stands with his and former first lady Michelle Obama’s newly unveiled portraits during a ceremony at the Smithsonian’s National Portrait Gallery in Washington, D.C. \u003ccite>(Mark Wilson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The ability to be the first African-American painter to paint the first African-American president of the United States is absolutely overwhelming,” Wiley said. “It doesn’t get any better than that. I was humbled by this invitation but I was also inspired by Barack Obama’s personal story.”\u003c/p>\n\u003cp>The National Portrait Gallery, a member of the Smithsonian Institution, has worked with outgoing presidents to commission a new portrait of each one since 1962.\u003c/p>\n\u003cp>More recently it began collecting portraits of first ladies as well. The Portrait Gallery, a member of the Smithsonian Institution, \u003ca href=\"http://npg.si.edu/blog/people-presidential-portraits-national-portrait-gallery\" target->writes\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Official portraits are interesting beasts because they are, of course official: they signify the status and attainments of the person portrayed. But they also are deeply personal, even revelatory, portrayals that say something of the character of the man or woman who shows their face to the public. The style of the portrait – the pose, the colors, the setting, as well as facial features (in the 19th century stern and forbidding was definitely the default expression) – all convey a measure of the sitter.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The official National Portrait Gallery \u003ca href=\"https://www.smithsonianmag.com/smithsonian-institution/george-w-bushs-portrait-at-national-portrait-gallery-34317269/\" target->paintings\u003c/a> of George and Laura Bush both featured relatively casual, relaxed poses, with small smiles.\u003c/p>\n\u003cp>The gallery’s portrait of Bill Clinton, by Nelson Shanks, was controversial after Shanks \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/03/the-subtle-satire-of-a-bill-clinton-portrait/386558/\">said\u003c/a> he’d hidden a reference to the Monica Lewinsky scandal in the canvas. A different portrait of Clinton, a Chuck Close \u003ca href=\"http://npg.si.edu/blog/now-on-view-bill-clinton-chuck-close\">painting\u003c/a> of the former president’s grin, is on display in the museum.\u003c/p>\n\u003cp>The new paintings of the Obamas will be on view to the public beginning Tuesday.\u003c/p>\n\u003cp>Wiley’s painting of former President Obama will be permanently installed in the “America’s Presidents” exhibit (The Portrait Gallery has the “only complete collection of presidential portraits outside the White House,” the museum said in a statement.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sherald’s painting of Michelle Obama will be on display through November in the museum’s “Recent Acquisitions” section. \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=Paintings+Of+Barack+And+Michelle+Obama+Unveiled+At+Portrait+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "Paintings of Barack and Michelle Obama Unveiled at Portrait Gallery | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brand new portraits of former president Barack Obama and former first lady Michelle Obama — wearing matching calm, strong expressions — were revealed on Monday at the National Portrait Gallery in Washington, D.C.\u003c/p>\n\u003cp>Kehinde Wiley painted Barack Obama sitting in a chair, elbows in his knees, leaning forward with an intense expression. The background, typical of a Wiley painting, is a riotous pattern of intense greens.\u003c/p>\n\u003cp>“Pretty sharp,” Obama said with a grin.\u003c/p>\n\u003cp>Amy Sherald, a Baltimore-based artist, painted Michelle Obama sitting in a floor-length gown, chin on her hand, looking directly at the viewer with a calm, level gaze.\u003c/p>\n\u003cp>The paintings, like the presidency they honor, are a historic first. Wiley and Sherald — both already famous for their portraits of black Americans — are the first black painters to receive a presidential portrait commission from the museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrities from Shonda Rimes to Steven Spielberg, former administration officials from Josh Earnest to Eric Holder, and members of the media filed into the Portrait Gallery’s expansive, glass-covered central courtyard for the ceremony. Kim Sajet, the director of the gallery, told the audience that a portrait was not truly finished until a viewer, a member of the public, had a personal encounter with it.\u003c/p>\n\u003cp>Then came the unveiling — quite literally, as fabric covers were pulled off the portraits on a small stage.\u003c/p>\n\u003cfigure id=\"attachment_13824232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-800x617.jpg\" alt=\"Former U.S. President Barack Obama looks at former first lady Michelle Obama's newly unveiled portrait during a ceremony at the Smithsonian's National Portrait Gallery.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13824232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1020x787.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1920x1481.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-1180x910.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-240x185.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-375x289.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35-520x401.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917394226_custom-33ddc0358dbc3e52104e113b239e67f185b74b35.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former U.S. President Barack Obama looks at former first lady Michelle Obama’s newly unveiled portrait during a ceremony at the Smithsonian’s National Portrait Gallery. \u003ccite>(Mark Wilson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings exemplify the two artists’ trademark styles.\u003c/p>\n\u003cp>“Wiley typically portrays people of color posing as famous figures in Western art,” the Portrait Gallery writes. “Through this practice, he challenges the visual rhetoric of power that is dominated by elite white men.”\u003c/p>\n\u003cp>Sherald, “known for her stylized, archetypal portrayals of African Americans,” survived a heart transplant in 2012, the museum notes. “A personification of resilience herself, Sherald conveys the inner strength of her subjects through a combination of calm expressions and confrontational poses,” the gallery writes.\u003c/p>\n\u003cp>“I am a little overwhelmed, to say the least,” Michelle Obama said in a speech, after helping Sherald reveal her work. “As you may have guessed, I don’t think there is anybody in my family who has ever had a portrait done, let alone a portrait that will be hanging in the National Gallery — at least as far as I know, Mom,” she said. “But all those folks who helped me be here today, they are with us physically and they are with us in spirit.”\u003c/p>\n\u003cp>“I’m also thinking of all the young people, particularly girls and girls of color, who … will see an image of someone who looks like them hanging on the wall of this great American institution,” she said. “I know the kind of impact that will have on their lives, because I was one of those girls.”\u003c/p>\n\u003cp>It was a point Sherald echoed minutes later, when she emphasized that her portrait of Obama was conceptual and archetypal, bigger than just one model.\u003c/p>\n\u003cp>“You exist in our minds and our hearts in the way that we do because we can see ourselves in you,” she said, turning toward Michelle Obama.\u003c/p>\n\u003cp>Barack Obama, for his part, said he admired how Wiley’s photos “challenge our conventional views of power and privilege.”\u003c/p>\n\u003cp>But he said he rejected Wiley’s ideas that involved him, for instance, riding a horse.\u003c/p>\n\u003cp>“‘I’ve got enough political problems without you making me look like Napoleon,'” he remembered telling Wiley. “‘You’ve got to bring it down a touch.’ And that’s what he did.”\u003c/p>\n\u003cp>“How do you explain that a lot of that is just simply not true?” Wiley said, when he took to the lectern. Then he got more serious.\u003c/p>\n\u003cfigure id=\"attachment_13824230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-800x546.jpg\" alt=\"Former President Barack Obama stands with his and former first lady Michelle Obama's newly unveiled portraits during a ceremony at the Smithsonian's National Portrait Gallery in Washington, D.C.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13824230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1920x1309.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/gettyimages-917389206_custom-176652404f95f8d0b43d8ee6ef7c9cd06cbe223e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama stands with his and former first lady Michelle Obama’s newly unveiled portraits during a ceremony at the Smithsonian’s National Portrait Gallery in Washington, D.C. \u003ccite>(Mark Wilson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The ability to be the first African-American painter to paint the first African-American president of the United States is absolutely overwhelming,” Wiley said. “It doesn’t get any better than that. I was humbled by this invitation but I was also inspired by Barack Obama’s personal story.”\u003c/p>\n\u003cp>The National Portrait Gallery, a member of the Smithsonian Institution, has worked with outgoing presidents to commission a new portrait of each one since 1962.\u003c/p>\n\u003cp>More recently it began collecting portraits of first ladies as well. The Portrait Gallery, a member of the Smithsonian Institution, \u003ca href=\"http://npg.si.edu/blog/people-presidential-portraits-national-portrait-gallery\" target->writes\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Official portraits are interesting beasts because they are, of course official: they signify the status and attainments of the person portrayed. But they also are deeply personal, even revelatory, portrayals that say something of the character of the man or woman who shows their face to the public. The style of the portrait – the pose, the colors, the setting, as well as facial features (in the 19th century stern and forbidding was definitely the default expression) – all convey a measure of the sitter.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The official National Portrait Gallery \u003ca href=\"https://www.smithsonianmag.com/smithsonian-institution/george-w-bushs-portrait-at-national-portrait-gallery-34317269/\" target->paintings\u003c/a> of George and Laura Bush both featured relatively casual, relaxed poses, with small smiles.\u003c/p>\n\u003cp>The gallery’s portrait of Bill Clinton, by Nelson Shanks, was controversial after Shanks \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/03/the-subtle-satire-of-a-bill-clinton-portrait/386558/\">said\u003c/a> he’d hidden a reference to the Monica Lewinsky scandal in the canvas. A different portrait of Clinton, a Chuck Close \u003ca href=\"http://npg.si.edu/blog/now-on-view-bill-clinton-chuck-close\">painting\u003c/a> of the former president’s grin, is on display in the museum.\u003c/p>\n\u003cp>The new paintings of the Obamas will be on view to the public beginning Tuesday.\u003c/p>\n\u003cp>Wiley’s painting of former President Obama will be permanently installed in the “America’s Presidents” exhibit (The Portrait Gallery has the “only complete collection of presidential portraits outside the White House,” the museum said in a statement.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sherald’s painting of Michelle Obama will be on display through November in the museum’s “Recent Acquisitions” section. \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=Paintings+Of+Barack+And+Michelle+Obama+Unveiled+At+Portrait+Gallery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jill Messick, Producer Embroiled in Weinstein Scandal, Dies by Suicide",
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"content": "\u003cp>Veteran Hollywood producer Jill Messick, who in recent months found herself caught in the middle of the Harvey Weinstein scandal, has killed herself, her family said in a statement. She was 50.\u003c/p>\n\u003cp>Messick had been a manager for Rose McGowan in 1997, when the actress says Weinstein raped her — a charge that he has denied.\u003c/p>\n\u003cp>McGowan has been one of Weinstein’s most vocal accusers and her public shaming of him helped bring other women with allegations to the forefront.\u003c/p>\n\u003cp>Messick, who was executive producer the films \u003cem>Masterminds\u003c/em> and \u003cem>Baby Mama\u003c/em>, had bipolar disorder and depression, her family said. Nevertheless, in a statement, the family strongly suggests that finding herself in the middle of the high-profile Weinstein-McGowan story drove her to take her own life. \u003c/p>\n\u003cp>“Seeing her name in headlines again and again, as part of one person’s attempt to gain more attention for her personal cause, along with Harvey’s desperate attempt to vindicate himself, was devastating for her,” the family said in \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messicks-family-issues-blistering-statement-harvey-weinstein-rose-mcgowan-1083173\" target=\"_blank\" rel=\"noopener\">a statement to The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those headlines included \u003ca href=\"https://www.nytimes.com/2017/10/28/us/rose-mcgowan-harvey-weinstein.html?smid=tw-share\" target=\"_blank\" rel=\"noopener\">a New York Times story\u003c/a> from October in which McGowan detailed the back-and-forth with Messick at the time of the assault, claiming that Messick had initially comforted her and helped arrange a settlement with Weinstein, but that ultimately, McGowan was “shocked when, only a few months afterward, Ms. Messick accepted a job working as vice president for development at Miramax, then run by Mr. Weinstein.”\u003c/p>\n\u003cp>According to The Associated Press, “Messick’s family says McGowan reported the (1997) incident to her without calling it rape, but that Messick, realizing something inappropriate if not illegal had happened, reported it to her senior bosses months before she went to work under Weinstein at Miramax.”\u003c/p>\n\u003cp>“Jill was victimized by our new culture of unlimited information sharing and a willingness to accept statement as fact,” the family said. “The speed of disseminating information has carried mistruths about Jill as a person, which she was unable and unwilling to challenge. She became collateral damage in an already horrific story.”\u003c/p>\n\u003cp>Actor and writer Tina Fey, who worked with Messick on the 2004 film \u003cem>Mean Girls\u003c/em>, called her “a dedicated producer and kind person,” \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messick-dead-producer-rose-mcgowan-manager-was-50-1083161\" target=\"_blank\" rel=\"noopener\">according to Hollywood Reporter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Director Mark Waters said Messick helped get him hired to direct on \u003cem>Mean Girls\u003c/em>. He told the magazine that she was “a terrific producer, there with me every day on set, and always a tireless, positive presence. She will be sadly missed by all of us who knew her.” \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=Jill+Messick%2C+Hollywood+Producer+Embroiled+In+Weinstein+Scandal%2C+Dies+By+Suicide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Veteran Hollywood producer Jill Messick, who in recent months found herself caught in the middle of the Harvey Weinstein scandal, has killed herself, her family said in a statement. She was 50.\u003c/p>\n\u003cp>Messick had been a manager for Rose McGowan in 1997, when the actress says Weinstein raped her — a charge that he has denied.\u003c/p>\n\u003cp>McGowan has been one of Weinstein’s most vocal accusers and her public shaming of him helped bring other women with allegations to the forefront.\u003c/p>\n\u003cp>Messick, who was executive producer the films \u003cem>Masterminds\u003c/em> and \u003cem>Baby Mama\u003c/em>, had bipolar disorder and depression, her family said. Nevertheless, in a statement, the family strongly suggests that finding herself in the middle of the high-profile Weinstein-McGowan story drove her to take her own life. \u003c/p>\n\u003cp>“Seeing her name in headlines again and again, as part of one person’s attempt to gain more attention for her personal cause, along with Harvey’s desperate attempt to vindicate himself, was devastating for her,” the family said in \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messicks-family-issues-blistering-statement-harvey-weinstein-rose-mcgowan-1083173\" target=\"_blank\" rel=\"noopener\">a statement to The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those headlines included \u003ca href=\"https://www.nytimes.com/2017/10/28/us/rose-mcgowan-harvey-weinstein.html?smid=tw-share\" target=\"_blank\" rel=\"noopener\">a New York Times story\u003c/a> from October in which McGowan detailed the back-and-forth with Messick at the time of the assault, claiming that Messick had initially comforted her and helped arrange a settlement with Weinstein, but that ultimately, McGowan was “shocked when, only a few months afterward, Ms. Messick accepted a job working as vice president for development at Miramax, then run by Mr. Weinstein.”\u003c/p>\n\u003cp>According to The Associated Press, “Messick’s family says McGowan reported the (1997) incident to her without calling it rape, but that Messick, realizing something inappropriate if not illegal had happened, reported it to her senior bosses months before she went to work under Weinstein at Miramax.”\u003c/p>\n\u003cp>“Jill was victimized by our new culture of unlimited information sharing and a willingness to accept statement as fact,” the family said. “The speed of disseminating information has carried mistruths about Jill as a person, which she was unable and unwilling to challenge. She became collateral damage in an already horrific story.”\u003c/p>\n\u003cp>Actor and writer Tina Fey, who worked with Messick on the 2004 film \u003cem>Mean Girls\u003c/em>, called her “a dedicated producer and kind person,” \u003ca href=\"https://www.hollywoodreporter.com/news/jill-messick-dead-producer-rose-mcgowan-manager-was-50-1083161\" target=\"_blank\" rel=\"noopener\">according to Hollywood Reporter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Director Mark Waters said Messick helped get him hired to direct on \u003cem>Mean Girls\u003c/em>. He told the magazine that she was “a terrific producer, there with me every day on set, and always a tireless, positive presence. She will be sadly missed by all of us who knew her.” \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=Jill+Messick%2C+Hollywood+Producer+Embroiled+In+Weinstein+Scandal%2C+Dies+By+Suicide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Fifty Shades Freed' is Out of Tricks as it Ties Up Loose Ends",
"headTitle": "‘Fifty Shades Freed’ is Out of Tricks as it Ties Up Loose Ends | KQED",
"content": "\u003cp>“Less plot, more ladders.”\u003c/p>\n\u003cp>That’s a philosophy espoused by a college friend of mine with a fondness for Jackie Chan movies. Chan is known for incredibly inventive action sequences in which he fights using whatever is handy — including, in \u003cem>First Strike\u003c/em>, a ladder. But what my friend does not want from Jackie Chan movies is a lot of time unwinding a boring, byzantine plot. \u003cem>Less plot\u003c/em>, he would demand. \u003cem>More ladders. \u003c/em>\u003c/p>\n\u003cp>And this, for a couple of reasons, is what I found myself thinking about at a screening of \u003cem>Fifty Shades Freed\u003c/em>. Directed by James Foley from the E.L. James books, it’s the third and final (?) installment in the story of creepy weird billionaire Christian Grey (Jamie Dornan) and Anastasia Steele (really!) (Dakota Johnson), the woman he met when she was a nervous virgin and taught to enjoy light spanking and private jets. The wealth he has accumulated from his business, which appears to be professional suit-wearing, allows them to travel, hire a large and obsequious staff, and maintain a big sex room. (It’s only meant to be a sex room, so when I watched Ana lie down on the couch in the sex room just for a nap, I almost screamed, “Don’t lie down on that!”)\u003c/p>\n\u003cp>https://youtu.be/nJCc5HRPxYA\u003c/p>\n\u003cp>\u003cem>Fifty Shades Freed \u003c/em>— and before it, middle installment \u003cem>Fifty Shades Darker\u003c/em> — have increasingly relied on more plot and fewer ladders. Here, by “plot” I mean “plot,” and by “ladders” I mean “allegedly adventurous sex that rarely constitutes anything you wouldn’t find at an all-inclusive resort’s Spice Up Your Life workshop for recent divorcees.” The first film, \u003cem>Fifty Shades Of Grey\u003c/em>, is all about the development of a (not realistic!) dominant/submissive sexual relationship, and while it’s awful, it’s not without its legitimately interesting moments. How often, after all, do you see a long sequence that’s intended to be sexy in which consent is carefully negotiated, act by act? At least there are lots of ladders in that one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as the trilogy progresses, and as Christian and Ana settle into married life, you can’t just keep showing them having fights with the same ladders, if you see my point. Not only that, but these are R-rated movies, and to keep your R-rating, there are limitations on the number of ladders, the height of the ladders, and whether you can show them vertically or only horizontally. Metaphorically speaking. Therefore, there’s only so much you can do with the ladders. That leaves you … with plot.\u003c/p>\n\u003cp>The plot of \u003cem>Fifty Shades Freed\u003c/em>, such as it is — and never has “such as it is” been meant with such a deliberate arch of the eyebrow — relies upon both Christian’s terrible childhood and Ana’s promotion to fiction editor of an independent book publisher that Christian purchased while she was employed there as a jerk’s personal assistant. The jerk — named Jack (Eric Johnson) — then became a menace. Surprisingly enough, Jack’s motive for hating Christian and Ana is \u003cem>not\u003c/em> that Ana became a fiction editor at a publisher and her major contributions, as seen in this film, are finding an author named “Boyce Fox” (could’ve sworn my accountant worked at Boyce Fox) and increasing a font size by two points.\u003c/p>\n\u003cp>[Side note: If this is the \u003cem>Fifty Shades\u003c/em> theory of what fiction editors are for, \u003cem>much\u003c/em> is explained.]\u003c/p>\n\u003cp>In this third film, Jack is menacing all over the place, so Christian is his usual “overprotective” self, which for him means ordering Ana around, limiting her movements, surveilling her, yelling at her, and — in perhaps the moment that will provoke the most anger from actual practitioners of the sexual habits Christian and Ana enjoy — using his power in their sexual relationship to punish her for perceived slights elsewhere in their personal life. (Pretty sure that’s a no-no.) But Christian remains the romantic hero at all times. So the film feels a little bit like \u003cem>Sleeping With The Enemy\u003c/em> if Julia Roberts eventually decided that her controlling husband was a pretty good guy who just had a hard life and wanted what was best for her.\u003c/p>\n\u003cp>It’s easy to write off \u003cem>Fifty Shades Freed\u003c/em> with the same sneer the books have been subjected to since they appeared, which is to treat it as an inherently hilarious effort to appeal to the prurient interests of square, easily scandalized middle-aged women. (Appealing to the prurient interests of square, easily scandalized middle-aged men is called “premium cable.” Ha ha! Just kidding, it’s also a \u003cem>lot\u003c/em> of basic cable.) There’s nothing wrong with erotic literature — or film — for women. There’s nothing wrong or surprising about fantasy material for moms or aunts or whatever you want to call it. It just would be nice if it were … better.\u003c/p>\n\u003cp>The thing a lot of romance readers know is that this model, in which a virgin meets a worldly, wealthy man who educates her in the ways of her own body, in which she is \u003cem>shocked\u003c/em> to find that she enjoys sex, including non-procreative sex, is not new. \u003cem>Fifty Shades\u003c/em> is just every story of a roguish duke and a pink-cheeked innocent, translated into a world of hedge-fund managers. It has all the weird traps of that trope, in which sex is treated as the natural territory of men, to which women need introduction. (There’s much more about this in a book called \u003ci>\u003ca href=\"https://www.goodreads.com/book/show/5660117-beyond-heaving-bosoms\">Beyond Heaving Bosoms\u003c/a>\u003c/i> that I commend to you.) And those novels, just like novels in genres like science fiction and mystery, share common elements but vary in quality, depending on how well they’re written. Films are the same way.\u003c/p>\n\u003cp>What’s wrong with this movie, and the other movies, and these books, is not that they’re shameful or that there’s something wrong with or something silly about explicit content. It’s just that they’re not good. They’re not inventively sexy — in fact, the desultory handcuffery early in \u003cem>Fifty Shades Freed\u003c/em> feels kind of half-hearted, like the umpteenth time you heard an Olsen twin say “You got it, dude!” on \u003cem>Full House\u003c/em>. They tell dumb, half-baked stories about boring people who are lethargically acted. They don’t know how to make Christian seem like a human being, so they settle for having him sing and play “Maybe I’m Amazed” on the piano. (The singing is new; if you’ve seen the other movies, you know he likes to have sex and then play the piano with no shirt on.)\u003c/p>\n\u003cp>Don’t skip these movies because of what they are. Skip them because they’re bad at \u003cem>being\u003c/em> what they are, and when you don’t have plot \u003cem>or\u003c/em> ladders? You’re no match for Jackie Chan.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Less plot, more ladders.”\u003c/p>\n\u003cp>That’s a philosophy espoused by a college friend of mine with a fondness for Jackie Chan movies. Chan is known for incredibly inventive action sequences in which he fights using whatever is handy — including, in \u003cem>First Strike\u003c/em>, a ladder. But what my friend does not want from Jackie Chan movies is a lot of time unwinding a boring, byzantine plot. \u003cem>Less plot\u003c/em>, he would demand. \u003cem>More ladders. \u003c/em>\u003c/p>\n\u003cp>And this, for a couple of reasons, is what I found myself thinking about at a screening of \u003cem>Fifty Shades Freed\u003c/em>. Directed by James Foley from the E.L. James books, it’s the third and final (?) installment in the story of creepy weird billionaire Christian Grey (Jamie Dornan) and Anastasia Steele (really!) (Dakota Johnson), the woman he met when she was a nervous virgin and taught to enjoy light spanking and private jets. The wealth he has accumulated from his business, which appears to be professional suit-wearing, allows them to travel, hire a large and obsequious staff, and maintain a big sex room. (It’s only meant to be a sex room, so when I watched Ana lie down on the couch in the sex room just for a nap, I almost screamed, “Don’t lie down on that!”)\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/nJCc5HRPxYA'\n title='//www.youtube.com/embed/nJCc5HRPxYA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Fifty Shades Freed \u003c/em>— and before it, middle installment \u003cem>Fifty Shades Darker\u003c/em> — have increasingly relied on more plot and fewer ladders. Here, by “plot” I mean “plot,” and by “ladders” I mean “allegedly adventurous sex that rarely constitutes anything you wouldn’t find at an all-inclusive resort’s Spice Up Your Life workshop for recent divorcees.” The first film, \u003cem>Fifty Shades Of Grey\u003c/em>, is all about the development of a (not realistic!) dominant/submissive sexual relationship, and while it’s awful, it’s not without its legitimately interesting moments. How often, after all, do you see a long sequence that’s intended to be sexy in which consent is carefully negotiated, act by act? At least there are lots of ladders in that one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as the trilogy progresses, and as Christian and Ana settle into married life, you can’t just keep showing them having fights with the same ladders, if you see my point. Not only that, but these are R-rated movies, and to keep your R-rating, there are limitations on the number of ladders, the height of the ladders, and whether you can show them vertically or only horizontally. Metaphorically speaking. Therefore, there’s only so much you can do with the ladders. That leaves you … with plot.\u003c/p>\n\u003cp>The plot of \u003cem>Fifty Shades Freed\u003c/em>, such as it is — and never has “such as it is” been meant with such a deliberate arch of the eyebrow — relies upon both Christian’s terrible childhood and Ana’s promotion to fiction editor of an independent book publisher that Christian purchased while she was employed there as a jerk’s personal assistant. The jerk — named Jack (Eric Johnson) — then became a menace. Surprisingly enough, Jack’s motive for hating Christian and Ana is \u003cem>not\u003c/em> that Ana became a fiction editor at a publisher and her major contributions, as seen in this film, are finding an author named “Boyce Fox” (could’ve sworn my accountant worked at Boyce Fox) and increasing a font size by two points.\u003c/p>\n\u003cp>[Side note: If this is the \u003cem>Fifty Shades\u003c/em> theory of what fiction editors are for, \u003cem>much\u003c/em> is explained.]\u003c/p>\n\u003cp>In this third film, Jack is menacing all over the place, so Christian is his usual “overprotective” self, which for him means ordering Ana around, limiting her movements, surveilling her, yelling at her, and — in perhaps the moment that will provoke the most anger from actual practitioners of the sexual habits Christian and Ana enjoy — using his power in their sexual relationship to punish her for perceived slights elsewhere in their personal life. (Pretty sure that’s a no-no.) But Christian remains the romantic hero at all times. So the film feels a little bit like \u003cem>Sleeping With The Enemy\u003c/em> if Julia Roberts eventually decided that her controlling husband was a pretty good guy who just had a hard life and wanted what was best for her.\u003c/p>\n\u003cp>It’s easy to write off \u003cem>Fifty Shades Freed\u003c/em> with the same sneer the books have been subjected to since they appeared, which is to treat it as an inherently hilarious effort to appeal to the prurient interests of square, easily scandalized middle-aged women. (Appealing to the prurient interests of square, easily scandalized middle-aged men is called “premium cable.” Ha ha! Just kidding, it’s also a \u003cem>lot\u003c/em> of basic cable.) There’s nothing wrong with erotic literature — or film — for women. There’s nothing wrong or surprising about fantasy material for moms or aunts or whatever you want to call it. It just would be nice if it were … better.\u003c/p>\n\u003cp>The thing a lot of romance readers know is that this model, in which a virgin meets a worldly, wealthy man who educates her in the ways of her own body, in which she is \u003cem>shocked\u003c/em> to find that she enjoys sex, including non-procreative sex, is not new. \u003cem>Fifty Shades\u003c/em> is just every story of a roguish duke and a pink-cheeked innocent, translated into a world of hedge-fund managers. It has all the weird traps of that trope, in which sex is treated as the natural territory of men, to which women need introduction. (There’s much more about this in a book called \u003ci>\u003ca href=\"https://www.goodreads.com/book/show/5660117-beyond-heaving-bosoms\">Beyond Heaving Bosoms\u003c/a>\u003c/i> that I commend to you.) And those novels, just like novels in genres like science fiction and mystery, share common elements but vary in quality, depending on how well they’re written. Films are the same way.\u003c/p>\n\u003cp>What’s wrong with this movie, and the other movies, and these books, is not that they’re shameful or that there’s something wrong with or something silly about explicit content. It’s just that they’re not good. They’re not inventively sexy — in fact, the desultory handcuffery early in \u003cem>Fifty Shades Freed\u003c/em> feels kind of half-hearted, like the umpteenth time you heard an Olsen twin say “You got it, dude!” on \u003cem>Full House\u003c/em>. They tell dumb, half-baked stories about boring people who are lethargically acted. They don’t know how to make Christian seem like a human being, so they settle for having him sing and play “Maybe I’m Amazed” on the piano. (The singing is new; if you’ve seen the other movies, you know he likes to have sex and then play the piano with no shirt on.)\u003c/p>\n\u003cp>Don’t skip these movies because of what they are. Skip them because they’re bad at \u003cem>being\u003c/em> what they are, and when you don’t have plot \u003cem>or\u003c/em> ladders? You’re no match for Jackie Chan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Over nearly 50 years of making albums, John Prine’s been able to turn the sense that he’s slightly underappreciated into a trademark. He’s the secret favorite everybody can agree on, never quite in the middle of the conversation but always poking around in the corners for a modest truth that will linger after the noise dies down.\u003c/p>\n\u003cp>It’s hard to believe it’s been 13 years since the last album of new John Prine songs. Maybe because his old songs retain the power to say something new when you revisit them; maybe it’s just that in the time since Prine released \u003cem>Fair & Square \u003c/em>in 2005, he’s become a mentor to a rising class of songwriters who poke at Nashville convention the way he has throughout his career: playing with \u003ca href=\"https://www.npr.org/artists/15127717/jason-isbell\" target=\"_blank\" rel=\"noopener\">Jason Isbell\u003c/a>, sharing a songwriting office with \u003ca href=\"https://www.npr.org/event/music/344246400/sturgill-simpson-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Sturgill Simpson\u003c/a> and singing, on his 2016 album of classic country duets, with \u003ca href=\"https://www.npr.org/artists/15394683/miranda-lambert\" target=\"_blank\" rel=\"noopener\">Miranda Lambert\u003c/a>, \u003ca href=\"https://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener\">Kacey Musgraves\u003c/a>, \u003ca href=\"https://www.npr.org/artists/138617927/amanda-pearl-shires\" target=\"_blank\" rel=\"noopener\">Amanda Shires\u003c/a> and more.\u003c/p>\n\u003cp>Either way, it’s nice to have Prine back among the mess of active songwriters — today he announced that he’ll be releasing a new album, \u003cem>The Tree of Forgiveness\u003c/em>. The ten-song album was produced by \u003ca href=\"https://www.npr.org/artists/482953476/dave-cobb\" target=\"_blank\" rel=\"noopener\">Dave Cobb\u003c/a>, who has worked with both Isbell and Simpson, and will be out on Prine’s own label, Oh Boy Records, on April 13. The album also features contributions from Isbell and Shires, \u003ca href=\"https://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener\">Brandi Carlile\u003c/a>.\u003c/p>\n\u003cp>“Summer’s End,” the first song we’re hearing from \u003cem>The Tree of Forgiveness\u003c/em>, is classic Prine, full of wry observations that accrue weight as they pile up. “Summer’s end’s around the bend, just flying / The swimming suits are on the lie, just drying,” it opens. Everything here is familiar and minor, worn in like a foot path trampled into grass, stuff you could take for granted until it’s gone. Even celestial bodies are just hanging out, waiting for something to happen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9XLaIFTmJF8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Except something has happened, and it’s only in the aftermath that the stuff of a life that has built up over time takes on meaning. “Come on home,” Prine repeats in the chorus. “You don’t have to be alone.” His voice and guitar are warm and heavy in the front of the mix, and strings, drums and Carlile’s backing vocals sneak into the song before you quite notice they’re there. It’s easy to read “Summer’s End” as a plea from one estranged lover to another, but other relationships fit the puzzle too: siblings, parents, close friends. If you miss your dog, this song will probably choke you up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Prine played this song at the Tiny Desk in November (stay tuned), I missed some of the details for the sheer joy of just having the man in front of me, singing songs that feel familiar and new at the same time. That joy is real — he’ll be on a long tour starting in April with a string of Nashville up-and-comers — but it’s also a treat to have new songs to linger on. \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=John+Prine+To+Release+His+First+Album+Of+New+Songs+In+13+Years&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over nearly 50 years of making albums, John Prine’s been able to turn the sense that he’s slightly underappreciated into a trademark. He’s the secret favorite everybody can agree on, never quite in the middle of the conversation but always poking around in the corners for a modest truth that will linger after the noise dies down.\u003c/p>\n\u003cp>It’s hard to believe it’s been 13 years since the last album of new John Prine songs. Maybe because his old songs retain the power to say something new when you revisit them; maybe it’s just that in the time since Prine released \u003cem>Fair & Square \u003c/em>in 2005, he’s become a mentor to a rising class of songwriters who poke at Nashville convention the way he has throughout his career: playing with \u003ca href=\"https://www.npr.org/artists/15127717/jason-isbell\" target=\"_blank\" rel=\"noopener\">Jason Isbell\u003c/a>, sharing a songwriting office with \u003ca href=\"https://www.npr.org/event/music/344246400/sturgill-simpson-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Sturgill Simpson\u003c/a> and singing, on his 2016 album of classic country duets, with \u003ca href=\"https://www.npr.org/artists/15394683/miranda-lambert\" target=\"_blank\" rel=\"noopener\">Miranda Lambert\u003c/a>, \u003ca href=\"https://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener\">Kacey Musgraves\u003c/a>, \u003ca href=\"https://www.npr.org/artists/138617927/amanda-pearl-shires\" target=\"_blank\" rel=\"noopener\">Amanda Shires\u003c/a> and more.\u003c/p>\n\u003cp>Either way, it’s nice to have Prine back among the mess of active songwriters — today he announced that he’ll be releasing a new album, \u003cem>The Tree of Forgiveness\u003c/em>. The ten-song album was produced by \u003ca href=\"https://www.npr.org/artists/482953476/dave-cobb\" target=\"_blank\" rel=\"noopener\">Dave Cobb\u003c/a>, who has worked with both Isbell and Simpson, and will be out on Prine’s own label, Oh Boy Records, on April 13. The album also features contributions from Isbell and Shires, \u003ca href=\"https://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener\">Brandi Carlile\u003c/a>.\u003c/p>\n\u003cp>“Summer’s End,” the first song we’re hearing from \u003cem>The Tree of Forgiveness\u003c/em>, is classic Prine, full of wry observations that accrue weight as they pile up. “Summer’s end’s around the bend, just flying / The swimming suits are on the lie, just drying,” it opens. Everything here is familiar and minor, worn in like a foot path trampled into grass, stuff you could take for granted until it’s gone. Even celestial bodies are just hanging out, waiting for something to happen.\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/9XLaIFTmJF8'\n title='//www.youtube.com/embed/9XLaIFTmJF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Except something has happened, and it’s only in the aftermath that the stuff of a life that has built up over time takes on meaning. “Come on home,” Prine repeats in the chorus. “You don’t have to be alone.” His voice and guitar are warm and heavy in the front of the mix, and strings, drums and Carlile’s backing vocals sneak into the song before you quite notice they’re there. It’s easy to read “Summer’s End” as a plea from one estranged lover to another, but other relationships fit the puzzle too: siblings, parents, close friends. If you miss your dog, this song will probably choke you up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Prine played this song at the Tiny Desk in November (stay tuned), I missed some of the details for the sheer joy of just having the man in front of me, singing songs that feel familiar and new at the same time. That joy is real — he’ll be on a long tour starting in April with a string of Nashville up-and-comers — but it’s also a treat to have new songs to linger on. \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=John+Prine+To+Release+His+First+Album+Of+New+Songs+In+13+Years&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A founding member of the Electronic Frontier Foundation and former lyricist for the Grateful Dead, John Perry Barlow, has died at the age of 70, according to a \u003ca href=\"https://www.eff.org/deeplinks/2018/02/john-perry-barlow-internet-pioneer-1947-2018\">statement\u003c/a> issued by the Foundation.\u003c/p>\n\u003cp>Barlow was a poet, essayist, Internet pioneer and prominent cyber-libertarian. He co-founded the Electronic Frontier Foundation in 1990 after realizing that the government was ill-equipped to understand what \u003ca href=\"https://www.eff.org/pages/not-terribly-brief-history-electronic-frontier-foundation\">he called\u003c/a> the “legal, technical, and metaphorical nature of datacrime.” He said believed that “everyone’s liberties would become at risk.”\u003c/p>\n\u003cp>Barlow described the founding of the EFF after receiving a visit from an FBI agent in April 1990 seeking to find out whether he was a member of “a dread band of info-terrorists.” Shortly thereafter, Barlow and \u003ca href=\"http://www.kapor.com/bio/\">Mitch Kapor\u003c/a>, the creator of Lotus 1-2-3, organized a series of dinners with leaders of the computer industry for discussions that would lead to the creation of the EFF.\u003c/p>\n\u003cblockquote>\n\u003cp>“It also became clear that we were dealing with a set of problems which was a great deal more complex and far-reaching than a few cases of governmental confusion. The actions of the FBI and Secret Service were symptoms of a growing social crisis: Future Shock. America was entering the Information Age with neither laws nor metaphors for the appropriate protection and conveyance of information itself.”\u003c/p>\n\u003c/blockquote>\n\u003cp>https://twitter.com/BKCHarvard/status/961373106047774721\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Barlow was a Fellow Emeritus of the Berkman Klein Center for Internet and Society at Harvard Law School.\u003c/p>\n\u003cp>Earlier in his life, Barlow was a lyricist for the Grateful Dead who co-wrote songs such as “Cassidy”, “Mexicali Blues,” and “Black-Throated Wind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Electric Frontier Foundation, Barlow “passed away quietly in his sleep” on Wednesday morning. \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=Cyber-Libertarian+And+Pioneer+John+Perry+Barlow+Dies+At+Age+70&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A founding member of the Electronic Frontier Foundation and former lyricist for the Grateful Dead, John Perry Barlow, has died at the age of 70, according to a \u003ca href=\"https://www.eff.org/deeplinks/2018/02/john-perry-barlow-internet-pioneer-1947-2018\">statement\u003c/a> issued by the Foundation.\u003c/p>\n\u003cp>Barlow was a poet, essayist, Internet pioneer and prominent cyber-libertarian. He co-founded the Electronic Frontier Foundation in 1990 after realizing that the government was ill-equipped to understand what \u003ca href=\"https://www.eff.org/pages/not-terribly-brief-history-electronic-frontier-foundation\">he called\u003c/a> the “legal, technical, and metaphorical nature of datacrime.” He said believed that “everyone’s liberties would become at risk.”\u003c/p>\n\u003cp>Barlow described the founding of the EFF after receiving a visit from an FBI agent in April 1990 seeking to find out whether he was a member of “a dread band of info-terrorists.” Shortly thereafter, Barlow and \u003ca href=\"http://www.kapor.com/bio/\">Mitch Kapor\u003c/a>, the creator of Lotus 1-2-3, organized a series of dinners with leaders of the computer industry for discussions that would lead to the creation of the EFF.\u003c/p>\n\u003cblockquote>\n\u003cp>“It also became clear that we were dealing with a set of problems which was a great deal more complex and far-reaching than a few cases of governmental confusion. The actions of the FBI and Secret Service were symptoms of a growing social crisis: Future Shock. America was entering the Information Age with neither laws nor metaphors for the appropriate protection and conveyance of information itself.”\u003c/p>\n\u003c/blockquote>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Barlow was a Fellow Emeritus of the Berkman Klein Center for Internet and Society at Harvard Law School.\u003c/p>\n\u003cp>Earlier in his life, Barlow was a lyricist for the Grateful Dead who co-wrote songs such as “Cassidy”, “Mexicali Blues,” and “Black-Throated Wind.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Electric Frontier Foundation, Barlow “passed away quietly in his sleep” on Wednesday morning. \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=Cyber-Libertarian+And+Pioneer+John+Perry+Barlow+Dies+At+Age+70&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Top solo artists and groups of high-powered female executives in the music industry are demanding change within the Recording Academy. Much of that momentum has built up over the past week, since the telecast of this year’s Grammy Awards ceremony, which were held Jan. 28 at Madison Square Garden.\u003c/p>\n\u003cp>The outcry is a direct response to the the format and content of this year’s telecast, and to statements made by the highest-ranked official at the Recording Academy — the professional organization whose members vote for the Grammys — and the producer of the telecast.\u003c/p>\n\u003cp>Among those who have spoken out are musicians including Pink, Fiona Apple, India.Arie, Sheryl Crow, Vanessa Carlton, Charli XCX and Kelly Clarkson, as well as two groups of highly influential, female industry executives. Many of those women are calling for fundamental changes to the way that the Recording Academy (also known as NARAS, or the National Academy of Recording Arts and Sciences) is run, and for a change in the organization’s leadership. NARAS has responded with plans to address issues of gender bias. However, NPR has learned that the group does not know current demographic details about its membership.\u003c/p>\n\u003cp>In the run-up to this year’s Grammy ceremony, there was a great deal of public speculation about whether or not the Academy would address #MeToo and #TimesUp with the same coordination and effect that\u003cstrong> \u003c/strong>Hollywood did at this year’s \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/01/07/576036145/at-the-golden-globes-not-just-another-red-carpet\" target=\"_blank\" rel=\"noopener\">Golden Globes\u003c/a> — in what Meryl Streep memorably called a “thick black line.”\u003c/p>\n\u003cp>The Recording Academy may have expected that the evening would be a victory lap, a 60th anniversary celebration of the industry’s own successes. With a provocative opening performance by Kendrick Lamar and a segment dedicated to #MeToo and #TimesUp, it’s entirely possible that the ceremony’s organizers felt that they were ticking all the right boxes for 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, much of “music’s biggest night,” as the Recording Academy likes to refer to its annual ceremony, was dedicated to safe, familiar presences — including performances by U2, Sting and Shaggy — but there were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/28/581467347/live-blog-2018-grammy-awards\" target=\"_blank\" rel=\"noopener\">moments\u003c/a> when the conversations of today peeked out into view. (Dave Chapelle, mid-Kendrick Lamar set: “The only thing more frightening than watching a black man be honest in America is being an honest black man in America.”)\u003c/p>\n\u003cp>Over the course of the three-and-a-half hour telecast, only one solo female musician accepted an award on screen: Alessia Cara, who was awarded Best New Artist.\u003c/p>\n\u003cp>Conversations about gender equality and alleged sexual misconduct were, aside from the white roses pinned to the lapels and dresses of many attendees, mostly shoehorned into a single segment of the televised ceremony. It began with a fiery introduction from singer and actress Janelle Monae, who declared: “We come in peace, but we mean business. And to those of you who would dare try and silence us, we offer you two words: Time’s up.”\u003c/p>\n\u003cp>What followed was an anthemic performance of “Praying” led by Kesha, who was joined by Cyndi Lauper, Camila Cabello, Bebe Rexha, Julia Michels, Andra Day and the Resistance Revival Chorus. And then, it was back to Bono.\u003c/p>\n\u003cp>A number of high-profile allegations of sexual assault or misconduct have emerged from the recording industry, and many female musicians have added their stories to the #MeToo movement. But those accusations haven’t reverberated as widely, or had such earth-shaking repercussions as similar allegations have had in Hollywood, for example.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=buM8OErfvu0\u003c/p>\n\u003cp>NARAS has no jurisdiction over the wider music industry, but it is perhaps the closest approximation of a confederation of recording industry professionals; it’s both a banner-carrier and a microcosm of the larger business. And in the week that has followed the Grammy Awards, fans, artists and other women in the music industry have made public their frustration with The Recording Academy.\u003c/p>\n\u003cp>The blowback began to build after audiences noted that the singer Lorde — the sole woman nominated for the Album of the Year prize — did not perform on the telecast. Immediately following the awards ceremony, the trade publication \u003cem>Variety\u003c/em> asked both the Recording Academy’s president and CEO, Neil Portnow, and the telecast’s producer, Ken Ehrlich, about Lorde’s absence.\u003c/p>\n\u003cp>Ehrlich argued to \u003cem>Variety\u003c/em> that there \u003ca href=\"http://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\" target=\"_blank\" rel=\"noopener\">just wasn’t time\u003c/a> to include Lorde as a solo performer. “These shows are a matter of choices,” Ehrlich said. “We have a box and it gets full,” he said, adding, “There’s no way we can really deal with everybody.”\u003c/p>\n\u003cp>Portnow has headed the Recording Academy since 2002; he replaced Michael Greene, who was \u003ca href=\"http://www.nytimes.com/2002/04/29/arts/grammys-chief-quits-under-fire.html\" target=\"_blank\" rel=\"noopener\">forced to resign\u003c/a> from NARAS after allegations that he sexually harassed and abused another Academy executive surfaced. (According to \u003cem>The \u003c/em>\u003cem>New York Times\u003c/em>, NARAS trustees reportedly paid the woman who accused him a $650,000 settlement, and then hired a private investigator to examine Greene’s behavior with female colleagues.) Around the same time, the \u003cem>Los Angeles Times\u003c/em> also ran an \u003ca href=\"http://articles.latimes.com/1998/feb/22/news/mn-21916\" target=\"_blank\" rel=\"noopener\">investigative series\u003c/a> examining the Recording Academy’s finances, and asserted that NARAS’ charitable arm, MusiCares, spent less than 10 percent of its fund-raised income on assisting artists.\u003c/p>\n\u003cp>Portnow — who sported a #TimesUp white rose in his lapel during this year’s telecast — made comments to \u003cem>Variety\u003c/em> that proved perhaps even more infuriating to many women. “It has to begin with … women who have the creativity in their hearts and souls, who want to be musicians, who want to be engineers, producers, and want to be part of the industry on the executive level,” he said. And in a phrase that became infamous immediately, Portnow added that women need “to step up because I think they would be welcome.”\u003c/p>\n\u003cp>Some prominent female musicians, like nine-time Grammy winner \u003ca href=\"https://twitter.com/SherylCrow/status/958066282959601664\" target=\"_blank\" rel=\"noopener\">Sheryl Crow\u003c/a>, three-time winner \u003ca href=\"https://twitter.com/kelly_clarkson/status/958589816714809349\" target=\"_blank\" rel=\"noopener\">Kelly Clarkson\u003c/a> and \u003ca href=\"https://twitter.com/charli_xcx/status/958100513471447040\" target=\"_blank\" rel=\"noopener\">Charli XCX\u003c/a>, have used social media to communicate their feelings. On Jan. 30, Pink, another three-time Grammy winner who performed her ballad “Wild Hearts Can’t Be Broken” on this year’s telecast, posted a note on Twitter that spoke directly to Portnow’s “step up” comment, without addressing Portnow himself.\u003c/p>\n\u003cp>https://twitter.com/Pink/status/958121509540761600\u003c/p>\n\u003cp>“Women in music don’t need to ‘step up,'” she wrote. “Women have been stepping since the beginning of time. Stepping up, and also stepping aside.”\u003c/p>\n\u003cp>On Wednesday, Portnow tried to \u003ca href=\"http://variety.com/2018/music/news/grammy-chief-neil-portnow-walks-back-step-up-comment-i-wasnt-as-articulate-as-i-should-have-been-1202681462/\" target=\"_blank\" rel=\"noopener\">walk back\u003c/a> his comment in another statement to \u003cem>Variety\u003c/em>. He claimed that the “step up” remark was taken out of context, and did not quote “convey my beliefs and the point I was trying to make.”\u003c/p>\n\u003cp>Portnow declined requests for comment by NPR, but in a statement sent to NPR and other media outlets last Thursday, he announced that the Recording Academy is setting up an independent task force to “review every aspect of what we do as an organization, and identify where we can do more to overcome the explicit barriers and unconscious biases that impede female advancement in the music community.”\u003c/p>\n\u003cp>I was a voting member of the Recording Academy for several years; I qualified primarily as the author of liner notes on various recording projects, though I also have reissue producer credits. I also served as a judge for the Best Album Notes award, which is one of a handful of Grammy prize categories that isn’t open to voting by the general membership, but is decided instead by a small voting committee whose ranks spread across several local NARAS chapters. \u003cstrong> \u003c/strong>And my own experience was that in my years on that committee, I was always the only woman in the room. (I haven’t been a member of the Recording Academy or a Grammy voter since 2011, when I joined NPR.)\u003c/p>\n\u003cp>My experience may not be terribly unique: A common stereotype is that the majority of Academy voters — some \u003ca href=\"https://www.billboard.com/articles/news/6288927/how-do-you-get-a-grammy\" target=\"_blank\" rel=\"noopener\">12,000 people\u003c/a> in all — are older, white men. In terms of actual statistics, it’s not at all clear \u003cem>who\u003c/em> the Grammy voters are, or how their demographic information may (or may not) incline them to vote. As a former voter, I don’t recall ever having been asked about my gender, age or race. So in the course of pursuing commentary from Portnow, I asked the Recording Academy if the organization had any demographic statistics about its membership.\u003c/p>\n\u003cp>Through a spokesperson, the Recording Academy confirmed that NARAS has never asked its members to provide that kind of data. And so its leadership simply doesn’t know the makeup of its existing membership — which will may prove to be a significant hurdle in the kinds of improvements that Portnow is pledging to make.\u003c/p>\n\u003cp>https://www.instagram.com/p/BehB27UHojJ\u003c/p>\n\u003cp>Through a representative, Lorde declined to comment directly to NPR about her absence from the Madison Square Garden stage. On the night of the ceremony, however, she posted to Instagram a photo of a quotation from artist Jenny Holzer that she had sewn to the back of her dress, which Lorde called her “version of a white rose.”\u003c/p>\n\u003cp>A source close to the singer confirmed, though, that the only invitation Lorde received to perform on this year’s Grammy Award telecast was to be part of a group performance paying tribute to the late Tom Petty. Every other artist nominated for Album of the Year — all men, save for Lorde — was offered a chance to give a solo performance. Bruno Mars, Childish Gambino and Kendrick Lamar accepted; Jay-Z reportedly declined the invitation. (Meanwhile, the president of Lorde’s label, Republic Records, a man named Charlie Walk, was placed on leave on Jan. 31 after \u003ca href=\"https://www.billboard.com/articles/news/8097342/charlie-walk-republic-two-women-accuse-sexual-harassment\" target=\"_blank\" rel=\"noopener\">three women\u003c/a> accused Walk of sexual misconduct. On Monday, Walk filed a complaint with the Manhattan district attorney’s office \u003ca href=\"https://pagesix.com/2018/02/05/charlie-walk-claims-he-was-being-extorted-before-allegations/\" target=\"_blank\" rel=\"noopener\">alleging\u003c/a> that the sexual misconduct accusations were instigated by the owner of a group of Ohio-based radio stations, who was attempting to extort Walk.)\u003c/p>\n\u003cp>In the aftermath of Portnow’s comments, some prominent female artists and industry figures have condemned him. Some are explicitly calling for Portnow to step down altogether, including singer-songwriter Vanessa Carlton, who has been nominated for three Grammy Awards, and who performed on the 2003 awards telecast. Carlton has been instrumental in publicizing a \u003ca href=\"https://www.thepetitionsite.com/602/307/220/academy-president-must-step-down-for-telling-female-musicians-to-step-up-after-grammys/\" target=\"_blank\" rel=\"noopener\">petition\u003c/a> calling for Portnow’s resignation. It is not clear if those who have signed the petition, which currently has nearly 14,000 signatures, are mostly fans or individuals who work in the music industry.\u003c/p>\n\u003cp>“You have to change the system, if it’s not working,” Carlton says. “And the way that you do that is you start from the top. I would like there to be fresh blood in there — I don’t think I’m alone in that. There are nice qualities to this president, and I know he’s a nice guy. However, when you want to make changes, the leader \u003cem>has\u003c/em> to change.”\u003c/p>\n\u003cp>https://twitter.com/garbage/status/960406351431086081\u003c/p>\n\u003cp>Other artists have been equally straightforward in their sentiments. On Saturday night, when Fiona Apple performed with Garbage’s Shirley Manson in Los Angeles, Apple sported a T-shirt that read: “Kneel, Portnow.”\u003c/p>\n\u003cp>On Feb. 2 — after Portnow made his initial comments and his follow-up remarks — singer-songwriter India.Arie, the four-time Grammy winner who performed at this year’s awards in the pre-telecast portion of the event, also published an \u003ca href=\"http://www.ajc.com/lifestyles/india-arie-pens-open-letter-recording-academy-president/Y6WjVWN4Vo4Yx19uxctjBL/\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> to Portnow, in which she underlined issues of intersectionality and referred to inequalities in both gender and racial representation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nBRMRxkoUX8\u003c/p>\n\u003cp>She wrote: “Neil Portnow is mistaken. His statements are a mess, but I get why he can’t empathize with women and women of color. HE is saying, the more women there are, the more chances women have to WIN. BUT. WE NEED MORE WOMEN, more WOMEN OF COLOR AND MORE INCLUSIVE MINDED PEOPLE in positions of power, in the rooms where decisions are made. When this happens, doors will open for women to be represented in more DIVERSE WAYS. The music industry is dominated by white men and the Grammys and NARAS are run and produced by ONLY white men. The fact that Portnow says we’d ‘be welcomed’ indicates that he doesn’t think we’re part of the household to begin with.”\u003c/p>\n\u003cp>Influential women who power the business of music have also stepped forward to castigate Portnow. Over the past several days, two groups of female music industry executives wrote open letters to NARAS and to Portnow urging systemic changes to the way the Grammy Awards and the Recording Academy are structured. Last Thursday, more than 20 female industry leaders — in a group helmed by attorney Rosemary Carroll that includes Warner/Chappell vice president of publishing Katie Vinten and notable artist managers, agents and publicists such as Pharrell Williams’ manager Caron Veazey — made public a letter they wrote directed to Neil Portnow.\u003c/p>\n\u003cp>That letter, which was \u003ca href=\"http://variety.com/2018/biz/news/female-executives-call-for-grammy-chief-neil-portnows-resignation-1202684962/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> by \u003cem>Variety\u003c/em>, demands Portnow’s resignation in pointed and angry terms. In part, it reads: “The statement you made this week about women in music needing to ‘step up’ was spectacularly wrong and insulting and, at its core, oblivious to the vast body of work created by and with women. Your attempt to backpedal only emphasizes your refusal to recognize us and our achievements … We do not await your welcome into the fraternity. We do not have to sing louder, jump higher or be nicer to prove ourselves.”\u003c/p>\n\u003cp>“We step up every single day and have been doing so for a long time. The fact that you don’t realize this means it’s time for you to step down.'”\u003c/p>\n\u003cp>On Monday, a group of six executives from several leading record labels — Michele Anthony, executive vice president for the Universal Music Group; Jody Gerson, chairman and CEO of Universal Music Publishing Group; Julie Greenwald, chairman and COO of Atlantic Records; Desiree Perez, COO of Roc Nation; Sylvia Rhone, president of Epic Records; and Julie Greifer Swindler, executive vice president of business affairs and general counsel for Sony Music Entertainment — wrote a letter to the Recording Academy’s board of trustees.\u003c/p>\n\u003cp>NPR has obtained this letter, which reads, in part: “We are writing to you, both on behalf of ourselves as women and on behalf of our companies, after the recent Grammy nominations, awards and telecast, as well as certain statements by your President, Neil Portnow, and the producer of the Grammys’ telecast, Ken Ehrlich. Taken together, these actions once again demonstrate that NARAS remains woefully out of touch with today’s music, the music business, and even more significantly, society …”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“NARAS, which purports to represent every area of the music ecosystem (e.g., artists, producers, songwriters, engineers) should be leaders in this evolution, and yet it has shown itself to be the opposite,” the letter continues. “We ask you, as a Board, to take this message from those who have devoted their lives to music seriously. Neil Portnow’s comments are not a reflection of being ‘inarticulate’ in a single interview … To be clear, if NARAS seeks to reflect music’s diverse community then it must ‘step up’ and be accountable to it.” \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=Women+In+The+Music+Industry+Call+For+%27Evolution%27+At+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Top solo artists and groups of high-powered female executives in the music industry are demanding change within the Recording Academy. Much of that momentum has built up over the past week, since the telecast of this year’s Grammy Awards ceremony, which were held Jan. 28 at Madison Square Garden.\u003c/p>\n\u003cp>The outcry is a direct response to the the format and content of this year’s telecast, and to statements made by the highest-ranked official at the Recording Academy — the professional organization whose members vote for the Grammys — and the producer of the telecast.\u003c/p>\n\u003cp>Among those who have spoken out are musicians including Pink, Fiona Apple, India.Arie, Sheryl Crow, Vanessa Carlton, Charli XCX and Kelly Clarkson, as well as two groups of highly influential, female industry executives. Many of those women are calling for fundamental changes to the way that the Recording Academy (also known as NARAS, or the National Academy of Recording Arts and Sciences) is run, and for a change in the organization’s leadership. NARAS has responded with plans to address issues of gender bias. However, NPR has learned that the group does not know current demographic details about its membership.\u003c/p>\n\u003cp>In the run-up to this year’s Grammy ceremony, there was a great deal of public speculation about whether or not the Academy would address #MeToo and #TimesUp with the same coordination and effect that\u003cstrong> \u003c/strong>Hollywood did at this year’s \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/01/07/576036145/at-the-golden-globes-not-just-another-red-carpet\" target=\"_blank\" rel=\"noopener\">Golden Globes\u003c/a> — in what Meryl Streep memorably called a “thick black line.”\u003c/p>\n\u003cp>The Recording Academy may have expected that the evening would be a victory lap, a 60th anniversary celebration of the industry’s own successes. With a provocative opening performance by Kendrick Lamar and a segment dedicated to #MeToo and #TimesUp, it’s entirely possible that the ceremony’s organizers felt that they were ticking all the right boxes for 2018.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, much of “music’s biggest night,” as the Recording Academy likes to refer to its annual ceremony, was dedicated to safe, familiar presences — including performances by U2, Sting and Shaggy — but there were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/28/581467347/live-blog-2018-grammy-awards\" target=\"_blank\" rel=\"noopener\">moments\u003c/a> when the conversations of today peeked out into view. (Dave Chapelle, mid-Kendrick Lamar set: “The only thing more frightening than watching a black man be honest in America is being an honest black man in America.”)\u003c/p>\n\u003cp>Over the course of the three-and-a-half hour telecast, only one solo female musician accepted an award on screen: Alessia Cara, who was awarded Best New Artist.\u003c/p>\n\u003cp>Conversations about gender equality and alleged sexual misconduct were, aside from the white roses pinned to the lapels and dresses of many attendees, mostly shoehorned into a single segment of the televised ceremony. It began with a fiery introduction from singer and actress Janelle Monae, who declared: “We come in peace, but we mean business. And to those of you who would dare try and silence us, we offer you two words: Time’s up.”\u003c/p>\n\u003cp>What followed was an anthemic performance of “Praying” led by Kesha, who was joined by Cyndi Lauper, Camila Cabello, Bebe Rexha, Julia Michels, Andra Day and the Resistance Revival Chorus. And then, it was back to Bono.\u003c/p>\n\u003cp>A number of high-profile allegations of sexual assault or misconduct have emerged from the recording industry, and many female musicians have added their stories to the #MeToo movement. But those accusations haven’t reverberated as widely, or had such earth-shaking repercussions as similar allegations have had in Hollywood, for example.\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/buM8OErfvu0'\n title='//www.youtube.com/embed/buM8OErfvu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>NARAS has no jurisdiction over the wider music industry, but it is perhaps the closest approximation of a confederation of recording industry professionals; it’s both a banner-carrier and a microcosm of the larger business. And in the week that has followed the Grammy Awards, fans, artists and other women in the music industry have made public their frustration with The Recording Academy.\u003c/p>\n\u003cp>The blowback began to build after audiences noted that the singer Lorde — the sole woman nominated for the Album of the Year prize — did not perform on the telecast. Immediately following the awards ceremony, the trade publication \u003cem>Variety\u003c/em> asked both the Recording Academy’s president and CEO, Neil Portnow, and the telecast’s producer, Ken Ehrlich, about Lorde’s absence.\u003c/p>\n\u003cp>Ehrlich argued to \u003cem>Variety\u003c/em> that there \u003ca href=\"http://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\" target=\"_blank\" rel=\"noopener\">just wasn’t time\u003c/a> to include Lorde as a solo performer. “These shows are a matter of choices,” Ehrlich said. “We have a box and it gets full,” he said, adding, “There’s no way we can really deal with everybody.”\u003c/p>\n\u003cp>Portnow has headed the Recording Academy since 2002; he replaced Michael Greene, who was \u003ca href=\"http://www.nytimes.com/2002/04/29/arts/grammys-chief-quits-under-fire.html\" target=\"_blank\" rel=\"noopener\">forced to resign\u003c/a> from NARAS after allegations that he sexually harassed and abused another Academy executive surfaced. (According to \u003cem>The \u003c/em>\u003cem>New York Times\u003c/em>, NARAS trustees reportedly paid the woman who accused him a $650,000 settlement, and then hired a private investigator to examine Greene’s behavior with female colleagues.) Around the same time, the \u003cem>Los Angeles Times\u003c/em> also ran an \u003ca href=\"http://articles.latimes.com/1998/feb/22/news/mn-21916\" target=\"_blank\" rel=\"noopener\">investigative series\u003c/a> examining the Recording Academy’s finances, and asserted that NARAS’ charitable arm, MusiCares, spent less than 10 percent of its fund-raised income on assisting artists.\u003c/p>\n\u003cp>Portnow — who sported a #TimesUp white rose in his lapel during this year’s telecast — made comments to \u003cem>Variety\u003c/em> that proved perhaps even more infuriating to many women. “It has to begin with … women who have the creativity in their hearts and souls, who want to be musicians, who want to be engineers, producers, and want to be part of the industry on the executive level,” he said. And in a phrase that became infamous immediately, Portnow added that women need “to step up because I think they would be welcome.”\u003c/p>\n\u003cp>Some prominent female musicians, like nine-time Grammy winner \u003ca href=\"https://twitter.com/SherylCrow/status/958066282959601664\" target=\"_blank\" rel=\"noopener\">Sheryl Crow\u003c/a>, three-time winner \u003ca href=\"https://twitter.com/kelly_clarkson/status/958589816714809349\" target=\"_blank\" rel=\"noopener\">Kelly Clarkson\u003c/a> and \u003ca href=\"https://twitter.com/charli_xcx/status/958100513471447040\" target=\"_blank\" rel=\"noopener\">Charli XCX\u003c/a>, have used social media to communicate their feelings. On Jan. 30, Pink, another three-time Grammy winner who performed her ballad “Wild Hearts Can’t Be Broken” on this year’s telecast, posted a note on Twitter that spoke directly to Portnow’s “step up” comment, without addressing Portnow himself.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Women in music don’t need to ‘step up,'” she wrote. “Women have been stepping since the beginning of time. Stepping up, and also stepping aside.”\u003c/p>\n\u003cp>On Wednesday, Portnow tried to \u003ca href=\"http://variety.com/2018/music/news/grammy-chief-neil-portnow-walks-back-step-up-comment-i-wasnt-as-articulate-as-i-should-have-been-1202681462/\" target=\"_blank\" rel=\"noopener\">walk back\u003c/a> his comment in another statement to \u003cem>Variety\u003c/em>. He claimed that the “step up” remark was taken out of context, and did not quote “convey my beliefs and the point I was trying to make.”\u003c/p>\n\u003cp>Portnow declined requests for comment by NPR, but in a statement sent to NPR and other media outlets last Thursday, he announced that the Recording Academy is setting up an independent task force to “review every aspect of what we do as an organization, and identify where we can do more to overcome the explicit barriers and unconscious biases that impede female advancement in the music community.”\u003c/p>\n\u003cp>I was a voting member of the Recording Academy for several years; I qualified primarily as the author of liner notes on various recording projects, though I also have reissue producer credits. I also served as a judge for the Best Album Notes award, which is one of a handful of Grammy prize categories that isn’t open to voting by the general membership, but is decided instead by a small voting committee whose ranks spread across several local NARAS chapters. \u003cstrong> \u003c/strong>And my own experience was that in my years on that committee, I was always the only woman in the room. (I haven’t been a member of the Recording Academy or a Grammy voter since 2011, when I joined NPR.)\u003c/p>\n\u003cp>My experience may not be terribly unique: A common stereotype is that the majority of Academy voters — some \u003ca href=\"https://www.billboard.com/articles/news/6288927/how-do-you-get-a-grammy\" target=\"_blank\" rel=\"noopener\">12,000 people\u003c/a> in all — are older, white men. In terms of actual statistics, it’s not at all clear \u003cem>who\u003c/em> the Grammy voters are, or how their demographic information may (or may not) incline them to vote. As a former voter, I don’t recall ever having been asked about my gender, age or race. So in the course of pursuing commentary from Portnow, I asked the Recording Academy if the organization had any demographic statistics about its membership.\u003c/p>\n\u003cp>Through a spokesperson, the Recording Academy confirmed that NARAS has never asked its members to provide that kind of data. And so its leadership simply doesn’t know the makeup of its existing membership — which will may prove to be a significant hurdle in the kinds of improvements that Portnow is pledging to make.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Through a representative, Lorde declined to comment directly to NPR about her absence from the Madison Square Garden stage. On the night of the ceremony, however, she posted to Instagram a photo of a quotation from artist Jenny Holzer that she had sewn to the back of her dress, which Lorde called her “version of a white rose.”\u003c/p>\n\u003cp>A source close to the singer confirmed, though, that the only invitation Lorde received to perform on this year’s Grammy Award telecast was to be part of a group performance paying tribute to the late Tom Petty. Every other artist nominated for Album of the Year — all men, save for Lorde — was offered a chance to give a solo performance. Bruno Mars, Childish Gambino and Kendrick Lamar accepted; Jay-Z reportedly declined the invitation. (Meanwhile, the president of Lorde’s label, Republic Records, a man named Charlie Walk, was placed on leave on Jan. 31 after \u003ca href=\"https://www.billboard.com/articles/news/8097342/charlie-walk-republic-two-women-accuse-sexual-harassment\" target=\"_blank\" rel=\"noopener\">three women\u003c/a> accused Walk of sexual misconduct. On Monday, Walk filed a complaint with the Manhattan district attorney’s office \u003ca href=\"https://pagesix.com/2018/02/05/charlie-walk-claims-he-was-being-extorted-before-allegations/\" target=\"_blank\" rel=\"noopener\">alleging\u003c/a> that the sexual misconduct accusations were instigated by the owner of a group of Ohio-based radio stations, who was attempting to extort Walk.)\u003c/p>\n\u003cp>In the aftermath of Portnow’s comments, some prominent female artists and industry figures have condemned him. Some are explicitly calling for Portnow to step down altogether, including singer-songwriter Vanessa Carlton, who has been nominated for three Grammy Awards, and who performed on the 2003 awards telecast. Carlton has been instrumental in publicizing a \u003ca href=\"https://www.thepetitionsite.com/602/307/220/academy-president-must-step-down-for-telling-female-musicians-to-step-up-after-grammys/\" target=\"_blank\" rel=\"noopener\">petition\u003c/a> calling for Portnow’s resignation. It is not clear if those who have signed the petition, which currently has nearly 14,000 signatures, are mostly fans or individuals who work in the music industry.\u003c/p>\n\u003cp>“You have to change the system, if it’s not working,” Carlton says. “And the way that you do that is you start from the top. I would like there to be fresh blood in there — I don’t think I’m alone in that. There are nice qualities to this president, and I know he’s a nice guy. However, when you want to make changes, the leader \u003cem>has\u003c/em> to change.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Other artists have been equally straightforward in their sentiments. On Saturday night, when Fiona Apple performed with Garbage’s Shirley Manson in Los Angeles, Apple sported a T-shirt that read: “Kneel, Portnow.”\u003c/p>\n\u003cp>On Feb. 2 — after Portnow made his initial comments and his follow-up remarks — singer-songwriter India.Arie, the four-time Grammy winner who performed at this year’s awards in the pre-telecast portion of the event, also published an \u003ca href=\"http://www.ajc.com/lifestyles/india-arie-pens-open-letter-recording-academy-president/Y6WjVWN4Vo4Yx19uxctjBL/\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> to Portnow, in which she underlined issues of intersectionality and referred to inequalities in both gender and racial representation.\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/nBRMRxkoUX8'\n title='//www.youtube.com/embed/nBRMRxkoUX8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She wrote: “Neil Portnow is mistaken. His statements are a mess, but I get why he can’t empathize with women and women of color. HE is saying, the more women there are, the more chances women have to WIN. BUT. WE NEED MORE WOMEN, more WOMEN OF COLOR AND MORE INCLUSIVE MINDED PEOPLE in positions of power, in the rooms where decisions are made. When this happens, doors will open for women to be represented in more DIVERSE WAYS. The music industry is dominated by white men and the Grammys and NARAS are run and produced by ONLY white men. The fact that Portnow says we’d ‘be welcomed’ indicates that he doesn’t think we’re part of the household to begin with.”\u003c/p>\n\u003cp>Influential women who power the business of music have also stepped forward to castigate Portnow. Over the past several days, two groups of female music industry executives wrote open letters to NARAS and to Portnow urging systemic changes to the way the Grammy Awards and the Recording Academy are structured. Last Thursday, more than 20 female industry leaders — in a group helmed by attorney Rosemary Carroll that includes Warner/Chappell vice president of publishing Katie Vinten and notable artist managers, agents and publicists such as Pharrell Williams’ manager Caron Veazey — made public a letter they wrote directed to Neil Portnow.\u003c/p>\n\u003cp>That letter, which was \u003ca href=\"http://variety.com/2018/biz/news/female-executives-call-for-grammy-chief-neil-portnows-resignation-1202684962/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> by \u003cem>Variety\u003c/em>, demands Portnow’s resignation in pointed and angry terms. In part, it reads: “The statement you made this week about women in music needing to ‘step up’ was spectacularly wrong and insulting and, at its core, oblivious to the vast body of work created by and with women. Your attempt to backpedal only emphasizes your refusal to recognize us and our achievements … We do not await your welcome into the fraternity. We do not have to sing louder, jump higher or be nicer to prove ourselves.”\u003c/p>\n\u003cp>“We step up every single day and have been doing so for a long time. The fact that you don’t realize this means it’s time for you to step down.'”\u003c/p>\n\u003cp>On Monday, a group of six executives from several leading record labels — Michele Anthony, executive vice president for the Universal Music Group; Jody Gerson, chairman and CEO of Universal Music Publishing Group; Julie Greenwald, chairman and COO of Atlantic Records; Desiree Perez, COO of Roc Nation; Sylvia Rhone, president of Epic Records; and Julie Greifer Swindler, executive vice president of business affairs and general counsel for Sony Music Entertainment — wrote a letter to the Recording Academy’s board of trustees.\u003c/p>\n\u003cp>NPR has obtained this letter, which reads, in part: “We are writing to you, both on behalf of ourselves as women and on behalf of our companies, after the recent Grammy nominations, awards and telecast, as well as certain statements by your President, Neil Portnow, and the producer of the Grammys’ telecast, Ken Ehrlich. Taken together, these actions once again demonstrate that NARAS remains woefully out of touch with today’s music, the music business, and even more significantly, society …”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“NARAS, which purports to represent every area of the music ecosystem (e.g., artists, producers, songwriters, engineers) should be leaders in this evolution, and yet it has shown itself to be the opposite,” the letter continues. “We ask you, as a Board, to take this message from those who have devoted their lives to music seriously. Neil Portnow’s comments are not a reflection of being ‘inarticulate’ in a single interview … To be clear, if NARAS seeks to reflect music’s diverse community then it must ‘step up’ and be accountable to it.” \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=Women+In+The+Music+Industry+Call+For+%27Evolution%27+At+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tarantino Says Uma Thurman's Car Stunt was 'One of the Biggest Regrets of My Life'",
"headTitle": "Tarantino Says Uma Thurman’s Car Stunt was ‘One of the Biggest Regrets of My Life’ | KQED",
"content": "\u003cp>Hollywood director Quentin Tarantino acknowledged that he is responsible for insisting that actress Uma Thurman perform a car stunt that resulted in a crash that nearly killed her 15 years ago.\u003c/p>\n\u003cp>Thurman’s \u003ca href=\"https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html\">account of the accident\u003c/a>, which chilled relations between Thurman and Tarantino for years, was detailed in a \u003cem>New York Times story\u003c/em> over the weekend. Much of the article centers on Thurman’s allegations that she had been sexually assaulted by movie mogul Harvey Weinstein.\u003c/p>\n\u003cp>Thurman said the accident happened in Mexico near the end of the shooting of the 2004 release \u003cem>Kill Bill Vol. 2\u003c/em> after she had expressed her reluctance to drive a blue Karmann Ghia down a sandy road. She said she had been warned that the car was not operating correctly after its manual transmission was reconfigured to an automatic. She said she wanted a stunt driver to do the shot.\u003c/p>\n\u003cp>But Tarantino insisted that she drive the car. Thurman posted footage of the crash on Instagram.\u003c/p>\n\u003cp>https://www.instagram.com/p/Be0x6OCFRwQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thurman told the \u003cem>Times \u003c/em>the crash caused permanent damage to her knees and neck.\u003c/p>\n\u003cp>Tarantino offered his version of the story in an interview with \u003ca href=\"http://deadline.com/2018/02/quentin-tarantino-uma-thurman-harvey-weinstein-kill-bill-car-crash-new-york-times-1202278988/\">Deadline Hollywood.\u003c/a>\u003c/p>\n\u003cp>Tarantino said in retrospect the road he thought was safe actually was not and he faulted himself for not doing a double-check. “That was one of my most horrendous mistakes, that I didn’t take the time to run the road, one more time, just to see what I would see,” he said.\u003c/p>\n\u003cp>Instead, believing that the road wasn’t a problem, he convinced Thurman to drive around 30-45 mph.\u003c/p>\n\u003cblockquote>\n\u003cp>“Uma’s response was … ‘OK’ because she believed me, because she trusted me. I told her it would be OK. I told her the road was a straight line. I told her it would be safe. And it wasn’t. I was wrong. I didn’t force her into the car. She got into it because she trusted me. And she believed me.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Watching the star of his movie crash was “just horrible,” Tarantino said.\u003c/p>\n\u003cblockquote>\n\u003cp>“It was heartbreaking. Beyond one of the biggest regrets of my career, it is one of the biggest regrets of my life.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Tarantino said he went back over the road later and found “a little mini S-curve” that hadn’t been clear to him earlier. He also said he had misjudged how much sand there was in the dirt road.\u003c/p>\n\u003cp>Tarantino said “a trust was broken” and he and Thurman were at odds “for the next two to three years,” before coming to terms with what had happened.\u003c/p>\n\u003cblockquote>\n\u003cp>“We had a big dinner in the Soho House in New York and there we dealt with all the car stuff, and all the resentments she had toward me. The things she felt I could have done better in protecting her in that movie. And we hashed it all out, put it behind her and we’ve been fantastic friends ever since.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>In the \u003cem>New York Times \u003c/em>article, Thurman said that Tarantino atoned for the accident by giving her what she had demanded for years — the film footage of the crash. In her Instagram post she alleges that the producers of \u003cem>Kill Bill Vol. 2\u003c/em>, including Weinstein, tried to suppress the footage. \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=Tarantino+Says+Uma+Thurman%27s+Car+Stunt+Was+%27One+Of+The+Biggest+Regrets+Of+My+Life%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood director Quentin Tarantino acknowledged that he is responsible for insisting that actress Uma Thurman perform a car stunt that resulted in a crash that nearly killed her 15 years ago.\u003c/p>\n\u003cp>Thurman’s \u003ca href=\"https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html\">account of the accident\u003c/a>, which chilled relations between Thurman and Tarantino for years, was detailed in a \u003cem>New York Times story\u003c/em> over the weekend. Much of the article centers on Thurman’s allegations that she had been sexually assaulted by movie mogul Harvey Weinstein.\u003c/p>\n\u003cp>Thurman said the accident happened in Mexico near the end of the shooting of the 2004 release \u003cem>Kill Bill Vol. 2\u003c/em> after she had expressed her reluctance to drive a blue Karmann Ghia down a sandy road. She said she had been warned that the car was not operating correctly after its manual transmission was reconfigured to an automatic. She said she wanted a stunt driver to do the shot.\u003c/p>\n\u003cp>But Tarantino insisted that she drive the car. Thurman posted footage of the crash on Instagram.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thurman told the \u003cem>Times \u003c/em>the crash caused permanent damage to her knees and neck.\u003c/p>\n\u003cp>Tarantino offered his version of the story in an interview with \u003ca href=\"http://deadline.com/2018/02/quentin-tarantino-uma-thurman-harvey-weinstein-kill-bill-car-crash-new-york-times-1202278988/\">Deadline Hollywood.\u003c/a>\u003c/p>\n\u003cp>Tarantino said in retrospect the road he thought was safe actually was not and he faulted himself for not doing a double-check. “That was one of my most horrendous mistakes, that I didn’t take the time to run the road, one more time, just to see what I would see,” he said.\u003c/p>\n\u003cp>Instead, believing that the road wasn’t a problem, he convinced Thurman to drive around 30-45 mph.\u003c/p>\n\u003cblockquote>\n\u003cp>“Uma’s response was … ‘OK’ because she believed me, because she trusted me. I told her it would be OK. I told her the road was a straight line. I told her it would be safe. And it wasn’t. I was wrong. I didn’t force her into the car. She got into it because she trusted me. And she believed me.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Watching the star of his movie crash was “just horrible,” Tarantino said.\u003c/p>\n\u003cblockquote>\n\u003cp>“It was heartbreaking. Beyond one of the biggest regrets of my career, it is one of the biggest regrets of my life.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Tarantino said he went back over the road later and found “a little mini S-curve” that hadn’t been clear to him earlier. He also said he had misjudged how much sand there was in the dirt road.\u003c/p>\n\u003cp>Tarantino said “a trust was broken” and he and Thurman were at odds “for the next two to three years,” before coming to terms with what had happened.\u003c/p>\n\u003cblockquote>\n\u003cp>“We had a big dinner in the Soho House in New York and there we dealt with all the car stuff, and all the resentments she had toward me. The things she felt I could have done better in protecting her in that movie. And we hashed it all out, put it behind her and we’ve been fantastic friends ever since.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>In the \u003cem>New York Times \u003c/em>article, Thurman said that Tarantino atoned for the accident by giving her what she had demanded for years — the film footage of the crash. In her Instagram post she alleges that the producers of \u003cem>Kill Bill Vol. 2\u003c/em>, including Weinstein, tried to suppress the footage. \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=Tarantino+Says+Uma+Thurman%27s+Car+Stunt+Was+%27One+Of+The+Biggest+Regrets+Of+My+Life%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Best Buy has told music suppliers that it will pull all CDs from its stores this summer, \u003ca href=\"https://www.billboard.com/articles/business/8097929/best-buy-to-pull-cds-target-threatens-to-pay-labels-for-cds-only-when\" target=\"_blank\" rel=\"noopener\">according to a report from Billboard.\u003c/a> This move should come as no big surprise: Between unlimited streaming services like Apple Music and Spotify, and the \u003ca href=\"https://www.npr.org/2018/01/26/579086880/after-the-vinyl-revival-the-vinyl-playing-jukebox-is-back\" target=\"_blank\" rel=\"noopener\">ongoing vinyl revival,\u003c/a> CDs just don’t have the sway that they used to. \u003c/p>\n\u003cp>As NPR’s Andrew Flanagan \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\" target=\"_blank\" rel=\"noopener\">has reported: \u003c/a> \u003c/p>\n\u003cblockquote>\n\u003cp>“After hitting record highs in the CD era, the global market for recorded music began shrinking dramatically in 2000. It lost 40 percent of its total value over the following 14 years, which spanned the birth of Napster and the file-sharing era, the decline of the CD and the rise and fall of the MP3. … Then came streaming — which the record industry warily, then wholeheartedly, embraced.” \u003c/p>\n\u003c/blockquote>\n\u003cp>In 2015, music streaming resulted in the first increase in the music industry’s global revenues since 1999, by $500 million. In 2016, streaming services became the primary way Americans listened to music, \u003ca href=\"http://www.nielsen.com/us/en/press-room/2017/nielsen-releases-2016-us-year-end-music-report.html?afflt=ntrt15340001&afflt_uid=LTspf2qisC0.rH9YUS58PmyaDj3AD_QEOFQ5P0_2BOoa&afflt_uid_2=AFFLT_ID_2\" target=\"_blank\" rel=\"noopener\">according to data from the Nielsen marketing research company.\u003c/a> And in 2017, as \u003ca href=\"https://www.npr.org/2017/02/28/517779766/ford-replaces-cd-player-with-streaming-music-in-new-vehicle\" target=\"_blank\" rel=\"noopener\">NPR’s Sonari Glinton reported\u003c/a>, the Ford Motor Co. rolled out its first car in 25 years without a CD player. \u003c/p>\n\u003cp>“Streaming is the fastest-growing source of music and video content and particularly with younger consumers, who we’ve found time and time again prefer streaming and subscription services over traditional forms like CDs,” Ford marketing manager Michael O’Brien told Glinton. \u003c/p>\n\u003cp>O’Brien isn’t wrong. The International Federation of the Phonographic Industry \u003ca href=\"http://www.ifpi.org/news/IFPI-GLOBAL-MUSIC-REPORT-2017\">estimates that 112 million people worldwide\u003c/a> now pay for access to streaming services and that streaming services contributed toward a 20.5 percent decline in downloads and a 7.6 percent decline in physical revenue in 2017. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Best Buy generates nearly $40 billion annually and has more than 1,500 stores throughout North America. Last year, the company eliminated nearly 400 jobs to “meet the significant and evolving tech support needs of our customers,” as it said in a letter to the state of Minnesota, \u003ca href=\"http://fortune.com/2017/07/29/best-buy-geek-squad-job-cuts/\" target=\"_blank\" rel=\"noopener\">according to \u003cem>Fortune\u003c/em>. \u003c/a> The company told NPR that it has no comment on the \u003cem>Billboard\u003c/em> report. \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=Best+Buy+To+Pull+CDs+From+Its+Stores%2C+According+To+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Best Buy has told music suppliers that it will pull all CDs from its stores this summer, \u003ca href=\"https://www.billboard.com/articles/business/8097929/best-buy-to-pull-cds-target-threatens-to-pay-labels-for-cds-only-when\" target=\"_blank\" rel=\"noopener\">according to a report from Billboard.\u003c/a> This move should come as no big surprise: Between unlimited streaming services like Apple Music and Spotify, and the \u003ca href=\"https://www.npr.org/2018/01/26/579086880/after-the-vinyl-revival-the-vinyl-playing-jukebox-is-back\" target=\"_blank\" rel=\"noopener\">ongoing vinyl revival,\u003c/a> CDs just don’t have the sway that they used to. \u003c/p>\n\u003cp>As NPR’s Andrew Flanagan \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\" target=\"_blank\" rel=\"noopener\">has reported: \u003c/a> \u003c/p>\n\u003cblockquote>\n\u003cp>“After hitting record highs in the CD era, the global market for recorded music began shrinking dramatically in 2000. It lost 40 percent of its total value over the following 14 years, which spanned the birth of Napster and the file-sharing era, the decline of the CD and the rise and fall of the MP3. … Then came streaming — which the record industry warily, then wholeheartedly, embraced.” \u003c/p>\n\u003c/blockquote>\n\u003cp>In 2015, music streaming resulted in the first increase in the music industry’s global revenues since 1999, by $500 million. In 2016, streaming services became the primary way Americans listened to music, \u003ca href=\"http://www.nielsen.com/us/en/press-room/2017/nielsen-releases-2016-us-year-end-music-report.html?afflt=ntrt15340001&afflt_uid=LTspf2qisC0.rH9YUS58PmyaDj3AD_QEOFQ5P0_2BOoa&afflt_uid_2=AFFLT_ID_2\" target=\"_blank\" rel=\"noopener\">according to data from the Nielsen marketing research company.\u003c/a> And in 2017, as \u003ca href=\"https://www.npr.org/2017/02/28/517779766/ford-replaces-cd-player-with-streaming-music-in-new-vehicle\" target=\"_blank\" rel=\"noopener\">NPR’s Sonari Glinton reported\u003c/a>, the Ford Motor Co. rolled out its first car in 25 years without a CD player. \u003c/p>\n\u003cp>“Streaming is the fastest-growing source of music and video content and particularly with younger consumers, who we’ve found time and time again prefer streaming and subscription services over traditional forms like CDs,” Ford marketing manager Michael O’Brien told Glinton. \u003c/p>\n\u003cp>O’Brien isn’t wrong. The International Federation of the Phonographic Industry \u003ca href=\"http://www.ifpi.org/news/IFPI-GLOBAL-MUSIC-REPORT-2017\">estimates that 112 million people worldwide\u003c/a> now pay for access to streaming services and that streaming services contributed toward a 20.5 percent decline in downloads and a 7.6 percent decline in physical revenue in 2017. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Best Buy generates nearly $40 billion annually and has more than 1,500 stores throughout North America. Last year, the company eliminated nearly 400 jobs to “meet the significant and evolving tech support needs of our customers,” as it said in a letter to the state of Minnesota, \u003ca href=\"http://fortune.com/2017/07/29/best-buy-geek-squad-job-cuts/\" target=\"_blank\" rel=\"noopener\">according to \u003cem>Fortune\u003c/em>. \u003c/a> The company told NPR that it has no comment on the \u003cem>Billboard\u003c/em> report. \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=Best+Buy+To+Pull+CDs+From+Its+Stores%2C+According+To+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor John Mahoney, best-known for his portrayal of the grouchy and sharp-witted father of the title character in the TV show \u003cem>Frasier,\u003c/em> died Sunday. He was 77.\u003c/p>\n\u003cp>The Steppenwolf Theatre Company confirmed his death, saying in a statement, “John Mahoney passed away due to complications from cancer while in hospice care on Sunday.” \u003c/p>\n\u003cp>For 11 years, from 1993 to 2004, Mahoney played the blue-collar, retired-cop foil to Kelsey Grammer and David Hyde Pierce, his dandy and effete sons on the NBC hit show. \u003c/p>\n\u003cp>Over his career he earned two supporting-actor Emmy nominations and two Golden Globe Award nominations for his role as Martin Crane. On the stage, he won a Tony for his performance in a revival of \u003cem>The House of Blue Leaves \u003c/em>in 1986.\u003c/p>\n\u003cp>\u003ca href=\"http://www.chicagotribune.com/entertainment/theater/news/ct-ent-john-mahoney-dead-steppenwolf-frasier-20180205-story.html\">According \u003c/a>to the \u003cem>Chicago Tribune,\u003c/em> Mahoney, who was born in Manchester, England, and moved to the U.S. at 19, became a professional actor somewhat late in life. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t until he was in his late 30s that he quit his job editing a medical magazine to study acting in Chicago. Shortly after that, he was invited to join Steppenwolf Theatre by founding members John Malkovich and Gary Sinise. At the time the young theater company was full of actors in their 20s and they needed somebody to play older roles. \u003c/p>\n\u003cp>“By the time I started my career, most people had given up and started selling insurance,” Mahoney told the \u003cem>Tribune\u003c/em> in 2004. “I didn’t have so much competition.” \u003c/p>\n\u003cp>Chicago Mayor Rahm Emanuel issued a statement Monday, mourning Mahoney’s death. \u003c/p>\n\u003cp>“John Mahoney was a fixture on the Chicago stage for over 30 years through countless award-winning performances,” Emanuel wrote. “Even as his fame grew through his fantastic work in movies and television, John stayed connected to his artistic home here in Chicago in theaters and as a member of the Steppenwolf Theatre Company. Though he will be missed, his work and impact will endure for generations to come.”\u003c/p>\n\u003cp>Mahoney’s film resume provides proof of the actor’s broad range and includes turns as the manager of the White Sox in \u003cem>Eight Men Out, \u003c/em>a lecherous professor in \u003cem>Moonstruck, \u003c/em>a protective father in \u003cem>Say Anything\u003c/em> and a dapper Southern author in \u003cem>Barton Fink. \u003c/em>\u003c/p>\n\u003cp>Most recently he appeared as Betty White’s love interest on \u003cem>Hot In Cleveland. \u003c/em>\u003c/p>\n\u003cp>Mahoney moved back to Chicago in 2004. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The city is almost like a person to me,” Mahoney said in an interview with the \u003cem>Tribune\u003c/em> at the time. “I can’t tell you why my heart is so full of Chicago, but it’s where I want to be. When I’m not here, I’m not as happy.” \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=%27Frasier%27+Star+John+Mahoney+Dies+at+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t until he was in his late 30s that he quit his job editing a medical magazine to study acting in Chicago. Shortly after that, he was invited to join Steppenwolf Theatre by founding members John Malkovich and Gary Sinise. At the time the young theater company was full of actors in their 20s and they needed somebody to play older roles. \u003c/p>\n\u003cp>“By the time I started my career, most people had given up and started selling insurance,” Mahoney told the \u003cem>Tribune\u003c/em> in 2004. “I didn’t have so much competition.” \u003c/p>\n\u003cp>Chicago Mayor Rahm Emanuel issued a statement Monday, mourning Mahoney’s death. \u003c/p>\n\u003cp>“John Mahoney was a fixture on the Chicago stage for over 30 years through countless award-winning performances,” Emanuel wrote. “Even as his fame grew through his fantastic work in movies and television, John stayed connected to his artistic home here in Chicago in theaters and as a member of the Steppenwolf Theatre Company. Though he will be missed, his work and impact will endure for generations to come.”\u003c/p>\n\u003cp>Mahoney’s film resume provides proof of the actor’s broad range and includes turns as the manager of the White Sox in \u003cem>Eight Men Out, \u003c/em>a lecherous professor in \u003cem>Moonstruck, \u003c/em>a protective father in \u003cem>Say Anything\u003c/em> and a dapper Southern author in \u003cem>Barton Fink. \u003c/em>\u003c/p>\n\u003cp>Most recently he appeared as Betty White’s love interest on \u003cem>Hot In Cleveland. \u003c/em>\u003c/p>\n\u003cp>Mahoney moved back to Chicago in 2004. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The city is almost like a person to me,” Mahoney said in an interview with the \u003cem>Tribune\u003c/em> at the time. “I can’t tell you why my heart is so full of Chicago, but it’s where I want to be. When I’m not here, I’m not as happy.” \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=%27Frasier%27+Star+John+Mahoney+Dies+at+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Making Sense of the Super Bowl's Musical Moments",
"headTitle": "Making Sense of the Super Bowl’s Musical Moments | KQED",
"content": "\u003cp>A strained “Star-Spangled Banner,” a decaf flat white of a halftime show, an understated show of solidarity and, of course, the advertisements: If nothing else, Super Bowl LII’s musical moments were legion. Here are the ones that caught NPR Music’s ears over the course of the night.\u003c/p>\n\u003cp>\u003cstrong>Pink’s lozenge\u003c/strong>\u003c/p>\n\u003cp>Pink’s \u003ca href=\"https://www.youtube.com/watch?v=69ShK4TYHJk\">performance of “The Star-Spangled Banner”\u003c/a> will not go down in history as one of the best; she was ill. Proving once again that no moment of televised monoculture goes unnoticed by the digital hordes, the singer removing something from her mouth just before singing the American anthem was the subject of much discussion on Twitter, which she explained in \u003ca href=\"https://twitter.com/Pink/status/960315387513470976\">a succinct tweet\u003c/a> shortly after. — \u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Justin Timberlake’s halftime show\u003c/strong>\u003c/p>\n\u003cp>Justin Timberlake tried to create a wrinkle in time during last night’s Super Bowl halftime show: Early on in the inevitable medley that structured his busy, centerless take on the hallowed spectacle, he audaciously reprised his 2002 hit “Rock Your Body,” the soundtrack to the most notorious incident in the history of this savage American secular holiday. That was, of course, his \u003ca href=\"https://www.youtube.com/watch?v=npF1lkKEM9o\">fumbling removal\u003c/a> of Janet Jackson’s breastplate. It was a violation that, as even the most casual followers of pop culture know, cost her far more than it did him. Last night, as he came to the line that accompanied all that trouble back in 2004 — “Bet I’ll have you naked by the end of this song” — Timberlake shouted “\u003cem>STOP!” \u003c/em>and, with a raised eyebrow and a little leer, redirected the action. (Or mimed redirection: As an interview with halftime show sound engineer \u003ca href=\"https://www.theverge.com/2018/2/2/16961244/super-bowl-halftime-show-audio-patrick-baltzell-2018\">Patrick Baltzell\u003c/a> recently affirmed, no band but The Rolling Stones has played live at this event.) Instead of using the brief transition to shout something conciliatory (“Respect to Janet!” would have worked), Timberlake bet on silence. It was an emblematic move for a star whose entire career has been grounded in turning challenge and conflict into Teflon cool, a singer whose songs of heartbreak are icy smooth, and whose confessions float by on clouds of multi-tracked effects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cHR8UWYkKTE\u003c/p>\n\u003cp>Aesthetically and ethically, Timberlake’s magic didn’t take. It seemed like he’d cast the wrong spell, making himself invisible within swarms of dancers, programmed beats setting up choreography that just looked wrong for the weird \u003cem>Walking Dead\u003c/em> ambience. (As many a Twitter raconteur noted, Timberlake’s own ensemble made him seem like he’d raided a Bass Pro Shop.) Even when standing alone on a small stage, he seemed to want to get lost in all the action he’d set up for himself. A muddy mix buried his vocals, and even his most arresting melodies ricocheted off the shiny shards of glass and neon on the purposefully disheveled stage sets. \u003c/p>\n\u003cp>Prince upstaged him, too. A rumored hologram of the beloved Minnesotan did not make an appearance, replaced by a billowing sheet bearing a giant screen projection overshadowing Timberlake at the piano. Rerun the whole show at half-speed and its star’s facial expressions seem to tell a sad story, with looks alternately panicked and disengaged, as if he knows that nothing short of self-immolation will spare him from a chorus of scorn from the judges who’d already sharpened their knives in \u003ca href=\"https://pitchfork.com/reviews/albums/justin-timberlake-man-of-the-woods/\">review\u003c/a> after \u003ca href=\"https://www.nytimes.com/2018/01/31/arts/music/justin-timberlake-man-of-the-woods-review.html\">weak review\u003c/a> of his new album, \u003cem>Man of the Woods\u003c/em>. \u003c/p>\n\u003cp>Timberlake’s great gift is easefulness. When he was ascendant, in those heady, early 21st-century days of tech startups and easy mortgages, his feathery tenor and Fred Astaire-from-the-block dance style subdued the questions his success raised about whether a white collaborator with black producers could be anything but exploitative, and about whether endless songs about dance floor seduction might in fact be essentially coercive. In 2018, though, what people crave from popular culture is the acknowledgment of struggle. Beyonce’s \u003ca href=\"https://www.youtube.com/watch?v=SDPITj1wlkg\">raised fist\u003c/a> and Lady Gaga’s ridiculous \u003ca href=\"https://www.google.com/search?q=lady+gaga+halftime+leap&num=20&safe=off&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjBlMryoY_ZAhXjmuAKHVclAfYQ_AUIDCgD&biw=1386&bih=799\">Spiderwoman leap\u003c/a> are the Super Bowl gestures that have resonated; they felt difficult, strenuous, engaged with this very loud era of self-expression and constant public argument. Timberlake is too smooth for this moment. He doesn’t own this wrinkle in time because it belongs to those who want you to see the work behind their magic, women especially, who know that underneath the flash of a show like this is flesh — that should be exposed. \u003cem>— Ann Powers\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The Eagles walk on to Meek Mill\u003c/strong>\u003c/p>\n\u003cp>As the underdogs heading into the game, The Philadelphia Eagles used their spotlight moment to not only highlight their hip-hop taste, but to show solidarity with \u003ca href=\"https://www.npr.org/tags/564392028/meek-mill\">Meek Mill\u003c/a> — the prominent Philly rapper currently incarcerated for violating parole — by choosing his 2012 song “\u003ca href=\"https://www.youtube.com/watch?v=S8gfqs1-NuE\">Dreams and Nightmares (Intro)\u003c/a>” as their walk-on music.\u003c/p>\n\u003cp>“It says a lot that the Philadelphia Eagles are getting behind Meek Mill in such a public way,” NPR Music’s Rodney Carmichael said in a recent on-air segment. “For The Eagles to pick this song shows solidarity for a hometown guy with his back against the wall.”\u003c/p>\n\u003cp>The youthful, underdog essence of “Dreams and Nightmares (Intro)” is a sharp contrast to The Patriots’ signature walk-on music: the classical introduction to Carl Orff’s \u003cem>Carmina Burana\u003c/em>, followed by Ozzy Osbourne’s “Crazy Train.” (Once The Eagles had won the game, they \u003ca href=\"https://twitter.com/natalieweiner/status/960367411622023168\">celebrated\u003c/a> by playing the track again and popping champagne in the locker room.) \u003cem>— Sidney Madden\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The ads\u003c/strong>\u003c/p>\n\u003cp>Much of our time watching the Super Bowl is spent ingesting advertisements. It’s not news that the slots are expensive — NBC was \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/02/05/583302803/super-bowl-ads-2018-the-best-the-weirdest-and-the-most-complicated\">charging $5 million\u003c/a> for a 30-second spot. Because of that, music is incredibly useful to marketers: instantly recognizable songs can provide emotional shortcuts to the heart- and purse-strings. (When they don’t go for broke on song placements, advertisers often default to plinky ukulele or classical-ish exercises, as \u003ca href=\"https://www.youtube.com/watch?v=OPi9nTE70aA\">Coke did this year\u003c/a>.) \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Here, in descending order of novelty, were marketers’ attempts to grab your attention via your ear canal this year:\u003c/p>\n\u003cul>\n\u003cli>The deepest cut of the evening came from Squarespace, which put \u003ca href=\"https://www.youtube.com/watch?v=W3FH1scDhfA\">Keanu Reeves on a motorcycle\u003c/a> to the tune of “Adventures in Success” by Will Powers, co-written with Sting. (Powers was the musical nom de plume of rock photographer Lynn Goldsmith, whose album, also titled \u003cem>Adventures in Success,\u003c/em> was written to satirize the self-help boom of the ’80s and plumbed the era’s textures — Tom Tom Club comes to mind — for its goofy pastiche.)\u003c/li>\n\u003cli>For T-Mobile, babies \u003ca href=\"https://www.youtube.com/watch?v=C-rumHvmqCA\">were placated with a lullaby version of Nirvana’s “All Apologies,”\u003c/a> a song in which Kurt Cobain questioned his role as an artist-turned-superstar while examining the pervasiveness of depression. That the next commercial aired was \u003ca href=\"https://www.youtube.com/watch?v=Qrl3bU1-vvE\">for Scientology\u003c/a> seemed apropos in a perpendicular way.\u003c/li>\n\u003cli>PepsiCo, in a savvy piece of penny-pinching corporate synergy, got \u003ca href=\"https://www.youtube.com/watch?v=QNzzJzdgUto\">two ads for the price of one\u003c/a>: Peter Dinklage lip-synced Busta Rhymes’ verse from the 2011 Chris Brown song “Look At Me Now” to hawk Doritos, while Morgan Freeman ambled to Missy Elliot’s legendary “Get Ur Freak On” to tout corporate sister brand Mountain Dew. (You’ll have to ask them why they didn’t spend the extra money for Busta’s “Gimme Some More,” which would have kept the music cues in the same era of hip-hop.)\u003c/li>\n\u003cli>There was Aerosmith’s \u003ca href=\"https://www.youtube.com/watch?v=0YVbVXOjJv4\">Steven Tyler pulling a Benjamin Button\u003c/a> on behalf of Kia, in a spot that succeeded in showing us \u003ca href=\"https://en.wikipedia.org/wiki/Uncanny_valley\">the uncanny valley\u003c/a>, like Tyler, is still alive and well.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=J6-8DQALGt4\">Cardi B popped in\u003c/a> as a replacement for an under-the-weather Alexa.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=phr1pOFK1V8\">Keegan-Michael Key explained\u003c/a> the meaning of “taking an L” — via Big Sean’s “Bounce Back” — to a dad.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=Ja_FK1XXg2U\">Run The Jewels soundtracked\u003c/a> a Lexus ad moonlighting as a \u003cem>Black Panther\u003c/em> ad — the duo is not on the forthcoming, Top Dawg Entertainment-helmed \u003ca href=\"https://www.npr.org/sections/allsongs/2018/01/31/582185850/kendrick-lamar-releases-black-panther-tracklist-and-it-doesn-t-disappoint\">\u003cem>Black Panther: The Album\u003c/em>\u003c/a>.\u003c/li>\n\u003cli>Harry Belafonte’s “Banana Boat Song” was \u003ca href=\"https://www.youtube.com/watch?v=H2zkZgZYEng\">repurposed for E-Trade\u003c/a> in a an ad that also obliquely referenced the deceased \u003ca href=\"https://en.wikipedia.org/wiki/Ruth_Flowers\">Ruth Flowers\u003c/a>, who began DJing under the name “Mamy Rock” at the age of 78.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=cqg5oc20nxk\">Ram Trucks set Queen’s “We Will Rock You,”\u003c/a> already a sports stadium anthem, against footage of paddling Vikings, a nod to the Super Bowl’s host city of Minneapolis.\u003c/li>\n\u003cli>Pop star \u003ca href=\"https://www.youtube.com/watch?v=CxGUmtRLm5g\">Skylar Grey covered “Stand By Me”\u003c/a> for Budweiser’s water donation program. (NPR previously \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2018/02/02/582664769/fact-checking-matt-damons-clean-water-promise-in-a-super-bowl-ad\">fact-checked another\u003c/a> water-related advertisement.) \u003cem>— Andrew Flanagan\u003c/em>\u003c/li>\n\u003c/ul>\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=Making+Sense+Of+The+Super+Bowl%27s+Musical+Moments&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A strained “Star-Spangled Banner,” a decaf flat white of a halftime show, an understated show of solidarity and, of course, the advertisements: If nothing else, Super Bowl LII’s musical moments were legion. Here are the ones that caught NPR Music’s ears over the course of the night.\u003c/p>\n\u003cp>\u003cstrong>Pink’s lozenge\u003c/strong>\u003c/p>\n\u003cp>Pink’s \u003ca href=\"https://www.youtube.com/watch?v=69ShK4TYHJk\">performance of “The Star-Spangled Banner”\u003c/a> will not go down in history as one of the best; she was ill. Proving once again that no moment of televised monoculture goes unnoticed by the digital hordes, the singer removing something from her mouth just before singing the American anthem was the subject of much discussion on Twitter, which she explained in \u003ca href=\"https://twitter.com/Pink/status/960315387513470976\">a succinct tweet\u003c/a> shortly after. — \u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Justin Timberlake’s halftime show\u003c/strong>\u003c/p>\n\u003cp>Justin Timberlake tried to create a wrinkle in time during last night’s Super Bowl halftime show: Early on in the inevitable medley that structured his busy, centerless take on the hallowed spectacle, he audaciously reprised his 2002 hit “Rock Your Body,” the soundtrack to the most notorious incident in the history of this savage American secular holiday. That was, of course, his \u003ca href=\"https://www.youtube.com/watch?v=npF1lkKEM9o\">fumbling removal\u003c/a> of Janet Jackson’s breastplate. It was a violation that, as even the most casual followers of pop culture know, cost her far more than it did him. Last night, as he came to the line that accompanied all that trouble back in 2004 — “Bet I’ll have you naked by the end of this song” — Timberlake shouted “\u003cem>STOP!” \u003c/em>and, with a raised eyebrow and a little leer, redirected the action. (Or mimed redirection: As an interview with halftime show sound engineer \u003ca href=\"https://www.theverge.com/2018/2/2/16961244/super-bowl-halftime-show-audio-patrick-baltzell-2018\">Patrick Baltzell\u003c/a> recently affirmed, no band but The Rolling Stones has played live at this event.) Instead of using the brief transition to shout something conciliatory (“Respect to Janet!” would have worked), Timberlake bet on silence. It was an emblematic move for a star whose entire career has been grounded in turning challenge and conflict into Teflon cool, a singer whose songs of heartbreak are icy smooth, and whose confessions float by on clouds of multi-tracked effects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/cHR8UWYkKTE'\n title='//www.youtube.com/embed/cHR8UWYkKTE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aesthetically and ethically, Timberlake’s magic didn’t take. It seemed like he’d cast the wrong spell, making himself invisible within swarms of dancers, programmed beats setting up choreography that just looked wrong for the weird \u003cem>Walking Dead\u003c/em> ambience. (As many a Twitter raconteur noted, Timberlake’s own ensemble made him seem like he’d raided a Bass Pro Shop.) Even when standing alone on a small stage, he seemed to want to get lost in all the action he’d set up for himself. A muddy mix buried his vocals, and even his most arresting melodies ricocheted off the shiny shards of glass and neon on the purposefully disheveled stage sets. \u003c/p>\n\u003cp>Prince upstaged him, too. A rumored hologram of the beloved Minnesotan did not make an appearance, replaced by a billowing sheet bearing a giant screen projection overshadowing Timberlake at the piano. Rerun the whole show at half-speed and its star’s facial expressions seem to tell a sad story, with looks alternately panicked and disengaged, as if he knows that nothing short of self-immolation will spare him from a chorus of scorn from the judges who’d already sharpened their knives in \u003ca href=\"https://pitchfork.com/reviews/albums/justin-timberlake-man-of-the-woods/\">review\u003c/a> after \u003ca href=\"https://www.nytimes.com/2018/01/31/arts/music/justin-timberlake-man-of-the-woods-review.html\">weak review\u003c/a> of his new album, \u003cem>Man of the Woods\u003c/em>. \u003c/p>\n\u003cp>Timberlake’s great gift is easefulness. When he was ascendant, in those heady, early 21st-century days of tech startups and easy mortgages, his feathery tenor and Fred Astaire-from-the-block dance style subdued the questions his success raised about whether a white collaborator with black producers could be anything but exploitative, and about whether endless songs about dance floor seduction might in fact be essentially coercive. In 2018, though, what people crave from popular culture is the acknowledgment of struggle. Beyonce’s \u003ca href=\"https://www.youtube.com/watch?v=SDPITj1wlkg\">raised fist\u003c/a> and Lady Gaga’s ridiculous \u003ca href=\"https://www.google.com/search?q=lady+gaga+halftime+leap&num=20&safe=off&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjBlMryoY_ZAhXjmuAKHVclAfYQ_AUIDCgD&biw=1386&bih=799\">Spiderwoman leap\u003c/a> are the Super Bowl gestures that have resonated; they felt difficult, strenuous, engaged with this very loud era of self-expression and constant public argument. Timberlake is too smooth for this moment. He doesn’t own this wrinkle in time because it belongs to those who want you to see the work behind their magic, women especially, who know that underneath the flash of a show like this is flesh — that should be exposed. \u003cem>— Ann Powers\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The Eagles walk on to Meek Mill\u003c/strong>\u003c/p>\n\u003cp>As the underdogs heading into the game, The Philadelphia Eagles used their spotlight moment to not only highlight their hip-hop taste, but to show solidarity with \u003ca href=\"https://www.npr.org/tags/564392028/meek-mill\">Meek Mill\u003c/a> — the prominent Philly rapper currently incarcerated for violating parole — by choosing his 2012 song “\u003ca href=\"https://www.youtube.com/watch?v=S8gfqs1-NuE\">Dreams and Nightmares (Intro)\u003c/a>” as their walk-on music.\u003c/p>\n\u003cp>“It says a lot that the Philadelphia Eagles are getting behind Meek Mill in such a public way,” NPR Music’s Rodney Carmichael said in a recent on-air segment. “For The Eagles to pick this song shows solidarity for a hometown guy with his back against the wall.”\u003c/p>\n\u003cp>The youthful, underdog essence of “Dreams and Nightmares (Intro)” is a sharp contrast to The Patriots’ signature walk-on music: the classical introduction to Carl Orff’s \u003cem>Carmina Burana\u003c/em>, followed by Ozzy Osbourne’s “Crazy Train.” (Once The Eagles had won the game, they \u003ca href=\"https://twitter.com/natalieweiner/status/960367411622023168\">celebrated\u003c/a> by playing the track again and popping champagne in the locker room.) \u003cem>— Sidney Madden\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The ads\u003c/strong>\u003c/p>\n\u003cp>Much of our time watching the Super Bowl is spent ingesting advertisements. It’s not news that the slots are expensive — NBC was \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/02/05/583302803/super-bowl-ads-2018-the-best-the-weirdest-and-the-most-complicated\">charging $5 million\u003c/a> for a 30-second spot. Because of that, music is incredibly useful to marketers: instantly recognizable songs can provide emotional shortcuts to the heart- and purse-strings. (When they don’t go for broke on song placements, advertisers often default to plinky ukulele or classical-ish exercises, as \u003ca href=\"https://www.youtube.com/watch?v=OPi9nTE70aA\">Coke did this year\u003c/a>.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here, in descending order of novelty, were marketers’ attempts to grab your attention via your ear canal this year:\u003c/p>\n\u003cul>\n\u003cli>The deepest cut of the evening came from Squarespace, which put \u003ca href=\"https://www.youtube.com/watch?v=W3FH1scDhfA\">Keanu Reeves on a motorcycle\u003c/a> to the tune of “Adventures in Success” by Will Powers, co-written with Sting. (Powers was the musical nom de plume of rock photographer Lynn Goldsmith, whose album, also titled \u003cem>Adventures in Success,\u003c/em> was written to satirize the self-help boom of the ’80s and plumbed the era’s textures — Tom Tom Club comes to mind — for its goofy pastiche.)\u003c/li>\n\u003cli>For T-Mobile, babies \u003ca href=\"https://www.youtube.com/watch?v=C-rumHvmqCA\">were placated with a lullaby version of Nirvana’s “All Apologies,”\u003c/a> a song in which Kurt Cobain questioned his role as an artist-turned-superstar while examining the pervasiveness of depression. That the next commercial aired was \u003ca href=\"https://www.youtube.com/watch?v=Qrl3bU1-vvE\">for Scientology\u003c/a> seemed apropos in a perpendicular way.\u003c/li>\n\u003cli>PepsiCo, in a savvy piece of penny-pinching corporate synergy, got \u003ca href=\"https://www.youtube.com/watch?v=QNzzJzdgUto\">two ads for the price of one\u003c/a>: Peter Dinklage lip-synced Busta Rhymes’ verse from the 2011 Chris Brown song “Look At Me Now” to hawk Doritos, while Morgan Freeman ambled to Missy Elliot’s legendary “Get Ur Freak On” to tout corporate sister brand Mountain Dew. (You’ll have to ask them why they didn’t spend the extra money for Busta’s “Gimme Some More,” which would have kept the music cues in the same era of hip-hop.)\u003c/li>\n\u003cli>There was Aerosmith’s \u003ca href=\"https://www.youtube.com/watch?v=0YVbVXOjJv4\">Steven Tyler pulling a Benjamin Button\u003c/a> on behalf of Kia, in a spot that succeeded in showing us \u003ca href=\"https://en.wikipedia.org/wiki/Uncanny_valley\">the uncanny valley\u003c/a>, like Tyler, is still alive and well.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=J6-8DQALGt4\">Cardi B popped in\u003c/a> as a replacement for an under-the-weather Alexa.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=phr1pOFK1V8\">Keegan-Michael Key explained\u003c/a> the meaning of “taking an L” — via Big Sean’s “Bounce Back” — to a dad.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=Ja_FK1XXg2U\">Run The Jewels soundtracked\u003c/a> a Lexus ad moonlighting as a \u003cem>Black Panther\u003c/em> ad — the duo is not on the forthcoming, Top Dawg Entertainment-helmed \u003ca href=\"https://www.npr.org/sections/allsongs/2018/01/31/582185850/kendrick-lamar-releases-black-panther-tracklist-and-it-doesn-t-disappoint\">\u003cem>Black Panther: The Album\u003c/em>\u003c/a>.\u003c/li>\n\u003cli>Harry Belafonte’s “Banana Boat Song” was \u003ca href=\"https://www.youtube.com/watch?v=H2zkZgZYEng\">repurposed for E-Trade\u003c/a> in a an ad that also obliquely referenced the deceased \u003ca href=\"https://en.wikipedia.org/wiki/Ruth_Flowers\">Ruth Flowers\u003c/a>, who began DJing under the name “Mamy Rock” at the age of 78.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=cqg5oc20nxk\">Ram Trucks set Queen’s “We Will Rock You,”\u003c/a> already a sports stadium anthem, against footage of paddling Vikings, a nod to the Super Bowl’s host city of Minneapolis.\u003c/li>\n\u003cli>Pop star \u003ca href=\"https://www.youtube.com/watch?v=CxGUmtRLm5g\">Skylar Grey covered “Stand By Me”\u003c/a> for Budweiser’s water donation program. (NPR previously \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2018/02/02/582664769/fact-checking-matt-damons-clean-water-promise-in-a-super-bowl-ad\">fact-checked another\u003c/a> water-related advertisement.) \u003cem>— Andrew Flanagan\u003c/em>\u003c/li>\n\u003c/ul>\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=Making+Sense+Of+The+Super+Bowl%27s+Musical+Moments&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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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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"pri-the-world": {
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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