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"title": "Women in the Music Industry Call for 'Evolution' at the Grammys",
"headTitle": "Women in the Music Industry Call for ‘Evolution’ at the Grammys | KQED",
"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'",
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"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>\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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"content": "\u003cp>\u003ca href=\"https://www.npr.org/2018/02/01/582513433/this-might-finally-be-the-year-for-philadelphia-eagles-fans\" target=\"_blank\" rel=\"noopener\">The Philadelphia Eagles\u003c/a> are playing in the Super Bowl for the first time in 13 years this weekend. Though the team has made two appearances at the big game in the past, the Eagles have never won a Super Bowl, making them the underdogs heading into Sunday’s match-up against the five-time championed \u003ca href=\"https://www.npr.org/tags/126950720/new-england-patriots\" target=\"_blank\" rel=\"noopener\">New England Patriots\u003c/a>. So for their introduction music into the U.S. Bank Stadium in Minneapolis, the Eagles have chosen to play a hip-hop underdog’s anthem, “Dreams and Nightmares (Intro)” by Philly rapper \u003ca href=\"https://www.npr.org/tags/564392028/meek-mill\" target=\"_blank\" rel=\"noopener\">Meek Mill\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S8gfqs1-NuE\u003c/p>\n\u003cp>The weight of this song selection is not lost on rap fans. Meek Mill, a high profile, platinum-selling rapper, has been in prison for the last three months for violating parole connected with a crime he committed over a decade ago. In the time he’s been behind bars, \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/15/564385830/meek-mill-sentencing-protest-probation-parole-reform\" target=\"_blank\" rel=\"noopener\">Meek’s case\u003c/a> has garnered plenty of media attention. The artist’s support system of music industry names and Philadelphia figureheads are vocal and steadfast in the belief that Meek should not remain in jail over and the city of Philadelphia has rallied behind the 30-year-old rapper — \u003ca href=\"https://whyy.org/articles/hundreds-call-release-meek-mill-saying-punishment-excessive-cruel/\" target=\"_blank\" rel=\"noopener\">literally\u003c/a>. \u003c/p>\n\u003cp>Michel Martin speaks with NPR Music’s Rodney Carmichael about the significance on the Eagle’s song choice and how Meek’s ongoing case has become a flash point in the debate around criminal justice reform. \u003c/p>\n\u003cp>\u003cem>Web editor Sidney Madden to this story.\u003c/em> \u003cem>Listen to the entire interview at the audio link.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Philadelphia+Eagles+Show+Brotherly+Love+For+Meek+Mill+Ahead+of+Super+Bowl&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>\u003ca href=\"https://www.npr.org/2018/02/01/582513433/this-might-finally-be-the-year-for-philadelphia-eagles-fans\" target=\"_blank\" rel=\"noopener\">The Philadelphia Eagles\u003c/a> are playing in the Super Bowl for the first time in 13 years this weekend. Though the team has made two appearances at the big game in the past, the Eagles have never won a Super Bowl, making them the underdogs heading into Sunday’s match-up against the five-time championed \u003ca href=\"https://www.npr.org/tags/126950720/new-england-patriots\" target=\"_blank\" rel=\"noopener\">New England Patriots\u003c/a>. So for their introduction music into the U.S. Bank Stadium in Minneapolis, the Eagles have chosen to play a hip-hop underdog’s anthem, “Dreams and Nightmares (Intro)” by Philly rapper \u003ca href=\"https://www.npr.org/tags/564392028/meek-mill\" target=\"_blank\" rel=\"noopener\">Meek Mill\u003c/a>.\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/S8gfqs1-NuE'\n title='//www.youtube.com/embed/S8gfqs1-NuE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The weight of this song selection is not lost on rap fans. Meek Mill, a high profile, platinum-selling rapper, has been in prison for the last three months for violating parole connected with a crime he committed over a decade ago. In the time he’s been behind bars, \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/15/564385830/meek-mill-sentencing-protest-probation-parole-reform\" target=\"_blank\" rel=\"noopener\">Meek’s case\u003c/a> has garnered plenty of media attention. The artist’s support system of music industry names and Philadelphia figureheads are vocal and steadfast in the belief that Meek should not remain in jail over and the city of Philadelphia has rallied behind the 30-year-old rapper — \u003ca href=\"https://whyy.org/articles/hundreds-call-release-meek-mill-saying-punishment-excessive-cruel/\" target=\"_blank\" rel=\"noopener\">literally\u003c/a>. \u003c/p>\n\u003cp>Michel Martin speaks with NPR Music’s Rodney Carmichael about the significance on the Eagle’s song choice and how Meek’s ongoing case has become a flash point in the debate around criminal justice reform. \u003c/p>\n\u003cp>\u003cem>Web editor Sidney Madden to this story.\u003c/em> \u003cem>Listen to the entire interview at the audio link.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Philadelphia+Eagles+Show+Brotherly+Love+For+Meek+Mill+Ahead+of+Super+Bowl&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I fell in love this week. Happens more often than you might think.\u003c/p>\n\u003cp>But the fact that it’s happened before, and will happen again, doesn’t mean this latest infatuation is any less passionate, abiding, head-over-heels, birds-suddenly-appear, stars-fall-down-from-the-sky resolute.\u003c/p>\n\u003cp>My husband’s cool with it. He always is; we have an understanding. Also the object of my love is a podcast. Probably should have mentioned that at the top.\u003c/p>\n\u003cp>This time it’s \u003ca href=\"http://answermethispodcast.com/\">\u003cem>Answer Me This\u003c/em>\u003c/a>, a (now) biweekly British show entering its 11th year, hosted by Helen Zaltzman and Olly Mann. They answer questions posed to them by the public — that’s it. That’s the whole thing. Except of course it isn’t, and there’s a lot more to it: I spend a few minutes extolling the depth and breadth and height of my passion for the show on an upcoming episode of \u003ca href=\"https://www.npr.org/sections/monkeysee/129472378/pop-culture-happy-hour/\">Pop Culture Happy Hour\u003c/a>, so I won’t jabber on about it here, but just know: It’s great.\u003c/p>\n\u003cp>I did what I always do, with a newly discovered podcast paramour: I binged. I tore through their archive, devouring episode after episode, moving steadily backward through time — Benjamin Buttoning like a goggling fiend. It’s all I’ve listened to for a solid week: on the Metro, at the gym, walking the dog, folding socks, loading the dishwasher, realizing I’d just loaded the dishwasher with folded socks, unloading the dishwasher, you get the idea.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Previously, I’d done the same thing with \u003ca href=\"http://www.maximumfun.org/shows/jordan-jesse-go\">\u003cem>Jordan Jesse Go\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"http://thisistheread.com/\">\u003cem>The Read\u003c/em>\u003c/a>. And \u003ca href=\"http://www.gilmoreguysshow.com/\">\u003cem>Gilmore Guys\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"http://www.maximumfun.org/shows/stop-podcasting-yourself\">\u003cem>Stop Podcasting Yourself\u003c/em>\u003c/a>. And \u003ca href=\"https://www.buzzfeed.com/anotherround\">\u003cem>Another Round\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"http://foreverdogproductions.com/fdpn/podcasts/las-culturistas/\">\u003cem>Las Culturistas\u003c/em>\u003c/a>. And \u003ca href=\"http://www.mydadwroteaporno.com/\">\u003cem>My Dad Wrote A Porno\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"https://audioboom.com/channel/Blank-Check\">\u003cem>Blank Check With Griffin And David\u003c/em>\u003c/a>. And \u003ca href=\"https://www.flophousepodcast.com/\">\u003cem>The Flop House\u003c/em>\u003c/a>. And many, many others.\u003c/p>\n\u003cp>The putative subjects of these podcasts that turn my eyes into fluttering hearts, in defiance of several basic biological and anatomical laws, vary widely: current events, movies, television, paternally penned erotica. Several are comedy podcasts, where the subject is the collective chemistry of the participants itself.\u003c/p>\n\u003cp>It occurred to me, as I paused in my gorging of the \u003cem>Answer Me This \u003c/em>archive (interrupting Helen and Olly as they were commiserating about what a lousy year 2015 was shaping up to be, which: oh, \u003cem>honey\u003c/em>) that what had triggered this latest infatuation was exactly the same thing that had triggered all those others.\u003c/p>\n\u003cp>This profound sense of adoration I was feeling, I realized then, was not directed at the podcast’s subject, or even, technically, at the hosts themselves. It turns out that what I love, what I hunger for, and what keeps me perpetually searching for new roundtable discussion podcasts, is what gets created at the intersection of these subjects, and these hosts — the particular \u003cem>nature \u003c/em>of these conversations.\u003c/p>\n\u003cp>It creates in me a great upwelling of congenial familiarity, of sense of knowing and being known.\u003c/p>\n\u003cp>Of \u003cem>friendship\u003c/em>, basically.\u003c/p>\n\u003cp>Which is, let’s stipulate here, nuts.\u003c/p>\n\u003cp>But that doesn’t matter: Listening to a favorite podcast — whether you do it over the course of years, months or hours — engenders a powerful sense of intimacy. You come to know the hosts’ tastes, their tics, the phrases they overuse. As they unthinkingly dole out tiny, incremental parcels of information about their personal lives — a new baby here, a beloved pet’s passing there — you realize one day that your brain has unthinkingly constructed exhaustive virtual dossiers on each of them.\u003c/p>\n\u003cp>You listen to them talk to one another in exactly the same way you talk to your friends. You keep them close throughout your day — you can even sleep with them if you want to, that’s your business.\u003c/p>\n\u003cp>Perhaps most crucially, earbuds transmit their voices inside your head — they \u003cem>roost \u003c/em>there, rubbing shoulders with your own thoughts.\u003c/p>\n\u003cp>No wonder you feel as if you know them; that the sound of their voices comes to fire precisely the same neurons, arouse the same feelings, that the voices of your closest friends do.\u003c/p>\n\u003cp>It’s purely biological, and it’s indistinguishable from intimacy — except for one minor, mundane, trifling detail:\u003c/p>\n\u003cp>It’s unidirectional.\u003c/p>\n\u003cp>You know them, you trust them, you \u003cem>love \u003c/em>them, and they have absolutely no idea who you are.\u003c/p>\n\u003cp>Mass media has always fostered this imbalance, of course. You likely feel some sense of ephemeral but deeply personal closeness with the authors of your favorite books, or actors whose work you’ve followed avidly all your life, or familiar radio personalities, maybe there’s a comedian or two whose sensibility you feel lines up with yours.\u003c/p>\n\u003cp>Theaters and movie houses are communal spaces that exist to take you outside of yourself, and transform you into a collective identity — an audience. But radio, television and the Web bring experiences to you, they’re inside your home. And in the case of podcasts, anyway, inside your brain.\u003c/p>\n\u003cp>It’s not logical, this sense that your favorite podcast hosts are your friends, but it’s hard-wired, inescapable. Look, I’m on a podcast myself, and over the years I’ve had several very nice strangers come up to me to remind me of a thing I said once that I don’t remember, or to ask something small and alarmingly specific about my husband, my dog, my favorite movie. It’s both tremendously flattering and a bit disorienting. I’m an open book to them; they’re a blank slate to me.\u003c/p>\n\u003cp>I know all this, and yet I have gone up to the hosts of podcasts I love and done the very same thing. That feeling of closeness bypasses higher brain functions. All of this information, these vast stores of osmotically collected data, these feelings on feelings, are sloshing around inside me; I gotta do \u003cem>something \u003c/em>with them.\u003c/p>\n\u003cp>That’s the singular power of podcasts, I think. (Roundtable discussion podcasts, that is. Obviously there are many different kinds, and the various formats — slick storytelling, authoritatively imparted history, true-crime deep dives — will engender different but related clusters of feelings.)\u003c/p>\n\u003cp>I’ve been thinking about why I feel the way I do about the podcasts I love, and what, precisely, triggers this sense of a deep, enduring, unidirectional intimacy. I’ve narrowed it down to a handful of factors they share.\u003c/p>\n\u003cp>Maybe you’re thinking of starting a podcast with some friends. (It’s 2018, those odds are pretty good.) Here then, humbly submitted, are some traits that, taken together, engender the profound sense of closeness I feel with my favorite podcasts. They’re subjective, of course, and they’re just common sense, but I did want to conclude this post by offering something a bit more concrete than \u003cem>gee podcasts are a thing, hunh?\u003c/em> so here goes:\u003c/p>\n\u003ch3>\u003cstrong>The 6 Eminently Disprovable Rules For Roundtable Podcasting \u003c/strong>\u003c/h3>\n\u003chr>\n\u003ch3>1. Like each other.\u003c/h3>\n\u003cp>This first rule is, of course, the toughest one to achieve. But if you’re trying to hit upon the precise interpersonal alchemical formula that will make us fall in love with your podcast, the best thing to do is not to try. We can sense when something’s forced, when you’ve selected your panel based on something clinical like expertise, instead of something organic like sensibility, or a shared history. If we can hear your respect and affection for each other, we’ll join in with it.\u003c/p>\n\u003cp>(I listed this first, but it’s \u003cem>\u003cstrong>not \u003c/strong>\u003c/em>the most important of these rules. It’s the \u003cstrong>\u003cem>second \u003c/em>\u003c/strong>most important. You’ll see why in a bit.)\u003c/p>\n\u003ch3>2. But maybe don’t, like, \u003cem>love \u003c/em>each other, you know?\u003c/h3>\n\u003cp>Look, there are plenty of great podcasts featuring romantic partners, and many romantic partners have no problem making fun of each other. That’s great, because being able to make fun of each other, and each other’s opinions — lightly, judiciously, respectfully, joyfully — is essential to the endeavor. We want to hear you disagreeing, when you do disagree, in an honest, full-throated way — but we don’t want to worry about your relationship. We don’t want you bringing outside arguments into the mix, or letting discussions descend to a place where you’re simply trying to score points off each other. Keep the stakes low, the conversation bubbling, and when necessary, call each other out with glee, the way friends do.\u003c/p>\n\u003ch3>3. Prepare …\u003c/h3>\n\u003cp>I know you, bunky. You’ve got the gift of gab. You’re eloquent, witty, thoughtful. You don’t want to sound flat, rehearsed, anodyne. You think you can you wing it.\u003c/p>\n\u003cp>Here’s the thing though: You can’t.\u003c/p>\n\u003cp>Attitude is not enough. I’ve unsubscribed from many podcasts over the years because the panelists in question have convinced themselves that a sardonic “What’s THAT about?” amounts to a point of view. It doesn’t. We need more. Think about what you’re going to say: Bring notes, plan phrasing.\u003c/p>\n\u003ch3>4. … but leave room for discovery.\u003c/h3>\n\u003cp>You need to invite us in, and the way you do that is by bringing us along with your thought process. Roundtable podcasts \u003cem>do \u003c/em>need to feel different than polished, heavily produced radio pieces. Slickness is the enemy, it keeps us listening at a far remove. We want to feel like we’re in the room with you. So by all means, prepare, and think about phrasing. But plan ways to say things that will \u003cem>open \u003c/em>the discussion, not shut it down. Invite your fellow panelists into your thinking, and follow along with theirs. Show your work; reach for insights. The goal is for all of you to collectively find something in that room that you hadn’t planned on finding before you went into it.\u003c/p>\n\u003cp>Which is to say: Listen.\u003c/p>\n\u003cp>(This is the \u003cem>third \u003c/em>most important rule.)\u003c/p>\n\u003ch3>5. Be yourself. But better.\u003c/h3>\n\u003cp>Blah blah blah, don’t be slick, it’s important to be raw and real, to reach for conclusions instead of forcing them blah blah blah: Yes. Clearly. That’s all true. Learn it. Internalize it. Live it.\u003c/p>\n\u003cp>… And now forget it. Because the version of you that you need to be on your podcast is a performance.\u003c/p>\n\u003cp>Or maybe it would better to say: a \u003cem>distillation \u003c/em>of yourself. Sharper, cleaner, more efficient. Pithier.\u003c/p>\n\u003cp>Please, for the love of all that is holy, be pithier.\u003c/p>\n\u003cp>How do you do that? Simple:\u003c/p>\n\u003ch3>6. Edit. Edit \u003cem>ruthlessly\u003c/em>. I mean, with \u003cem>no discernible ruth. \u003c/em>At all. None. Think the last 10 minutes of \u003cem>Harold and Maude\u003c/em>. Is how ruthless.\u003c/h3>\n\u003cp>\u003cem>This is the single most important rule of all. \u003c/em>\u003c/p>\n\u003cp>Look, no hyperbole or anything, but it’s the One True Answer to Everything.\u003c/p>\n\u003cp>I know, I \u003cem>know \u003c/em>I’ve hectored you above about how roundtable discussions need to feel loose and shaggy — natural, not polished.\u003c/p>\n\u003cp>But that’s just it. They need to \u003cem>feel \u003c/em>loose and shaggy. Not \u003cem>be\u003c/em>. \u003cem>FEEL\u003c/em>.\u003c/p>\n\u003cp>And that means editing. That means cutting digressions, dead ends, jokes that don’t land, and — if you’re willing (and be willing, oh, do!) — the uhms and aahs and lip-smacks. It means listening back with your aural scalpel and slicing away any dead conversational tissue. When it doubt, take it out.\u003c/p>\n\u003cp>It’s not dishonest. It’s not disingenuous. It’s not slick. It’s a vital service to us, your listeners. It’s a way of centering your discussion, a vital opportunity for you to identify and clearly delineate what makes your podcast uniquely its own.\u003c/p>\n\u003cp>On Pop Culture Happy Hour, we freshly marvel, week after week, at the yawning chasm that stretches between our raw audio and the finished product producer Jessica Reedy delivers. Applying what I call the Jess Filter makes any given episode 100 percent better than it began — and, in the bargain, makes us seem a good 40 to 45 percent smarter than we know ourselves to be.\u003c/p>\n\u003cp>Now: You likely don’t have a Jess. That means the hard duty of editing falls to you. Don’t shirk it. Violate Rules 1 through 5 if you must, but you can still pull things out — you can still inspire legions of listeners to tear through your archives, binge-listening to your every utterance while cartoon hearts flutter around their heads — if you don’t flake on Rule 6.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So go now, and podcast. Podcast like the wind, if the wind were a thing with a podcast! Be brilliant, be witty, be warm (but not \u003cem>too \u003c/em>warm, please, guys), be brutally tough on yourself, and have fun. If you do, so will we. \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=It%27s+All+In+Your+Head%3A+The+One-Way+Intimacy+Of+Podcast+Listening&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I fell in love this week. Happens more often than you might think.\u003c/p>\n\u003cp>But the fact that it’s happened before, and will happen again, doesn’t mean this latest infatuation is any less passionate, abiding, head-over-heels, birds-suddenly-appear, stars-fall-down-from-the-sky resolute.\u003c/p>\n\u003cp>My husband’s cool with it. He always is; we have an understanding. Also the object of my love is a podcast. Probably should have mentioned that at the top.\u003c/p>\n\u003cp>This time it’s \u003ca href=\"http://answermethispodcast.com/\">\u003cem>Answer Me This\u003c/em>\u003c/a>, a (now) biweekly British show entering its 11th year, hosted by Helen Zaltzman and Olly Mann. They answer questions posed to them by the public — that’s it. That’s the whole thing. Except of course it isn’t, and there’s a lot more to it: I spend a few minutes extolling the depth and breadth and height of my passion for the show on an upcoming episode of \u003ca href=\"https://www.npr.org/sections/monkeysee/129472378/pop-culture-happy-hour/\">Pop Culture Happy Hour\u003c/a>, so I won’t jabber on about it here, but just know: It’s great.\u003c/p>\n\u003cp>I did what I always do, with a newly discovered podcast paramour: I binged. I tore through their archive, devouring episode after episode, moving steadily backward through time — Benjamin Buttoning like a goggling fiend. It’s all I’ve listened to for a solid week: on the Metro, at the gym, walking the dog, folding socks, loading the dishwasher, realizing I’d just loaded the dishwasher with folded socks, unloading the dishwasher, you get the idea.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Previously, I’d done the same thing with \u003ca href=\"http://www.maximumfun.org/shows/jordan-jesse-go\">\u003cem>Jordan Jesse Go\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"http://thisistheread.com/\">\u003cem>The Read\u003c/em>\u003c/a>. And \u003ca href=\"http://www.gilmoreguysshow.com/\">\u003cem>Gilmore Guys\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"http://www.maximumfun.org/shows/stop-podcasting-yourself\">\u003cem>Stop Podcasting Yourself\u003c/em>\u003c/a>. And \u003ca href=\"https://www.buzzfeed.com/anotherround\">\u003cem>Another Round\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"http://foreverdogproductions.com/fdpn/podcasts/las-culturistas/\">\u003cem>Las Culturistas\u003c/em>\u003c/a>. And \u003ca href=\"http://www.mydadwroteaporno.com/\">\u003cem>My Dad Wrote A Porno\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"https://audioboom.com/channel/Blank-Check\">\u003cem>Blank Check With Griffin And David\u003c/em>\u003c/a>. And \u003ca href=\"https://www.flophousepodcast.com/\">\u003cem>The Flop House\u003c/em>\u003c/a>. And many, many others.\u003c/p>\n\u003cp>The putative subjects of these podcasts that turn my eyes into fluttering hearts, in defiance of several basic biological and anatomical laws, vary widely: current events, movies, television, paternally penned erotica. Several are comedy podcasts, where the subject is the collective chemistry of the participants itself.\u003c/p>\n\u003cp>It occurred to me, as I paused in my gorging of the \u003cem>Answer Me This \u003c/em>archive (interrupting Helen and Olly as they were commiserating about what a lousy year 2015 was shaping up to be, which: oh, \u003cem>honey\u003c/em>) that what had triggered this latest infatuation was exactly the same thing that had triggered all those others.\u003c/p>\n\u003cp>This profound sense of adoration I was feeling, I realized then, was not directed at the podcast’s subject, or even, technically, at the hosts themselves. It turns out that what I love, what I hunger for, and what keeps me perpetually searching for new roundtable discussion podcasts, is what gets created at the intersection of these subjects, and these hosts — the particular \u003cem>nature \u003c/em>of these conversations.\u003c/p>\n\u003cp>It creates in me a great upwelling of congenial familiarity, of sense of knowing and being known.\u003c/p>\n\u003cp>Of \u003cem>friendship\u003c/em>, basically.\u003c/p>\n\u003cp>Which is, let’s stipulate here, nuts.\u003c/p>\n\u003cp>But that doesn’t matter: Listening to a favorite podcast — whether you do it over the course of years, months or hours — engenders a powerful sense of intimacy. You come to know the hosts’ tastes, their tics, the phrases they overuse. As they unthinkingly dole out tiny, incremental parcels of information about their personal lives — a new baby here, a beloved pet’s passing there — you realize one day that your brain has unthinkingly constructed exhaustive virtual dossiers on each of them.\u003c/p>\n\u003cp>You listen to them talk to one another in exactly the same way you talk to your friends. You keep them close throughout your day — you can even sleep with them if you want to, that’s your business.\u003c/p>\n\u003cp>Perhaps most crucially, earbuds transmit their voices inside your head — they \u003cem>roost \u003c/em>there, rubbing shoulders with your own thoughts.\u003c/p>\n\u003cp>No wonder you feel as if you know them; that the sound of their voices comes to fire precisely the same neurons, arouse the same feelings, that the voices of your closest friends do.\u003c/p>\n\u003cp>It’s purely biological, and it’s indistinguishable from intimacy — except for one minor, mundane, trifling detail:\u003c/p>\n\u003cp>It’s unidirectional.\u003c/p>\n\u003cp>You know them, you trust them, you \u003cem>love \u003c/em>them, and they have absolutely no idea who you are.\u003c/p>\n\u003cp>Mass media has always fostered this imbalance, of course. You likely feel some sense of ephemeral but deeply personal closeness with the authors of your favorite books, or actors whose work you’ve followed avidly all your life, or familiar radio personalities, maybe there’s a comedian or two whose sensibility you feel lines up with yours.\u003c/p>\n\u003cp>Theaters and movie houses are communal spaces that exist to take you outside of yourself, and transform you into a collective identity — an audience. But radio, television and the Web bring experiences to you, they’re inside your home. And in the case of podcasts, anyway, inside your brain.\u003c/p>\n\u003cp>It’s not logical, this sense that your favorite podcast hosts are your friends, but it’s hard-wired, inescapable. Look, I’m on a podcast myself, and over the years I’ve had several very nice strangers come up to me to remind me of a thing I said once that I don’t remember, or to ask something small and alarmingly specific about my husband, my dog, my favorite movie. It’s both tremendously flattering and a bit disorienting. I’m an open book to them; they’re a blank slate to me.\u003c/p>\n\u003cp>I know all this, and yet I have gone up to the hosts of podcasts I love and done the very same thing. That feeling of closeness bypasses higher brain functions. All of this information, these vast stores of osmotically collected data, these feelings on feelings, are sloshing around inside me; I gotta do \u003cem>something \u003c/em>with them.\u003c/p>\n\u003cp>That’s the singular power of podcasts, I think. (Roundtable discussion podcasts, that is. Obviously there are many different kinds, and the various formats — slick storytelling, authoritatively imparted history, true-crime deep dives — will engender different but related clusters of feelings.)\u003c/p>\n\u003cp>I’ve been thinking about why I feel the way I do about the podcasts I love, and what, precisely, triggers this sense of a deep, enduring, unidirectional intimacy. I’ve narrowed it down to a handful of factors they share.\u003c/p>\n\u003cp>Maybe you’re thinking of starting a podcast with some friends. (It’s 2018, those odds are pretty good.) Here then, humbly submitted, are some traits that, taken together, engender the profound sense of closeness I feel with my favorite podcasts. They’re subjective, of course, and they’re just common sense, but I did want to conclude this post by offering something a bit more concrete than \u003cem>gee podcasts are a thing, hunh?\u003c/em> so here goes:\u003c/p>\n\u003ch3>\u003cstrong>The 6 Eminently Disprovable Rules For Roundtable Podcasting \u003c/strong>\u003c/h3>\n\u003chr>\n\u003ch3>1. Like each other.\u003c/h3>\n\u003cp>This first rule is, of course, the toughest one to achieve. But if you’re trying to hit upon the precise interpersonal alchemical formula that will make us fall in love with your podcast, the best thing to do is not to try. We can sense when something’s forced, when you’ve selected your panel based on something clinical like expertise, instead of something organic like sensibility, or a shared history. If we can hear your respect and affection for each other, we’ll join in with it.\u003c/p>\n\u003cp>(I listed this first, but it’s \u003cem>\u003cstrong>not \u003c/strong>\u003c/em>the most important of these rules. It’s the \u003cstrong>\u003cem>second \u003c/em>\u003c/strong>most important. You’ll see why in a bit.)\u003c/p>\n\u003ch3>2. But maybe don’t, like, \u003cem>love \u003c/em>each other, you know?\u003c/h3>\n\u003cp>Look, there are plenty of great podcasts featuring romantic partners, and many romantic partners have no problem making fun of each other. That’s great, because being able to make fun of each other, and each other’s opinions — lightly, judiciously, respectfully, joyfully — is essential to the endeavor. We want to hear you disagreeing, when you do disagree, in an honest, full-throated way — but we don’t want to worry about your relationship. We don’t want you bringing outside arguments into the mix, or letting discussions descend to a place where you’re simply trying to score points off each other. Keep the stakes low, the conversation bubbling, and when necessary, call each other out with glee, the way friends do.\u003c/p>\n\u003ch3>3. Prepare …\u003c/h3>\n\u003cp>I know you, bunky. You’ve got the gift of gab. You’re eloquent, witty, thoughtful. You don’t want to sound flat, rehearsed, anodyne. You think you can you wing it.\u003c/p>\n\u003cp>Here’s the thing though: You can’t.\u003c/p>\n\u003cp>Attitude is not enough. I’ve unsubscribed from many podcasts over the years because the panelists in question have convinced themselves that a sardonic “What’s THAT about?” amounts to a point of view. It doesn’t. We need more. Think about what you’re going to say: Bring notes, plan phrasing.\u003c/p>\n\u003ch3>4. … but leave room for discovery.\u003c/h3>\n\u003cp>You need to invite us in, and the way you do that is by bringing us along with your thought process. Roundtable podcasts \u003cem>do \u003c/em>need to feel different than polished, heavily produced radio pieces. Slickness is the enemy, it keeps us listening at a far remove. We want to feel like we’re in the room with you. So by all means, prepare, and think about phrasing. But plan ways to say things that will \u003cem>open \u003c/em>the discussion, not shut it down. Invite your fellow panelists into your thinking, and follow along with theirs. Show your work; reach for insights. The goal is for all of you to collectively find something in that room that you hadn’t planned on finding before you went into it.\u003c/p>\n\u003cp>Which is to say: Listen.\u003c/p>\n\u003cp>(This is the \u003cem>third \u003c/em>most important rule.)\u003c/p>\n\u003ch3>5. Be yourself. But better.\u003c/h3>\n\u003cp>Blah blah blah, don’t be slick, it’s important to be raw and real, to reach for conclusions instead of forcing them blah blah blah: Yes. Clearly. That’s all true. Learn it. Internalize it. Live it.\u003c/p>\n\u003cp>… And now forget it. Because the version of you that you need to be on your podcast is a performance.\u003c/p>\n\u003cp>Or maybe it would better to say: a \u003cem>distillation \u003c/em>of yourself. Sharper, cleaner, more efficient. Pithier.\u003c/p>\n\u003cp>Please, for the love of all that is holy, be pithier.\u003c/p>\n\u003cp>How do you do that? Simple:\u003c/p>\n\u003ch3>6. Edit. Edit \u003cem>ruthlessly\u003c/em>. I mean, with \u003cem>no discernible ruth. \u003c/em>At all. None. Think the last 10 minutes of \u003cem>Harold and Maude\u003c/em>. Is how ruthless.\u003c/h3>\n\u003cp>\u003cem>This is the single most important rule of all. \u003c/em>\u003c/p>\n\u003cp>Look, no hyperbole or anything, but it’s the One True Answer to Everything.\u003c/p>\n\u003cp>I know, I \u003cem>know \u003c/em>I’ve hectored you above about how roundtable discussions need to feel loose and shaggy — natural, not polished.\u003c/p>\n\u003cp>But that’s just it. They need to \u003cem>feel \u003c/em>loose and shaggy. Not \u003cem>be\u003c/em>. \u003cem>FEEL\u003c/em>.\u003c/p>\n\u003cp>And that means editing. That means cutting digressions, dead ends, jokes that don’t land, and — if you’re willing (and be willing, oh, do!) — the uhms and aahs and lip-smacks. It means listening back with your aural scalpel and slicing away any dead conversational tissue. When it doubt, take it out.\u003c/p>\n\u003cp>It’s not dishonest. It’s not disingenuous. It’s not slick. It’s a vital service to us, your listeners. It’s a way of centering your discussion, a vital opportunity for you to identify and clearly delineate what makes your podcast uniquely its own.\u003c/p>\n\u003cp>On Pop Culture Happy Hour, we freshly marvel, week after week, at the yawning chasm that stretches between our raw audio and the finished product producer Jessica Reedy delivers. Applying what I call the Jess Filter makes any given episode 100 percent better than it began — and, in the bargain, makes us seem a good 40 to 45 percent smarter than we know ourselves to be.\u003c/p>\n\u003cp>Now: You likely don’t have a Jess. That means the hard duty of editing falls to you. Don’t shirk it. Violate Rules 1 through 5 if you must, but you can still pull things out — you can still inspire legions of listeners to tear through your archives, binge-listening to your every utterance while cartoon hearts flutter around their heads — if you don’t flake on Rule 6.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So go now, and podcast. Podcast like the wind, if the wind were a thing with a podcast! Be brilliant, be witty, be warm (but not \u003cem>too \u003c/em>warm, please, guys), be brutally tough on yourself, and have fun. If you do, so will we. \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=It%27s+All+In+Your+Head%3A+The+One-Way+Intimacy+Of+Podcast+Listening&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Orlando (Francisco Reyes) enters a rooftop supper-club in Santiago at the beginning of the film, he can’t take his eyes off Marina (Daniela Vega), a striking young vocalist who’s crooning lyrics about throwing her boyfriend out with the garbage because, she sings, his love “is like yesterday’s newspaper.” \u003c/p>\n\u003cp>She sings that line straight to Orlando, with a little smile. She’s definitely not throwing \u003cem>him\u003c/em> away … she’s moving into his apartment as soon as they celebrate her 27th birthday. \u003c/p>\n\u003cp>But that night, things take a terrible turn. Orlando wakes up feeling ill. Marina rushes him to the hospital, where less than half an hour later, he dies due to an aneurysm. \u003c/p>\n\u003cp>At that point, Marina’s ordeal is only beginning. The doctors who couldn’t save Orlando look at Marina in the harsh hospital lighting and begin to treat her as a suspect. A policeman demands to see identification and frowns at the fact that the name on her ID card is “Daniel.”\u003c/p>\n\u003cp>https://youtu.be/PJHex4ZitgA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>A Fantastic Woman\u003c/em> is Chile’s submission to this year’s Academy Awards, and it’ll be one of the five films up for best foreign language film on Oscar night. Director Sebastian Lelio often makes films with strong, complicated women at their centers — his 2013 awards-circuit hit, \u003cem>Gloria\u003c/em> for instance. In Marina, he’s got a uniquely striking heroine, whom he is forever surrounding with mirrors and reflective surfaces, as if determined that we should see her from every possible angle. \u003c/p>\n\u003cp>The director first encountered Daniela Vega, who plays Marina, while researching Santiago’s transgender community. Initially a consultant, Vega not only won the part, she clearly influenced it — she is herself a trans woman, and an opera-trained singer who supplies her own vocals throughout the film. Vega gives Marina a fierce dignity that the character needs when dealing with Orlando’s son and with his ex-wife, who refuses even to see Marina as a woman.\u003c/p>\n\u003cp>“When I look at you I don’t know what I’m seeing” she says bluntly, but she also uses the word “perversion” — which suggests she at least knows what she \u003cem>thinks\u003c/em> about what she’s seeing. And she’s adamant that Marina not attend Orlando’s funeral, something she emphasizes by always addressing him as Daniel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Complicated,” she says at one point, “quantum physics complicated.” The film reflects that, while also acknowledging that things don’t have to be. Even as she copes with her own grief, Marina must deal with being mistreated, misjudged, even mugged. And then there’ll be a moment of grace — as a gentleman simply stands aside to let her enter an elevator first. Someone who can navigate all that, and remain resilient, assertive, even charismatic? Yes — she’s a fantastic woman.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A Fantastic Woman\u003c/em> is Chile’s submission to this year’s Academy Awards, and it’ll be one of the five films up for best foreign language film on Oscar night. Director Sebastian Lelio often makes films with strong, complicated women at their centers — his 2013 awards-circuit hit, \u003cem>Gloria\u003c/em> for instance. In Marina, he’s got a uniquely striking heroine, whom he is forever surrounding with mirrors and reflective surfaces, as if determined that we should see her from every possible angle. \u003c/p>\n\u003cp>The director first encountered Daniela Vega, who plays Marina, while researching Santiago’s transgender community. Initially a consultant, Vega not only won the part, she clearly influenced it — she is herself a trans woman, and an opera-trained singer who supplies her own vocals throughout the film. Vega gives Marina a fierce dignity that the character needs when dealing with Orlando’s son and with his ex-wife, who refuses even to see Marina as a woman.\u003c/p>\n\u003cp>“When I look at you I don’t know what I’m seeing” she says bluntly, but she also uses the word “perversion” — which suggests she at least knows what she \u003cem>thinks\u003c/em> about what she’s seeing. And she’s adamant that Marina not attend Orlando’s funeral, something she emphasizes by always addressing him as Daniel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Complicated,” she says at one point, “quantum physics complicated.” The film reflects that, while also acknowledging that things don’t have to be. Even as she copes with her own grief, Marina must deal with being mistreated, misjudged, even mugged. And then there’ll be a moment of grace — as a gentleman simply stands aside to let her enter an elevator first. Someone who can navigate all that, and remain resilient, assertive, even charismatic? Yes — she’s a fantastic woman.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From Sandwich Shops to Cotton Mills, Art that Honors the American Worker",
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"content": "\u003cp>A lot of very hard work is going on at the National Portrait Gallery in Washington, D.C.\u003c/p>\n\u003cp>A muscled guy in an undershirt tightens a big bolt with his wrench; a farm worker bends almost in half, filling his sack with cotton; Rosie the Riveter rolls up her sleeve to tackle her factory job. They’re all part of an exhibition called “\u003ca href=\"http://npg.si.edu/sweat-of-their-face\">The Sweat Of Their Face: Portraying American Workers\u003c/a>.”\u003c/p>\n\u003cp>But not all the laborers are big and burly.\u003c/p>\n\u003cp>A forlorn young girl — she can’t be more than 11 or 12 — stands at a long row of spools of thread mounted on a big piece of complicated machinery. Photographer Lewis Wickes Hine wrote her name and height on the back of the picture: “Sadie Pfeifer, 48 inches high, has worked half a year.” She had a job in 1908 at the Lancaster Cotton Mills in South Carolina. You can almost hear the noise, feel the heat.\u003c/p>\n\u003cp>“And there she is, this little girl, alone, facing an enormous machine,” says Dorothy Moss, who curated this show with David C. Ward. She says Hine was a crusader, and his cause was to abolish child labor. “He would often disguise himself as a Bible vendor or newspaper deliverer, other professions, to get into these mills.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hine put himself at risk to take these pictures, and, with the camera as witness, reforms and regulations were enacted. This exhibition showcases centuries of American workers. They are, as Moss says,”the people who were building this country, who may be on the sidelines, who are not always the focus of our attention. But because artists often identify as workers, artists felt strongly to bring these peoples’ stories out and to honor them.”\u003c/p>\n\u003cp>In this century, Los Angeles painter Ramiro Gomez honors his parents (his mother is a janitor; his father is a truck driver) by adding workers onto copies of iconic American paintings. In his version of \u003ca href=\"http://www.david-hockney.org/man-taking-shower/\">David Hockney’s \u003cem>Man in Shower in Beverly Hills\u003c/em>\u003c/a>, Gomez deletes the man and inserts a cleaning woman; we can’t see her face — just her hands squeegee-ing the shower tiles. Gomez is making the invisible visible; he and others in the show take workers we never notice, and make us notice.\u003c/p>\n\u003cfigure id=\"attachment_13823494\" 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/sf80-woman-cleaning-shower-gomez-2014_enl-fc2ec4707c6888d9857b6eae71f6d97fb18274c7-2-800x798.jpg\" alt=\"In his version of a famous David Hockney painting, Ramiro Gomez deletes the man and inserts a cleaning woman. The result is 'Woman Cleaning Shower in Beverly Hills.'\" width=\"800\" height=\"798\" class=\"size-medium wp-image-13823494\">\u003cfigcaption class=\"wp-caption-text\">In his version of a famous David Hockney painting, Ramiro Gomez deletes the man and inserts a cleaning woman. The result is ‘Woman Cleaning Shower in Beverly Hills.’\u003c/figcaption>\u003c/figure>\n\u003cp>A food worker in a Subway sandwich store gets the full treatment from photographer Shauna Frischkorn. She puts him against a black background, and lights his face to look sculptural. The black and green Subway cap sits on his red hair like a crown. It’s like a Renaissance portrait, but with a little smile — a twinkle.\u003c/p>\n\u003cp>“She’s restoring his humanity through the pose and lighting,” Moss says.\u003c/p>\n\u003cp>While the workers aren’t known, some of the artists who portray them are famous. The exhibition includes photographs by Dorothea Lange, Gordon Parks and Ansel Adams, and it has paintings by Winslow Homer and George Bellows.\u003c/p>\n\u003cfigure id=\"attachment_13823499\" 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/subway-artist-800x524.jpg\" alt=\"Left: 'Kean, Subway Sandwich Artist' by Shauna Frischkorn. Right: 'Pat Lyon 'at the Forgev by John Neagle.\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13823499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-520x341.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Kean, Subway Sandwich Artist’ by Shauna Frischkorn. Right: ‘Pat Lyon ‘at the Forgev by John Neagle. \u003ccite>(Shauna Frischkorn; Pennsylvania Academy of the Fine Arts, Philadelphia/Courtesy of the National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists are less familiar. John Neagle was fashionable in his day, less so now. Still, his 1829 portrait of Pat Lyon is a marvel. It shows a big, beefy guy in a leather apron — a blacksmith at his anvil. The muscles strain in his right arm. In real life, Pat Lyon was falsely accused of theft and jailed for three years — then he became a wealthy businessman. Yet the painter shows him sweating at his anvil, at Lyon’s request.\u003c/p>\n\u003cp>“He said he wanted to be shown as a working man because the working people of this country are the most honest people of the country,” Moss says.\u003c/p>\n\u003cp>For an image of someone actually enjoying their work, Moss points to Dawoud Bey’s 1976 photo \u003cem>Mr. Moore’s Bar-B-Que, 125th Street\u003c/em>. The owner beams from behind his Harlem lunch counter. He’s looked up from talking with a customer who’s waiting for her food. (She’s smoking, and better flick off the long cigarette ash pretty soon.) Mr. Moore’s apron is stained, probably with barbecue sauce, and he looks welcoming and proud.\u003c/p>\n\u003cfigure id=\"attachment_13823496\" 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/mooresbbq_custom-efac2fb9c3da488e836434203a8637663ddf5164-2-800x531.jpg\" alt=\"Dawoud Bey's 'Mr. Moore's Bar-B-Que, 125th Street' shows someone actually enjoying their work.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13823496\">\u003cfigcaption class=\"wp-caption-text\">Dawoud Bey’s ‘Mr. Moore’s Bar-B-Que, 125th Street’ shows someone actually enjoying their work.\u003c/figcaption>\u003c/figure>\n\u003cp>“It looks like a wonderful place to spend an afternoon,” Moss says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Workers of the world — well, the United States, anyway — unite at this Portrait Gallery exhibition. “The Sweat Of Their Face” reminds visitors of the range of vital work we do — and the ways we feel about 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=From+Sandwich+Shops+To+Cotton+Mills%2C+Art+That+Honors+The+American+Worker&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of very hard work is going on at the National Portrait Gallery in Washington, D.C.\u003c/p>\n\u003cp>A muscled guy in an undershirt tightens a big bolt with his wrench; a farm worker bends almost in half, filling his sack with cotton; Rosie the Riveter rolls up her sleeve to tackle her factory job. They’re all part of an exhibition called “\u003ca href=\"http://npg.si.edu/sweat-of-their-face\">The Sweat Of Their Face: Portraying American Workers\u003c/a>.”\u003c/p>\n\u003cp>But not all the laborers are big and burly.\u003c/p>\n\u003cp>A forlorn young girl — she can’t be more than 11 or 12 — stands at a long row of spools of thread mounted on a big piece of complicated machinery. Photographer Lewis Wickes Hine wrote her name and height on the back of the picture: “Sadie Pfeifer, 48 inches high, has worked half a year.” She had a job in 1908 at the Lancaster Cotton Mills in South Carolina. You can almost hear the noise, feel the heat.\u003c/p>\n\u003cp>“And there she is, this little girl, alone, facing an enormous machine,” says Dorothy Moss, who curated this show with David C. Ward. She says Hine was a crusader, and his cause was to abolish child labor. “He would often disguise himself as a Bible vendor or newspaper deliverer, other professions, to get into these mills.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hine put himself at risk to take these pictures, and, with the camera as witness, reforms and regulations were enacted. This exhibition showcases centuries of American workers. They are, as Moss says,”the people who were building this country, who may be on the sidelines, who are not always the focus of our attention. But because artists often identify as workers, artists felt strongly to bring these peoples’ stories out and to honor them.”\u003c/p>\n\u003cp>In this century, Los Angeles painter Ramiro Gomez honors his parents (his mother is a janitor; his father is a truck driver) by adding workers onto copies of iconic American paintings. In his version of \u003ca href=\"http://www.david-hockney.org/man-taking-shower/\">David Hockney’s \u003cem>Man in Shower in Beverly Hills\u003c/em>\u003c/a>, Gomez deletes the man and inserts a cleaning woman; we can’t see her face — just her hands squeegee-ing the shower tiles. Gomez is making the invisible visible; he and others in the show take workers we never notice, and make us notice.\u003c/p>\n\u003cfigure id=\"attachment_13823494\" 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/sf80-woman-cleaning-shower-gomez-2014_enl-fc2ec4707c6888d9857b6eae71f6d97fb18274c7-2-800x798.jpg\" alt=\"In his version of a famous David Hockney painting, Ramiro Gomez deletes the man and inserts a cleaning woman. The result is 'Woman Cleaning Shower in Beverly Hills.'\" width=\"800\" height=\"798\" class=\"size-medium wp-image-13823494\">\u003cfigcaption class=\"wp-caption-text\">In his version of a famous David Hockney painting, Ramiro Gomez deletes the man and inserts a cleaning woman. The result is ‘Woman Cleaning Shower in Beverly Hills.’\u003c/figcaption>\u003c/figure>\n\u003cp>A food worker in a Subway sandwich store gets the full treatment from photographer Shauna Frischkorn. She puts him against a black background, and lights his face to look sculptural. The black and green Subway cap sits on his red hair like a crown. It’s like a Renaissance portrait, but with a little smile — a twinkle.\u003c/p>\n\u003cp>“She’s restoring his humanity through the pose and lighting,” Moss says.\u003c/p>\n\u003cp>While the workers aren’t known, some of the artists who portray them are famous. The exhibition includes photographs by Dorothea Lange, Gordon Parks and Ansel Adams, and it has paintings by Winslow Homer and George Bellows.\u003c/p>\n\u003cfigure id=\"attachment_13823499\" 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/subway-artist-800x524.jpg\" alt=\"Left: 'Kean, Subway Sandwich Artist' by Shauna Frischkorn. Right: 'Pat Lyon 'at the Forgev by John Neagle.\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13823499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-520x341.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Kean, Subway Sandwich Artist’ by Shauna Frischkorn. Right: ‘Pat Lyon ‘at the Forgev by John Neagle. \u003ccite>(Shauna Frischkorn; Pennsylvania Academy of the Fine Arts, Philadelphia/Courtesy of the National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists are less familiar. John Neagle was fashionable in his day, less so now. Still, his 1829 portrait of Pat Lyon is a marvel. It shows a big, beefy guy in a leather apron — a blacksmith at his anvil. The muscles strain in his right arm. In real life, Pat Lyon was falsely accused of theft and jailed for three years — then he became a wealthy businessman. Yet the painter shows him sweating at his anvil, at Lyon’s request.\u003c/p>\n\u003cp>“He said he wanted to be shown as a working man because the working people of this country are the most honest people of the country,” Moss says.\u003c/p>\n\u003cp>For an image of someone actually enjoying their work, Moss points to Dawoud Bey’s 1976 photo \u003cem>Mr. Moore’s Bar-B-Que, 125th Street\u003c/em>. The owner beams from behind his Harlem lunch counter. He’s looked up from talking with a customer who’s waiting for her food. (She’s smoking, and better flick off the long cigarette ash pretty soon.) Mr. Moore’s apron is stained, probably with barbecue sauce, and he looks welcoming and proud.\u003c/p>\n\u003cfigure id=\"attachment_13823496\" 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/mooresbbq_custom-efac2fb9c3da488e836434203a8637663ddf5164-2-800x531.jpg\" alt=\"Dawoud Bey's 'Mr. Moore's Bar-B-Que, 125th Street' shows someone actually enjoying their work.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13823496\">\u003cfigcaption class=\"wp-caption-text\">Dawoud Bey’s ‘Mr. Moore’s Bar-B-Que, 125th Street’ shows someone actually enjoying their work.\u003c/figcaption>\u003c/figure>\n\u003cp>“It looks like a wonderful place to spend an afternoon,” Moss says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Workers of the world — well, the United States, anyway — unite at this Portrait Gallery exhibition. “The Sweat Of Their Face” reminds visitors of the range of vital work we do — and the ways we feel about 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=From+Sandwich+Shops+To+Cotton+Mills%2C+Art+That+Honors+The+American+Worker&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Truck Driver Plows Over Peru's Nazca Lines, Leaving 'Deep Scars'",
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"content": "\u003cp>A semitrailer driver ignored warning signs and drove over Peru’s famous Nazca Lines on Saturday, causing significant damage to the UNESCO World Heritage site.\u003c/p>\n\u003cp>The driver, identified as 40-year-old \u003ca href=\"https://twitter.com/FiscaliaPeru/status/958496177774739456?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fperu21.pe%2Fperu%2Flineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\" target=\"_blank\" rel=\"noopener\">Jainer Jesús Flores Vigo\u003c/a>, was detained and released, \u003ca href=\"https://peru21.pe/peru/lineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to newspaper \u003cem>Peru21.\u003c/em>\u003c/p>\n\u003cp>https://twitter.com/MinCulturaPe/status/958120324029173760\u003c/p>\n\u003cp>The lines were scratched into the ground approximately 2,000 years ago and depict animals, plants, imaginary creatures and geometric figures miles long. Nazca’s lines and geoglyphs stretch across an area of about 280 square miles.\u003c/p>\n\u003cp>A magistrate concluded that there wasn’t sufficient evidence to indicate the driver acted with intent, \u003cem>Peru21 \u003c/em>reports. Peru’s public minister \u003ca href=\"https://peru21.pe/peru/lineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\">announced\u003c/a> that Nazca’s prosecutor’s office was appealing the judge’s decision. The ministry had sought nine months of preventive detention and a $1,550 fine while the investigation continues, according to the newspaper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rig left “deep scars” across a 50 meter by 100 meter (104 feet by 328 feet) area, \u003ca href=\"http://www.cultura.gob.pe/es/comunicacion/noticia/comunicado-ministerio-de-cultura-denuncia-penalmente-chofer-de-camion-que\" target=\"_blank\" rel=\"noopener\">the Culture Ministry said\u003c/a>, affecting the surface of the ancient site and damaging three of the geoglyphs. \u003c/p>\n\u003cp>Argentine newspaper \u003cem>Clarín\u003c/em> \u003ca href=\"https://www.clarin.com/sociedad/desvio-camino-paso-camion-historicas-lineas-nazca-piden-meses-prision-preventiva_0_H1GYPvRrf.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that the driver said he didn’t know the area because he had never traveled there before and that he left the road because of a mechanical problem. The newspaper speculated that the driver actually drove off the Pan-American Highway to avoid paying a toll.\u003c/p>\n\u003cp>UNESCO \u003ca href=\"http://whc.unesco.org/en/list/700\" target=\"_blank\" rel=\"noopener\">says \u003c/a>the Nazca site is “the most outstanding group of geoglyphs anywhere in the world and are unmatched in its extent, magnitude, quantity, size, diversity and ancient tradition to any similar work in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This isn’t the first time people have damaged the site. In 2014, Greenpeace activists left footprints as they planted a message there in advance of U.N. climate talks in Lima. \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=Truck+Driver+Plows+Over+Peru%27s+2%2C000-Year-Old+Nazca+Lines%2C+Leaving+%27Deep+Scars%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rig left “deep scars” across a 50 meter by 100 meter (104 feet by 328 feet) area, \u003ca href=\"http://www.cultura.gob.pe/es/comunicacion/noticia/comunicado-ministerio-de-cultura-denuncia-penalmente-chofer-de-camion-que\" target=\"_blank\" rel=\"noopener\">the Culture Ministry said\u003c/a>, affecting the surface of the ancient site and damaging three of the geoglyphs. \u003c/p>\n\u003cp>Argentine newspaper \u003cem>Clarín\u003c/em> \u003ca href=\"https://www.clarin.com/sociedad/desvio-camino-paso-camion-historicas-lineas-nazca-piden-meses-prision-preventiva_0_H1GYPvRrf.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that the driver said he didn’t know the area because he had never traveled there before and that he left the road because of a mechanical problem. The newspaper speculated that the driver actually drove off the Pan-American Highway to avoid paying a toll.\u003c/p>\n\u003cp>UNESCO \u003ca href=\"http://whc.unesco.org/en/list/700\" target=\"_blank\" rel=\"noopener\">says \u003c/a>the Nazca site is “the most outstanding group of geoglyphs anywhere in the world and are unmatched in its extent, magnitude, quantity, size, diversity and ancient tradition to any similar work in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This isn’t the first time people have damaged the site. In 2014, Greenpeace activists left footprints as they planted a message there in advance of U.N. climate talks in Lima. \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=Truck+Driver+Plows+Over+Peru%27s+2%2C000-Year-Old+Nazca+Lines%2C+Leaving+%27Deep+Scars%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Man Behind 'Left Shark' Explains His Viral Super Bowl Moment",
"headTitle": "The Man Behind ‘Left Shark’ Explains His Viral Super Bowl Moment | KQED",
"content": "\u003cp>The Super Bowl halftime show is arguably as big a spectacle as the actual game. And back in 2015, it launched an unwitting star.\u003c/p>\n\u003cp>Katy Perry was the halftime artist, but one of her dancers stole the spotlight. During her performance of the song “Teenage Dream,” she was flanked onstage by two dancers dressed in enormous blue shark costumes. The one on the right seemed to dance in sync; \u003ca href=\"https://www.youtube.com/watch?v=WmcWZ2Bzoho\">the one on the other side\u003c/a> flailed as if he’d been encased in that costume against his will.\u003c/p>\n\u003cp>“Left Shark” became an instant sensation. \u003c/p>\n\u003cp>Everyone wanted to know: Could he not hear the music? Could he not see his cues from inside that costume? What happened? \u003c/p>\n\u003cp>At the time, the man inside Left Shark refused to talk to news outlets. That’s since changed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Left Shark’s real name is Bryan Gaw. He’d been a dancer with Katy Perry’s touring ensemble for five years. He left the road about a year ago, and today he’s a hair stylist at Mare Salon in West Hollywood. That’s where NPR’s David Greene caught up with him.\u003c/p>\n\u003cfigure id=\"attachment_13823252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg\" alt=\"Bryan Gaw: dancer with Katy Perry's touring ensemble, hair stylist, Left Shark.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13823252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Gaw: dancer with Katy Perry’s touring ensemble, hair stylist, Left Shark. \u003ccite>(Danny Hajek/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaw explained that the role of Left Shark involved some freedom of expression. “So there’s a set choreography,” he said. “There’s also what’s called free-style choreography, or, like, you get to move around or play your character as a dancer. … I’m in a 7-foot blue shark costume. There’s no cool in that. So what’s the other option? Well, I’m gonna play a different character.”\u003c/p>\n\u003cp>And that character, he claims, was an underdog. An everyday person. Someone imperfect.\u003c/p>\n\u003cp>Gaw rehearsed his improvisational moment thinking he’d be a little goofy, but when he reached midfield at the Super Bowl, his movements became maximum goofy.\u003c/p>\n\u003cp> “Totally,” Gaw says with a laugh. “I’m on a maximum stage!” \u003c/p>\n\u003cp>https://twitter.com/katyperry/status/562539448588435456\u003c/p>\n\u003cp>https://twitter.com/desusnice/status/562065864149966850\u003c/p>\n\u003cp>https://twitter.com/James_Dator/status/562291770751733760\u003c/p>\n\u003cp>It took Gaw a while to get used to his newfound fame. In the immediate aftermath, the media had a field day with what was perceived as a botched performance. Social media was especially cutting. Gaw didn’t talk about it publicly at first — he said he didn’t want to draw attention away from Katy Perry. But he’s since found a lot of love for Left Shark. \u003c/p>\n\u003cp>“Actually I don’t get any negative feedback from it. If anything, people are, like, ‘Whoa, that’s so cool!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now, Gaw even lists Left Shark on his resume. \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=The+Man+Behind+%27Left+Shark%27+Explains+His+Viral+Super+Bowl+Moment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Super Bowl halftime show is arguably as big a spectacle as the actual game. And back in 2015, it launched an unwitting star.\u003c/p>\n\u003cp>Katy Perry was the halftime artist, but one of her dancers stole the spotlight. During her performance of the song “Teenage Dream,” she was flanked onstage by two dancers dressed in enormous blue shark costumes. The one on the right seemed to dance in sync; \u003ca href=\"https://www.youtube.com/watch?v=WmcWZ2Bzoho\">the one on the other side\u003c/a> flailed as if he’d been encased in that costume against his will.\u003c/p>\n\u003cp>“Left Shark” became an instant sensation. \u003c/p>\n\u003cp>Everyone wanted to know: Could he not hear the music? Could he not see his cues from inside that costume? What happened? \u003c/p>\n\u003cp>At the time, the man inside Left Shark refused to talk to news outlets. That’s since changed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Left Shark’s real name is Bryan Gaw. He’d been a dancer with Katy Perry’s touring ensemble for five years. He left the road about a year ago, and today he’s a hair stylist at Mare Salon in West Hollywood. That’s where NPR’s David Greene caught up with him.\u003c/p>\n\u003cfigure id=\"attachment_13823252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg\" alt=\"Bryan Gaw: dancer with Katy Perry's touring ensemble, hair stylist, Left Shark.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13823252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Gaw: dancer with Katy Perry’s touring ensemble, hair stylist, Left Shark. \u003ccite>(Danny Hajek/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaw explained that the role of Left Shark involved some freedom of expression. “So there’s a set choreography,” he said. “There’s also what’s called free-style choreography, or, like, you get to move around or play your character as a dancer. … I’m in a 7-foot blue shark costume. There’s no cool in that. So what’s the other option? Well, I’m gonna play a different character.”\u003c/p>\n\u003cp>And that character, he claims, was an underdog. An everyday person. Someone imperfect.\u003c/p>\n\u003cp>Gaw rehearsed his improvisational moment thinking he’d be a little goofy, but when he reached midfield at the Super Bowl, his movements became maximum goofy.\u003c/p>\n\u003cp> “Totally,” Gaw says with a laugh. “I’m on a maximum stage!” \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It took Gaw a while to get used to his newfound fame. In the immediate aftermath, the media had a field day with what was perceived as a botched performance. Social media was especially cutting. Gaw didn’t talk about it publicly at first — he said he didn’t want to draw attention away from Katy Perry. But he’s since found a lot of love for Left Shark. \u003c/p>\n\u003cp>“Actually I don’t get any negative feedback from it. If anything, people are, like, ‘Whoa, that’s so cool!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now, Gaw even lists Left Shark on his resume. \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=The+Man+Behind+%27Left+Shark%27+Explains+His+Viral+Super+Bowl+Moment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "same-old-rap-the-grammys-race-toward-irrelevance",
"title": "Same Old Rap: The Grammys' Race Toward Irrelevance",
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"content": "\u003cp>It’s time to acknowledge that the Grammy Awards has a real race problem on its hands: It’s racing toward total irrelevance.\u003c/p>\n\u003cp>Well before the night reached its disappointing apex, viewers were already feeling let down. “[S]till mad as hell that I kept watching the Grammys after Best New Artist,” Nadeska Alexis, the moderator of Complex’s \u003cem>Everyday Struggle\u003c/em> hip-hop commentary show, tweeted during her morning-after commute today, echoing the sentiments of most hip-hop fans. She was referring to the loss by R&B darling SZA in the Best New Artist category, despite the breakout success of her debut album \u003cem>Ctrl\u003c/em> in 2017. The loss by Kendrick Lamar’s Top Dawg Entertainment labelmate foreshadowed the rest of the 60th Annual Grammy Awards.\u003c/p>\n\u003cp>[contextly_sidebar id=”7FctIg3iAu3HXUgtXuItolE9k4067uR6″]\u003c/p>\n\u003cp>This happened despite the Academy’s attempt to make up for its history of snubs where hip-hop, and black music in general, are concerned. The main event of November’s nominations was the record number of rap artists nominated outside the hip-hop categories. For those keeping score, it signaled that the Academy might finally be ready to acknowledge that the genre’s impact is much broader than the narrow confines to which it has historically been relegated. The recognition seemed to coincide with the rise of hip-hop/R&B — i.e. black music — as the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8085975/us-music-consumption-up-2017-rb-hip-hop-most-popular-genre\">most-consumed genre\u003c/a> in 2017.\u003c/p>\n\u003cp>Two of 2017’s most resonant albums, Kendrick Lamar’s \u003cem>DAMN.\u003c/em> and Jay-Z’s \u003cem>4:44\u003c/em>, competed against rapper Childish Gambino’s funk-inspired departure \u003cem>“Awaken, My Love!”\u003c/em> in a category rounded out by Lorde (\u003cem>Melodrama\u003c/em>) and ultimate upsetter Bruno Mars (\u003cem>24K Magic\u003c/em>), who also took home respective trophies for Song and Record of the Year (“That’s What I Like,” “24K Magic”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even with the deck stacked in hip-hop’s favor, the genre came up short yet again in the coveted Album of the Year category. But the real loss is for the Recording Academy, which continues to prove how out of step it has become. If the story of 2017 is hip-hop’s takeover, the Grammys, by failing to reflect rap’s urgency, have settled deeper into an age-old narrative.\u003c/p>\n\u003cp>Oddly enough, Jay made a record as close to Grammy bait as any, a veteran performer releasing his most mature album to date, wrapped in a vulnerable narrative that features everything from him apologizing for celebrity infidelity to his mother’s personal coming out on record. And Lamar released a record deemed consensus album of the year, a critical and commercial success, by toeing the line between heady conceptual arc and rare pop triumph.\u003c/p>\n\u003cp>The snub makes it explicit that the Grammys is not here for hip-hop. And that’s no surprise. As is often the case, there are plenty of other problems we could discuss regarding Sunday night’s Grammy Awards. The lack of women nominees, in a year when the industry’s complicit silence around sexism speaks louder than the resulting #metoo movement, is a travesty. And there’s no excusing how the Spanish-language “Despacito,” which tied for longest-running \u003cem>Billboard \u003c/em>100 No. 1, failed to pick up a single award.\u003c/p>\n\u003cp>These are the results of a flawed voting process that increasingly fails to reflect the will of the majority in pop or politics. The electorate, in this case, is an aging academy membership in dire need of hip replacement surgery. But there’s a bigger takeaway regarding the Academy’s record on hip-hop that’s easy to miss. Despite celebrated Album of the Year wins by Lauryn Hill (\u003cem>The Miseducation of Lauryn Hill\u003c/em>, 1999) and OutKast (\u003cem>Speakerboxxx/The Love Below\u003c/em>, 2004), a pure rap album has never won the Grammy’s most esteemed category. Without the R&B-heavy stylings Lauryn offered on \u003cem>Miseducation\u003c/em> or Andre 3000’s pop-inflected melodies, a la “Hey Ya,” on \u003cem>The Love Below\u003c/em>, neither of those projects would’ve been primed for the award. Not even Eminem, the genre’s great white hope and one of the best emcees of all time, has won in the coveted AOY category; nominated for \u003cem>The Marshall Mathers LP\u003c/em> in 2001, he lost to Steely Dan.\u003c/p>\n\u003cp>So, what does it mean? Are the Grammys woefully out of touch, or do these chronic missteps mirror a deeper reflection of America’s inbred racism?\u003c/p>\n\u003cp>[contextly_sidebar id=”m3uVq5Jn241snf2khW8w9JVA4MGP65SS”]\u003c/p>\n\u003cp>That, in no way, erases the impact of Bruno Mars’ album win. Being a man of color himself, he acknowledges R&B predecessors from Jimmy Jam & Terry Lewis to Teddy Riley among his greatest influences. But in 2018, he’s also a safe Grammy pick who echoes the sounds of the past with performances that recall an era of black music more palatable to the mainstream now that it’s two decades in the recycled past. His chops may be rooted within the realm of hip-hop, as \u003cem>The New York Times Magazine’s \u003c/em>Jody Rosen \u003ca href=\"https://twitter.com/jodyrosen/status/958013399937495042\">argued today\u003c/a>, but it’s the fact that his music is also pop-friendly, drawing from many genres, that makes him easy for Grammy voters to embrace.\u003c/p>\n\u003cp>Meanwhile, artists pushing the envelope in 2017 are forced to watch from the sidelines or fight like crabs over the rap categories. Hip-hop’s relationship with the award show began with a boycott back in 1989. Since then the debate has continued to rage on about whether such recognition matters. From frequent Grammy-winner Kanye West to the never-nominated Vince Staples, rap artists have pointed to the significance of rap being segregated from the general categories. While November’s list of nominees looked hopeful, it was only a reminder of the inherent bias that remains built into the system in the end.\u003c/p>\n\u003cp>An artist would be stupid at this point to believe in change. Jay-Z reportedly declined the Academy’s invitation to perform last night. A performance on the Grammy stage works wonders for most young artists, but at this point in Jay-Z’s career he’d only be putting on a spectacle for ratings. The most successful rap artist in the history of the genre might not require our sympathies, but just imagine what it must be like for Jay-Z to walk away empty-handed in the general award categories, just as his wife Beyoncé did one year ago. When Adele won Album of the Year over \u003cem>Lemonade\u003c/em>, even she admittedly struggled to accept the award.\u003c/p>\n\u003cp>[contextly_sidebar id=”21FhlAhmAEBYUxUYVzNVElaY5edakSjO”]\u003c/p>\n\u003cp>But I don’t know if the Academy deserves all the blame. Maybe the award show is a scapegoat for a greater ill. The Grammys’ continued ghettoization of hip-hop is a distillation of America’s longstanding record on race. It’s a woefully offbeat record that black artists continue to remix and subvert. But if the rough and real noise heard in voices that dare to challenge that record — like those voices employed by Lamar throughout \u003cem>DAMN. \u003c/em>or the ones Jay exorcises on such \u003cem>4:44\u003c/em> songs as “Story of O.J.” — continue to fall on deaf Academy ears, those voices will only grow louder. And the Grammy’s will mute its own self-importance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, a show of some sort will go on — whether onstage or off. Because “the only thing more frightening than watching a black man be honest in America,” as comedian Dave Chappelle interjected last night during Kendrick Lamar’s opening performance, is \u003cem>being \u003c/em>black in America.\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=Same+Old+Rap%3A+The+Grammys%27+Race+Toward+Irrelevance+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time to acknowledge that the Grammy Awards has a real race problem on its hands: It’s racing toward total irrelevance.\u003c/p>\n\u003cp>Well before the night reached its disappointing apex, viewers were already feeling let down. “[S]till mad as hell that I kept watching the Grammys after Best New Artist,” Nadeska Alexis, the moderator of Complex’s \u003cem>Everyday Struggle\u003c/em> hip-hop commentary show, tweeted during her morning-after commute today, echoing the sentiments of most hip-hop fans. She was referring to the loss by R&B darling SZA in the Best New Artist category, despite the breakout success of her debut album \u003cem>Ctrl\u003c/em> in 2017. The loss by Kendrick Lamar’s Top Dawg Entertainment labelmate foreshadowed the rest of the 60th Annual Grammy Awards.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This happened despite the Academy’s attempt to make up for its history of snubs where hip-hop, and black music in general, are concerned. The main event of November’s nominations was the record number of rap artists nominated outside the hip-hop categories. For those keeping score, it signaled that the Academy might finally be ready to acknowledge that the genre’s impact is much broader than the narrow confines to which it has historically been relegated. The recognition seemed to coincide with the rise of hip-hop/R&B — i.e. black music — as the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8085975/us-music-consumption-up-2017-rb-hip-hop-most-popular-genre\">most-consumed genre\u003c/a> in 2017.\u003c/p>\n\u003cp>Two of 2017’s most resonant albums, Kendrick Lamar’s \u003cem>DAMN.\u003c/em> and Jay-Z’s \u003cem>4:44\u003c/em>, competed against rapper Childish Gambino’s funk-inspired departure \u003cem>“Awaken, My Love!”\u003c/em> in a category rounded out by Lorde (\u003cem>Melodrama\u003c/em>) and ultimate upsetter Bruno Mars (\u003cem>24K Magic\u003c/em>), who also took home respective trophies for Song and Record of the Year (“That’s What I Like,” “24K Magic”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even with the deck stacked in hip-hop’s favor, the genre came up short yet again in the coveted Album of the Year category. But the real loss is for the Recording Academy, which continues to prove how out of step it has become. If the story of 2017 is hip-hop’s takeover, the Grammys, by failing to reflect rap’s urgency, have settled deeper into an age-old narrative.\u003c/p>\n\u003cp>Oddly enough, Jay made a record as close to Grammy bait as any, a veteran performer releasing his most mature album to date, wrapped in a vulnerable narrative that features everything from him apologizing for celebrity infidelity to his mother’s personal coming out on record. And Lamar released a record deemed consensus album of the year, a critical and commercial success, by toeing the line between heady conceptual arc and rare pop triumph.\u003c/p>\n\u003cp>The snub makes it explicit that the Grammys is not here for hip-hop. And that’s no surprise. As is often the case, there are plenty of other problems we could discuss regarding Sunday night’s Grammy Awards. The lack of women nominees, in a year when the industry’s complicit silence around sexism speaks louder than the resulting #metoo movement, is a travesty. And there’s no excusing how the Spanish-language “Despacito,” which tied for longest-running \u003cem>Billboard \u003c/em>100 No. 1, failed to pick up a single award.\u003c/p>\n\u003cp>These are the results of a flawed voting process that increasingly fails to reflect the will of the majority in pop or politics. The electorate, in this case, is an aging academy membership in dire need of hip replacement surgery. But there’s a bigger takeaway regarding the Academy’s record on hip-hop that’s easy to miss. Despite celebrated Album of the Year wins by Lauryn Hill (\u003cem>The Miseducation of Lauryn Hill\u003c/em>, 1999) and OutKast (\u003cem>Speakerboxxx/The Love Below\u003c/em>, 2004), a pure rap album has never won the Grammy’s most esteemed category. Without the R&B-heavy stylings Lauryn offered on \u003cem>Miseducation\u003c/em> or Andre 3000’s pop-inflected melodies, a la “Hey Ya,” on \u003cem>The Love Below\u003c/em>, neither of those projects would’ve been primed for the award. Not even Eminem, the genre’s great white hope and one of the best emcees of all time, has won in the coveted AOY category; nominated for \u003cem>The Marshall Mathers LP\u003c/em> in 2001, he lost to Steely Dan.\u003c/p>\n\u003cp>So, what does it mean? Are the Grammys woefully out of touch, or do these chronic missteps mirror a deeper reflection of America’s inbred racism?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That, in no way, erases the impact of Bruno Mars’ album win. Being a man of color himself, he acknowledges R&B predecessors from Jimmy Jam & Terry Lewis to Teddy Riley among his greatest influences. But in 2018, he’s also a safe Grammy pick who echoes the sounds of the past with performances that recall an era of black music more palatable to the mainstream now that it’s two decades in the recycled past. His chops may be rooted within the realm of hip-hop, as \u003cem>The New York Times Magazine’s \u003c/em>Jody Rosen \u003ca href=\"https://twitter.com/jodyrosen/status/958013399937495042\">argued today\u003c/a>, but it’s the fact that his music is also pop-friendly, drawing from many genres, that makes him easy for Grammy voters to embrace.\u003c/p>\n\u003cp>Meanwhile, artists pushing the envelope in 2017 are forced to watch from the sidelines or fight like crabs over the rap categories. Hip-hop’s relationship with the award show began with a boycott back in 1989. Since then the debate has continued to rage on about whether such recognition matters. From frequent Grammy-winner Kanye West to the never-nominated Vince Staples, rap artists have pointed to the significance of rap being segregated from the general categories. While November’s list of nominees looked hopeful, it was only a reminder of the inherent bias that remains built into the system in the end.\u003c/p>\n\u003cp>An artist would be stupid at this point to believe in change. Jay-Z reportedly declined the Academy’s invitation to perform last night. A performance on the Grammy stage works wonders for most young artists, but at this point in Jay-Z’s career he’d only be putting on a spectacle for ratings. The most successful rap artist in the history of the genre might not require our sympathies, but just imagine what it must be like for Jay-Z to walk away empty-handed in the general award categories, just as his wife Beyoncé did one year ago. When Adele won Album of the Year over \u003cem>Lemonade\u003c/em>, even she admittedly struggled to accept the award.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But I don’t know if the Academy deserves all the blame. Maybe the award show is a scapegoat for a greater ill. The Grammys’ continued ghettoization of hip-hop is a distillation of America’s longstanding record on race. It’s a woefully offbeat record that black artists continue to remix and subvert. But if the rough and real noise heard in voices that dare to challenge that record — like those voices employed by Lamar throughout \u003cem>DAMN. \u003c/em>or the ones Jay exorcises on such \u003cem>4:44\u003c/em> songs as “Story of O.J.” — continue to fall on deaf Academy ears, those voices will only grow louder. And the Grammy’s will mute its own self-importance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"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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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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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"imageAlt": "KQED MindShift: How We Will Learn",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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