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"content": "\u003cp>Morris Robinson has the kind of bass voice that reverberates so strongly, you feel it in your concert seat. Listening to it, you assume he’s been singing all of his life. And he has — but not opera.\u003c/p>\n\u003cp>Robinson grew up in Atlanta, the son of a Baptist minister and a mother who spent a lot of time making sure her children played musical instruments and did well in school. His earliest memory of singing was being “in the kiddie choir,” standing on a chair in church and singing the hymn “Can’t Nobody Do Me Like Jesus.” He got a lot of applause. “Then I realized I wanted to play the drums, which is a lot more exciting than singing. So I ended up being the church drummer.”\u003c/p>\n\u003cp>For a long time as a youth, Morris Robinson says, “singing was just something to do. Nobody thought of it as a viable profession.”\u003c/p>\n\u003cp>\u003cstrong>Aiming For One Goal …\u003c/strong>\u003c/p>\n\u003cp>What he really wanted to do was play football. And he did, but soon he grew too big to play in his division in the youth leagues, so reluctantly, he turned to music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He sang in the Atlanta Boys’ Choir and in the chorus at his performing arts high school, where he also played football.\u003c/p>\n\u003cp>“When you’re a big black guy down south in Georgia,” he grins, “you play ball. It’s like a rite of passage.”\u003c/p>\n\u003cp>Chorus was fun, but football was \u003cem>cool\u003c/em>. And cool counts a lot in high school.\u003c/p>\n\u003cp>His prowess on the field got him to the Citadel, the military college in Charleston, S.C., where he played ball and soloed in the schools’ venerated Christmas concert with an “O Holy Night” people still remember. An offensive lineman, Robinson was voted All-American three times — but it wasn’t enough to get him a much hoped-for spot with the NFL.\u003c/p>\n\u003cp>He was, ironically, too small. “At 6 feet 2 1/2 inches, 290 pounds, I’d be blocking someone 6 feet 6 inches, 300 pounds,” he says. “Would somebody pay me millions of dollars to protect their quarterback? Probably not.”\u003c/p>\n\u003cp>\u003cstrong>… Working On Another \u003c/strong>\u003c/p>\n\u003cp>After graduation, he got a job in corporate sales and moved around the country as he got better offers and promotions. Along the way, he married Denise Wright, an attractive flight attendant he met en route to a sales conference. Their son Miles is 10 years old. Sometimes Robinson sang for his former teammates when they got married. He missed music and began to wonder if he might be able to do something more than weddings.\u003c/p>\n\u003cp>While working in Boston, he applied to Boston University’s Opera Institute and was accepted with a full scholarship and stipend. It was a chance to become an opera professional, but that meant giving up a lucrative job: “company car, expense account, office at home, 401(k) — quit.”\u003c/p>\n\u003cp>Denise encouraged him. They both saw it as an investment in Robinson’s career. He promised to give it his all for two years to try to make it work. “If it doesn’t,” he promised, “I’ll go back to work.”\u003c/p>\n\u003cp>He didn’t have to. Robinson was cast regularly from the start. His first role was with the Boston Lyric Opera as the king in \u003cem>Aida\u003c/em>. One role led to another, work was steady — so steady, “I had to cut back on my part-time work at Best Buy to put some change in my pocket, I was singing so much.”\u003c/p>\n\u003cp>At the same time, he was learning a lot: “So much is coming at me: languages, style, stage combat, stage position, vocal production. … It was like drinking out of a fire hydrant!” But the doggedness and discipline he’d learned on the football field stood Robinson in good stead.\u003c/p>\n\u003cp>He’s sung with opera companies from St. Louis to Sydney, from Atlanta to Aix-en-Provence. In 2013, he starred as Joe in the Houston Grand Opera’s production of \u003cem>Show Boat\u003c/em>; his “Ol’ Man River” brought down the house.\u003c/p>\n\u003cp>\u003cstrong>‘It Is Changing’ — Somewhat\u003c/strong>\u003c/p>\n\u003cp>As an African-American opera singer, Robinson is still something of a rarity, but less rare than he once was. Racial barriers are not as high as they were when Marian Anderson and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1148999\" target=\"_blank\" rel=\"noopener\">William Warfield\u003c/a> sang onstage.\u003c/p>\n\u003cp>“I will say it is changing,” he says carefully. “Exposure has reached out and brought in more African-American singers represented on stage, in concert halls and opera houses.” But change is relative. “There are still very few of us,” he admits. And diversifying opera’s audience is still challenging.\u003c/p>\n\u003cp>Robinson says he’s lucky: He’s sung most of the roles he’s wanted in many of the places he’s wanted to sing them. But over the years, he has steadfastly refused to consider one role: the title role of Porgy in \u003cem>Porgy and Bess\u003c/em>.\u003c/p>\n\u003cp>Robinson thought he knew what people were thinking when they asked: “I’m a big, black opera singer; I should be singing \u003cem>Porgy and Bess.\u003c/em>” And he was having none of it: “I didn’t want to be typecast that early in my career.”\u003c/p>\n\u003cp>Now, firmly established after 17 years of singing mostly Italian and German works, Robinson is ready. This fall, he’ll be singing Porgy at Milan’s iconic opera house, La Scala.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And seats will rumble. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Football+To+Opera%3A+Singer+Morris+Robinson+Takes+Center+Stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Morris Robinson has the kind of bass voice that reverberates so strongly, you feel it in your concert seat. Listening to it, you assume he’s been singing all of his life. And he has — but not opera.\u003c/p>\n\u003cp>Robinson grew up in Atlanta, the son of a Baptist minister and a mother who spent a lot of time making sure her children played musical instruments and did well in school. His earliest memory of singing was being “in the kiddie choir,” standing on a chair in church and singing the hymn “Can’t Nobody Do Me Like Jesus.” He got a lot of applause. “Then I realized I wanted to play the drums, which is a lot more exciting than singing. So I ended up being the church drummer.”\u003c/p>\n\u003cp>For a long time as a youth, Morris Robinson says, “singing was just something to do. Nobody thought of it as a viable profession.”\u003c/p>\n\u003cp>\u003cstrong>Aiming For One Goal …\u003c/strong>\u003c/p>\n\u003cp>What he really wanted to do was play football. And he did, but soon he grew too big to play in his division in the youth leagues, so reluctantly, he turned to music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He sang in the Atlanta Boys’ Choir and in the chorus at his performing arts high school, where he also played football.\u003c/p>\n\u003cp>“When you’re a big black guy down south in Georgia,” he grins, “you play ball. It’s like a rite of passage.”\u003c/p>\n\u003cp>Chorus was fun, but football was \u003cem>cool\u003c/em>. And cool counts a lot in high school.\u003c/p>\n\u003cp>His prowess on the field got him to the Citadel, the military college in Charleston, S.C., where he played ball and soloed in the schools’ venerated Christmas concert with an “O Holy Night” people still remember. An offensive lineman, Robinson was voted All-American three times — but it wasn’t enough to get him a much hoped-for spot with the NFL.\u003c/p>\n\u003cp>He was, ironically, too small. “At 6 feet 2 1/2 inches, 290 pounds, I’d be blocking someone 6 feet 6 inches, 300 pounds,” he says. “Would somebody pay me millions of dollars to protect their quarterback? Probably not.”\u003c/p>\n\u003cp>\u003cstrong>… Working On Another \u003c/strong>\u003c/p>\n\u003cp>After graduation, he got a job in corporate sales and moved around the country as he got better offers and promotions. Along the way, he married Denise Wright, an attractive flight attendant he met en route to a sales conference. Their son Miles is 10 years old. Sometimes Robinson sang for his former teammates when they got married. He missed music and began to wonder if he might be able to do something more than weddings.\u003c/p>\n\u003cp>While working in Boston, he applied to Boston University’s Opera Institute and was accepted with a full scholarship and stipend. It was a chance to become an opera professional, but that meant giving up a lucrative job: “company car, expense account, office at home, 401(k) — quit.”\u003c/p>\n\u003cp>Denise encouraged him. They both saw it as an investment in Robinson’s career. He promised to give it his all for two years to try to make it work. “If it doesn’t,” he promised, “I’ll go back to work.”\u003c/p>\n\u003cp>He didn’t have to. Robinson was cast regularly from the start. His first role was with the Boston Lyric Opera as the king in \u003cem>Aida\u003c/em>. One role led to another, work was steady — so steady, “I had to cut back on my part-time work at Best Buy to put some change in my pocket, I was singing so much.”\u003c/p>\n\u003cp>At the same time, he was learning a lot: “So much is coming at me: languages, style, stage combat, stage position, vocal production. … It was like drinking out of a fire hydrant!” But the doggedness and discipline he’d learned on the football field stood Robinson in good stead.\u003c/p>\n\u003cp>He’s sung with opera companies from St. Louis to Sydney, from Atlanta to Aix-en-Provence. In 2013, he starred as Joe in the Houston Grand Opera’s production of \u003cem>Show Boat\u003c/em>; his “Ol’ Man River” brought down the house.\u003c/p>\n\u003cp>\u003cstrong>‘It Is Changing’ — Somewhat\u003c/strong>\u003c/p>\n\u003cp>As an African-American opera singer, Robinson is still something of a rarity, but less rare than he once was. Racial barriers are not as high as they were when Marian Anderson and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1148999\" target=\"_blank\" rel=\"noopener\">William Warfield\u003c/a> sang onstage.\u003c/p>\n\u003cp>“I will say it is changing,” he says carefully. “Exposure has reached out and brought in more African-American singers represented on stage, in concert halls and opera houses.” But change is relative. “There are still very few of us,” he admits. And diversifying opera’s audience is still challenging.\u003c/p>\n\u003cp>Robinson says he’s lucky: He’s sung most of the roles he’s wanted in many of the places he’s wanted to sing them. But over the years, he has steadfastly refused to consider one role: the title role of Porgy in \u003cem>Porgy and Bess\u003c/em>.\u003c/p>\n\u003cp>Robinson thought he knew what people were thinking when they asked: “I’m a big, black opera singer; I should be singing \u003cem>Porgy and Bess.\u003c/em>” And he was having none of it: “I didn’t want to be typecast that early in my career.”\u003c/p>\n\u003cp>Now, firmly established after 17 years of singing mostly Italian and German works, Robinson is ready. This fall, he’ll be singing Porgy at Milan’s iconic opera house, La Scala.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And seats will rumble. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Football+To+Opera%3A+Singer+Morris+Robinson+Takes+Center+Stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Once upon a time, an artist actually had to \u003cem>sell\u003c/em> albums to earn gold or platinum awards from the Recording Industry Association of America (RIAA). But today, the RIAA \u003ca href=\"http://www.riaa.com/riaa-debuts-album-award-streams/\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> that they’re catching up with how fans actually listen to music: On-demand streaming, either on video or audio platforms, counts toward that status.\u003c/p>\n\u003cp>In order to get to that reckoning, the RIAA has created a new formula: 1,500 streams is now the official equivalent of ten single track sales or one album sale. (Gold status is awarded after the equivalent of 500,000 sales; platinum, on 1,000,000 sales.) Theoretically, if an artist’s single were streamed 1.5 billion times on YouTube, the whole album could be certified platinum.\u003c/p>\n\u003cp>Seventeen albums have immediately benefited from these new benchmarks, including \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a>’s \u003cem>To Pimp A Butterfly\u003c/em>, which is now platinum, and \u003ca href=\"http://www.npr.org/artists/164187667/alt-j\" target=\"_blank\" rel=\"noopener\">Alt-J\u003c/a>’s \u003cem>An Awesome Wave\u003c/em>, which earned a gold award.\u003c/p>\n\u003cp>But perhaps the most immediately buzzed-about award has gone to \u003ca href=\"http://www.npr.org/tags/125943991/rihanna/archive\" target=\"_blank\" rel=\"noopener\">Rihanna\u003c/a>’s new album \u003cem>Anti\u003c/em>, which \u003ca href=\"https://twitter.com/RIAA/status/693117513434021888\" target=\"_blank\" rel=\"noopener\">went platinum\u003c/a> on Friday, less than two days after it first leaked and then was officially released only on Tidal, the streaming platform co-owned by Rihanna.\u003c/p>\n\u003cp>It didn’t hit the mark solely because of streams, though. A Tidal representative told \u003cem>Spin\u003c/em> magazine that \u003cem>Anti\u003c/em> was downloaded more than 1.4 million times in its \u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/?utm_source=spintwitter&utm_medium=social&utm_campaign=spintwitter\" target=\"_blank\" rel=\"noopener\">first 15 hours\u003c/a> of availability. A “limited” number of those downloads of the album were given away for free to fans through a \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2016/01/anti-capitalism/435411/\" target=\"_blank\" rel=\"noopener\">promotional arrangement\u003c/a> with Samsung. The \u003cem>New York Post\u003c/em> reported last October that the Barbados-born singer signed a deal for \u003ca href=\"http://nypost.com/2015/10/29/rihanna-inks-25m-sponsorship-deal-with-samsung/\" target=\"_blank\" rel=\"noopener\">$25 million\u003c/a> with the South Korean electronics megaplayer to sponsor both the \u003cem>Anti \u003c/em>album and tour.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>However, the ratings company Nielsen Music and \u003cem>Billboard \u003c/em>are not counting those promotional downloads of \u003cem>Anti\u003c/em> in their own, separate chart calculations, as they explained in a statement they provided to \u003cem>\u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a>\u003c/em>. \u003cem>Billboard\u003c/em> says they will only count the “400k+” paid downloads via Tidal — meaning that perhaps up to a million copies of \u003cem>Anti\u003c/em> were downloaded via that free promotion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ways in which the RIAA has historically tallied its numbers, however, have not always been strictly sales-based; the group previously counted units shipped to retailers, but \u003ca href=\"http://articles.latimes.com/1995-01-15/entertainment/ca-20083_1_lion-king\" target=\"_blank\" rel=\"noopener\">not necessarily sold\u003c/a>, within their calculations. This differs from how Nielsen determines their numbers, which used to be based entirely on sales but now combines sales of physical product with downloads and on-demand streams. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Forget+Selling+Albums+%E2%80%94+Artists+Can+Now+Go+Platinum+Via+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once upon a time, an artist actually had to \u003cem>sell\u003c/em> albums to earn gold or platinum awards from the Recording Industry Association of America (RIAA). But today, the RIAA \u003ca href=\"http://www.riaa.com/riaa-debuts-album-award-streams/\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> that they’re catching up with how fans actually listen to music: On-demand streaming, either on video or audio platforms, counts toward that status.\u003c/p>\n\u003cp>In order to get to that reckoning, the RIAA has created a new formula: 1,500 streams is now the official equivalent of ten single track sales or one album sale. (Gold status is awarded after the equivalent of 500,000 sales; platinum, on 1,000,000 sales.) Theoretically, if an artist’s single were streamed 1.5 billion times on YouTube, the whole album could be certified platinum.\u003c/p>\n\u003cp>Seventeen albums have immediately benefited from these new benchmarks, including \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a>’s \u003cem>To Pimp A Butterfly\u003c/em>, which is now platinum, and \u003ca href=\"http://www.npr.org/artists/164187667/alt-j\" target=\"_blank\" rel=\"noopener\">Alt-J\u003c/a>’s \u003cem>An Awesome Wave\u003c/em>, which earned a gold award.\u003c/p>\n\u003cp>But perhaps the most immediately buzzed-about award has gone to \u003ca href=\"http://www.npr.org/tags/125943991/rihanna/archive\" target=\"_blank\" rel=\"noopener\">Rihanna\u003c/a>’s new album \u003cem>Anti\u003c/em>, which \u003ca href=\"https://twitter.com/RIAA/status/693117513434021888\" target=\"_blank\" rel=\"noopener\">went platinum\u003c/a> on Friday, less than two days after it first leaked and then was officially released only on Tidal, the streaming platform co-owned by Rihanna.\u003c/p>\n\u003cp>It didn’t hit the mark solely because of streams, though. A Tidal representative told \u003cem>Spin\u003c/em> magazine that \u003cem>Anti\u003c/em> was downloaded more than 1.4 million times in its \u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/?utm_source=spintwitter&utm_medium=social&utm_campaign=spintwitter\" target=\"_blank\" rel=\"noopener\">first 15 hours\u003c/a> of availability. A “limited” number of those downloads of the album were given away for free to fans through a \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2016/01/anti-capitalism/435411/\" target=\"_blank\" rel=\"noopener\">promotional arrangement\u003c/a> with Samsung. The \u003cem>New York Post\u003c/em> reported last October that the Barbados-born singer signed a deal for \u003ca href=\"http://nypost.com/2015/10/29/rihanna-inks-25m-sponsorship-deal-with-samsung/\" target=\"_blank\" rel=\"noopener\">$25 million\u003c/a> with the South Korean electronics megaplayer to sponsor both the \u003cem>Anti \u003c/em>album and tour.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>However, the ratings company Nielsen Music and \u003cem>Billboard \u003c/em>are not counting those promotional downloads of \u003cem>Anti\u003c/em> in their own, separate chart calculations, as they explained in a statement they provided to \u003cem>\u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a>\u003c/em>. \u003cem>Billboard\u003c/em> says they will only count the “400k+” paid downloads via Tidal — meaning that perhaps up to a million copies of \u003cem>Anti\u003c/em> were downloaded via that free promotion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ways in which the RIAA has historically tallied its numbers, however, have not always been strictly sales-based; the group previously counted units shipped to retailers, but \u003ca href=\"http://articles.latimes.com/1995-01-15/entertainment/ca-20083_1_lion-king\" target=\"_blank\" rel=\"noopener\">not necessarily sold\u003c/a>, within their calculations. This differs from how Nielsen determines their numbers, which used to be based entirely on sales but now combines sales of physical product with downloads and on-demand streams. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Forget+Selling+Albums+%E2%80%94+Artists+Can+Now+Go+Platinum+Via+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the winter of 1987, music producer \u003ca href=\"http://www.toddrlockwood.com/\" target=\"_blank\" rel=\"noopener\">Todd Lockwood\u003c/a> was on the lookout for a hot new project to grow his label. Lockwood owned the White Crow recording studio in Burlington, Vt. — and he didn’t have to look far to find his bold idea.\u003c/p>\n\u003cp>That idea? Get Bernie Sanders — then the longtime mayor of Burlington — into the studio to record a few of his favorite songs.\u003c/p>\n\u003cp>“We had this intriguing mayor, a guy who was absolutely on a mission with everything he did,” Lockwood recalls. “He was charismatic and had a powerful public image. But people didn’t really know that much about what his personal life was like. So I thought, well, here’s an opportunity to see the man behind the curtain.”\u003c/p>\n\u003cp>The result ultimately became \u003ca href=\"https://jamesnapoli.atavist.com/we-shall-overcome\" target=\"_blank\" rel=\"noopener\">We Shall Overcome\u003c/a>, the Bernie Sanders folk album.\u003c/p>\n\u003cp>But it all started with a letter to the mayor, and a meeting face to face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The very first thing he said when I sat down in his office was, ‘I have to admit to you, right up front, that this appeals to my ego’ — and we both laughed,” Lockwood says. “I mean, that was a pretty honest thing to say, under the circumstances.”\u003c/p>\n\u003cp>Once Sanders was on board, the next step was to figure out what this thing would sound like. Just a few years before that, \u003ca href=\"http://www.npr.org/artists/16782748/michael-jackson\" target=\"_blank\" rel=\"noopener\">Michael Jackson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Ritchie\u003c/a> had brought together a vast cast of musicians for \u003cem>We Are the World\u003c/em>. The album’s only single, under the same title, had recently gone multiplatinum.\u003c/p>\n\u003cp>That album made for easy inspiration for Lockwood — with one big exception.\u003c/p>\n\u003cfigure id=\"attachment_11289609\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg\" alt=\"Bernie Sanders' monologue script for the 1987 album, 'We Shall Overcome.'\" width=\"640\" height=\"853\" class=\"size-large wp-image-11289609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bernie Sanders’ monologue script for the 1987 album, ‘We Shall Overcome.’ \u003ccite>(Courtesy: Todd Lockwood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where Michael had a roomful of superstars, we were going to have a roomful of Vermonters,” Lockwood says.\u003c/p>\n\u003cp>He enlisted 30 singers and musicians to help flesh out Sanders’ handpicked list. But when he finally got Sanders behind the microphone, Lockwood noticed he had a problem.\u003c/p>\n\u003cp>“I realized pretty early on that Bernie is not a singer. That became pretty apparent right off the bat,” he says. “You know, there are certain tricks you can do to correct people’s pitch being off and stuff, but I was going, ‘This is not really the road we want to go down.’ ”\u003c/p>\n\u003cp>So, they decided to take a different tack: a “talking-blues approach,” which Lockwood says suited Sanders better.\u003c/p>\n\u003cp>Sanders himself, however, isn’t so sure.\u003c/p>\n\u003cp>“If people are thinking of voting for me for my musical capabilities — not the right reason,” Sanders told NBC’s Lester Holt earlier this week. “I have other attributes. Carrying a tune is not one of them.”\u003c/p>\n\u003cp>Lockwood is more optimistic about the presidential candidate’s music career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is someone who absolutely believes, with all of his heart, in what he’s saying,” he says. “I fully expect that if he becomes president, we will see a gold or platinum record hanging on the wall.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Behind+The+Music%3A+Bernie+Sanders&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the winter of 1987, music producer \u003ca href=\"http://www.toddrlockwood.com/\" target=\"_blank\" rel=\"noopener\">Todd Lockwood\u003c/a> was on the lookout for a hot new project to grow his label. Lockwood owned the White Crow recording studio in Burlington, Vt. — and he didn’t have to look far to find his bold idea.\u003c/p>\n\u003cp>That idea? Get Bernie Sanders — then the longtime mayor of Burlington — into the studio to record a few of his favorite songs.\u003c/p>\n\u003cp>“We had this intriguing mayor, a guy who was absolutely on a mission with everything he did,” Lockwood recalls. “He was charismatic and had a powerful public image. But people didn’t really know that much about what his personal life was like. So I thought, well, here’s an opportunity to see the man behind the curtain.”\u003c/p>\n\u003cp>The result ultimately became \u003ca href=\"https://jamesnapoli.atavist.com/we-shall-overcome\" target=\"_blank\" rel=\"noopener\">We Shall Overcome\u003c/a>, the Bernie Sanders folk album.\u003c/p>\n\u003cp>But it all started with a letter to the mayor, and a meeting face to face.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The very first thing he said when I sat down in his office was, ‘I have to admit to you, right up front, that this appeals to my ego’ — and we both laughed,” Lockwood says. “I mean, that was a pretty honest thing to say, under the circumstances.”\u003c/p>\n\u003cp>Once Sanders was on board, the next step was to figure out what this thing would sound like. Just a few years before that, \u003ca href=\"http://www.npr.org/artists/16782748/michael-jackson\" target=\"_blank\" rel=\"noopener\">Michael Jackson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15398116/lionel-richie\" target=\"_blank\" rel=\"noopener\">Lionel Ritchie\u003c/a> had brought together a vast cast of musicians for \u003cem>We Are the World\u003c/em>. The album’s only single, under the same title, had recently gone multiplatinum.\u003c/p>\n\u003cp>That album made for easy inspiration for Lockwood — with one big exception.\u003c/p>\n\u003cfigure id=\"attachment_11289609\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg\" alt=\"Bernie Sanders' monologue script for the 1987 album, 'We Shall Overcome.'\" width=\"640\" height=\"853\" class=\"size-large wp-image-11289609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bernienotesweshallover_vert-479a5be0653b65ec03daf04814b735a8446e9cf8-960x1280.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bernie Sanders’ monologue script for the 1987 album, ‘We Shall Overcome.’ \u003ccite>(Courtesy: Todd Lockwood)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where Michael had a roomful of superstars, we were going to have a roomful of Vermonters,” Lockwood says.\u003c/p>\n\u003cp>He enlisted 30 singers and musicians to help flesh out Sanders’ handpicked list. But when he finally got Sanders behind the microphone, Lockwood noticed he had a problem.\u003c/p>\n\u003cp>“I realized pretty early on that Bernie is not a singer. That became pretty apparent right off the bat,” he says. “You know, there are certain tricks you can do to correct people’s pitch being off and stuff, but I was going, ‘This is not really the road we want to go down.’ ”\u003c/p>\n\u003cp>So, they decided to take a different tack: a “talking-blues approach,” which Lockwood says suited Sanders better.\u003c/p>\n\u003cp>Sanders himself, however, isn’t so sure.\u003c/p>\n\u003cp>“If people are thinking of voting for me for my musical capabilities — not the right reason,” Sanders told NBC’s Lester Holt earlier this week. “I have other attributes. Carrying a tune is not one of them.”\u003c/p>\n\u003cp>Lockwood is more optimistic about the presidential candidate’s music career.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is someone who absolutely believes, with all of his heart, in what he’s saying,” he says. “I fully expect that if he becomes president, we will see a gold or platinum record hanging on the wall.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Behind+The+Music%3A+Bernie+Sanders&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The New York art world was shocked when the city’s oldest gallery abruptly closed its doors more than four years ago. A few days later, news broke that Knoedler & Company was accused of selling paintings it now admits were forgeries for millions of dollars each. The gallery and its former president face several lawsuits by angry collectors and the first trial began this week.\u003c/p>\n\u003cp>The forgeries at the center of the scandal look like masterpieces by Jackson Pollock, Willem de Kooning and other prominent abstract expressionists. They were good enough to fool experts, and even Ann Freedman, then-president of Knoedler & Company, says she was duped.\u003c/p>\n\u003cp>Her lawyer, Luke Nikas, says, “Ann Freedman believed in these paintings. She showed them to the whole art world. She showed them to experts. And she has piles and piles of letters from all of these experts informing her that the works are real.”\u003c/p>\n\u003cp>Nikas says Freedman even bought some of the paintings for her own personal collection. But the plaintiffs in this case and other pending lawsuits say Freedman overlooked glaring problems with the paintings’ backstories. The art dealer who sold the paintings to the gallery, a woman named Glafira Rosales, pleaded guilty to fraud and money laundering charges in 2013. According to Freedman, Rosales told an elaborate story involving a European collector (known only as “Mr. X”) who bought the paintings with cash in the 1950s, when he was having an affair with an assistant at two top New York galleries.\u003c/p>\n\u003cp>“It’s quite a tale, and people bought it,” says Amy Adler, who teaches art law at New York University. “I suppose the temptation would be there — not just for buyers, but, yes, even for sellers — to think they’d happened upon these magnificent, undisclosed masterpieces.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the end, Rosales admitted to selling Knoedler 40 counterfeit paintings over more than a decade. The plaintiffs argue that Freedman knew — or at least should have known — that something was amiss. It’s hardly the first time an art dealer has been accused of deliberately looking the other way.\u003c/p>\n\u003cp>Ken Perenyi is a professional art forger who wrote about his career in the book \u003ca href=\"http://www.npr.org/books/titles/159367710/caveat-emptor-the-secret-life-of-an-american-art-forger\" target=\"_blank\" rel=\"noopener\">Caveat Emptor\u003c/a>. “From over 30 years’ experience with art dealers,” he says, “I would say there most certainly are individuals out there in the trade that will turn a blind eye.”\u003c/p>\n\u003cfigure id=\"attachment_11289598\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1180x664.jpg\" alt=\"The Knoedler & Company art gallery, shown here in 2010, had been in business since before the Civil War. The gallery permanently closed its doors in 2011.\" width=\"640\" height=\"360\" class=\"size-large wp-image-11289598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Knoedler & Company art gallery, shown here in 2010, had been in business since before the Civil War. The gallery permanently closed its doors in 2011. \u003ccite>(Photo: Paul Goguen/Bloomberg via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perenyi faked thousands of 18th- and 19th- century paintings, and sold them to auction houses and art dealers. He says, “I’ve seen paintings of mine turn up in dealers’ catalogues that they had to know about it and they chose to buy it and sell it anyway.”\u003c/p>\n\u003cp>Still, everyone was surprised when a blue chip gallery like Knoedler & Company got caught peddling fakes. The gallery had been in business since before the Civil War, and even other art dealers relied on its good name. Richard Feigen is a prominent dealer on the Upper East Side. He helped broker a sale involving one of the Knoedler forgeries, but gave his commission back when the work turned out to be fake. Feigen says it’s a reminder to art dealers not to cut corners. “I think it will cause people to be much more careful, because even a name as old as Knoedler is no guarantee, obviously, that you can be sure of.”\u003c/p>\n\u003cp>The Knoedler affair should also be a wake-up call to buyers, says NYU’s Amy Adler. “A lot of these people were very sophisticated business people … but they bought art based on sort of magical, romantic stories. It’s the kind of transaction they never would have engaged in had it been a regular business deal. I don’t think that’s going to happen so much going forward. I think people have seen that you need to kick the tires.”\u003c/p>\n\u003cp>But according to Adler, kicking the tires is harder than it used to be. Copies of paintings are getting better. And as the price of art has climbed, fewer experts are willing to make public judgments about a work’s authenticity. They’re afraid of getting sued if they’re wrong, and that can be very expensive. Just ask Ann Freedman’s lawyer, Luke Nikas.\u003c/p>\n\u003cp>“The bigger the dollar amount, the bigger the mistake in the end if you get it wrong,” he says. “If this had been a painting that was purchased for $5,000, we wouldn’t be here. … This would be over.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But it was purchased for more than $8 million by a collector who \u003cem>thought\u003c/em> it was painted by Mark Rothko. The trial is expected to last several more weeks. Freedman’s lawyer says she will take the stand in her own defense. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Art+Forgery+Trial+Asks%3A+Were+Dealers+Duped%2C+Or+Did+They+Turn+A+Blind+Eye%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The New York art world was shocked when the city’s oldest gallery abruptly closed its doors more than four years ago. A few days later, news broke that Knoedler & Company was accused of selling paintings it now admits were forgeries for millions of dollars each. The gallery and its former president face several lawsuits by angry collectors and the first trial began this week.\u003c/p>\n\u003cp>The forgeries at the center of the scandal look like masterpieces by Jackson Pollock, Willem de Kooning and other prominent abstract expressionists. They were good enough to fool experts, and even Ann Freedman, then-president of Knoedler & Company, says she was duped.\u003c/p>\n\u003cp>Her lawyer, Luke Nikas, says, “Ann Freedman believed in these paintings. She showed them to the whole art world. She showed them to experts. And she has piles and piles of letters from all of these experts informing her that the works are real.”\u003c/p>\n\u003cp>Nikas says Freedman even bought some of the paintings for her own personal collection. But the plaintiffs in this case and other pending lawsuits say Freedman overlooked glaring problems with the paintings’ backstories. The art dealer who sold the paintings to the gallery, a woman named Glafira Rosales, pleaded guilty to fraud and money laundering charges in 2013. According to Freedman, Rosales told an elaborate story involving a European collector (known only as “Mr. X”) who bought the paintings with cash in the 1950s, when he was having an affair with an assistant at two top New York galleries.\u003c/p>\n\u003cp>“It’s quite a tale, and people bought it,” says Amy Adler, who teaches art law at New York University. “I suppose the temptation would be there — not just for buyers, but, yes, even for sellers — to think they’d happened upon these magnificent, undisclosed masterpieces.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, Rosales admitted to selling Knoedler 40 counterfeit paintings over more than a decade. The plaintiffs argue that Freedman knew — or at least should have known — that something was amiss. It’s hardly the first time an art dealer has been accused of deliberately looking the other way.\u003c/p>\n\u003cp>Ken Perenyi is a professional art forger who wrote about his career in the book \u003ca href=\"http://www.npr.org/books/titles/159367710/caveat-emptor-the-secret-life-of-an-american-art-forger\" target=\"_blank\" rel=\"noopener\">Caveat Emptor\u003c/a>. “From over 30 years’ experience with art dealers,” he says, “I would say there most certainly are individuals out there in the trade that will turn a blind eye.”\u003c/p>\n\u003cfigure id=\"attachment_11289598\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1180x664.jpg\" alt=\"The Knoedler & Company art gallery, shown here in 2010, had been in business since before the Civil War. The gallery permanently closed its doors in 2011.\" width=\"640\" height=\"360\" class=\"size-large wp-image-11289598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-170745757_wide-9d5016965b8955c496ed9c950eb78b55bfe67083-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Knoedler & Company art gallery, shown here in 2010, had been in business since before the Civil War. The gallery permanently closed its doors in 2011. \u003ccite>(Photo: Paul Goguen/Bloomberg via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perenyi faked thousands of 18th- and 19th- century paintings, and sold them to auction houses and art dealers. He says, “I’ve seen paintings of mine turn up in dealers’ catalogues that they had to know about it and they chose to buy it and sell it anyway.”\u003c/p>\n\u003cp>Still, everyone was surprised when a blue chip gallery like Knoedler & Company got caught peddling fakes. The gallery had been in business since before the Civil War, and even other art dealers relied on its good name. Richard Feigen is a prominent dealer on the Upper East Side. He helped broker a sale involving one of the Knoedler forgeries, but gave his commission back when the work turned out to be fake. Feigen says it’s a reminder to art dealers not to cut corners. “I think it will cause people to be much more careful, because even a name as old as Knoedler is no guarantee, obviously, that you can be sure of.”\u003c/p>\n\u003cp>The Knoedler affair should also be a wake-up call to buyers, says NYU’s Amy Adler. “A lot of these people were very sophisticated business people … but they bought art based on sort of magical, romantic stories. It’s the kind of transaction they never would have engaged in had it been a regular business deal. I don’t think that’s going to happen so much going forward. I think people have seen that you need to kick the tires.”\u003c/p>\n\u003cp>But according to Adler, kicking the tires is harder than it used to be. Copies of paintings are getting better. And as the price of art has climbed, fewer experts are willing to make public judgments about a work’s authenticity. They’re afraid of getting sued if they’re wrong, and that can be very expensive. Just ask Ann Freedman’s lawyer, Luke Nikas.\u003c/p>\n\u003cp>“The bigger the dollar amount, the bigger the mistake in the end if you get it wrong,” he says. “If this had been a painting that was purchased for $5,000, we wouldn’t be here. … This would be over.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But it was purchased for more than $8 million by a collector who \u003cem>thought\u003c/em> it was painted by Mark Rothko. The trial is expected to last several more weeks. Freedman’s lawyer says she will take the stand in her own defense. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Art+Forgery+Trial+Asks%3A+Were+Dealers+Duped%2C+Or+Did+They+Turn+A+Blind+Eye%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Marriage Upended In '45 Years'",
"headTitle": "A Marriage Upended In ’45 Years’ | KQED",
"content": "\u003cp>In 2011, the British director Andrew Haigh made \u003cem>Weekend\u003c/em>, an achingly wistful chamber piece about a lifetime of unfulfilled longing poured into a brief encounter between two very different gay men. \u003cem>Weekend\u003c/em> comes highly recommended, as does Haigh’s new film, \u003cem>45 Years\u003c/em>, which also spans a few days, here slogged through by an aging couple forced by startling news to reassess their long marriage. Neither film has a plot in the received sense, nor does either lead us to a foregone conclusion. Both take sympathetic but precise measure of seismic changes in emotional temperature. Both are for people who love to watch the momentous percolate within the mundane.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tg5cpiX18TA\u003c/p>\n\u003cp>In the run-up to a party to celebrate the 45th anniversary of Geoff and Kate (Tom Courtenay and Charlotte Rampling), a letter arrives bearing news that the body of Geoff’s former lover, Katya, who fell down a rock fissure during a hike in the Swiss Alps more than a half-century earlier, has been found preserved in ice. Kate has always known of Katya, but she’s about to learn a lot more than might be good for her or Geoff, who is visibly shaken. Katya remains as she was on the day of her death, and in less sensitive hands that fact, along with the fissure and the ice, might be worked to death as metaphors for the abyss that opens up in a union that has chugged along comfortably for most of its life. Instead, Haigh trickles the symbolism insidiously into our consciousness and Kate’s, along with the flat, winterized Norfolk landscape that frames their quietly intense struggle to recover equilibrium.\u003c/p>\n\u003cp>Life continues to flow along. Kate makes tea; walks the dog; lunches with a friend; oversees party arrangements. Geoff maintains an ongoing struggle with a broken toilet; cracks open Kierkegaard (again, his wife feels moved to point out); blows hard against this racist or that sellout in their circle. But a switch has been thrown. Is it salutary or the kiss of death? There’s more sex and more calling up the past than either Kate or Geoff has done in a while. It’s harder for them than most: these resolutely anti-bourgeois children of the ’60s are retired from jobs that don’t seem to have been central to the identity of either, and they have no photos of children or grandchildren to give shape and meaning to their lives. Each begins to conduct covert operations that threaten the status quo and exacerbate a mounting agitation in volatile Geoff, a gathering unease in his more contained wife.\u003c/p>\n\u003cp>Well, of course she’s contained. She’s Charlotte Rampling, ever gracious and composed but also slightly imperious, slightly impatient — and very, very, spare with the growing confusion of a woman reeling from news that throws a harsh new light on her hitherto unexamined life. Pairing Rampling with Courtenay was an ingenious move, and not only because the two perform a beautifully calibrated \u003cem>pas de deux\u003c/em>. As actors they belong to roughly the same generation, but their early careers span a profound change in the British cultural weather. For moviegoers their age, Courtenay still comes inextricably identified with the working-class-conscious \u003cem>The Loneliness of the Long Distance Runner\u003c/em> and other Angry Young Men films of late 1950s; Rampling remains (via \u003cem>Georgy Girl\u003c/em> and others) a potent, if patrician, symbol of the Swinging Sixties. Haigh slyly alludes to this. “You were a knockout!” Geoff recalls of his first sighting of Kate. That she was, but the nuanced, assessing intelligence that has earned Rampling a thriving international career well into her sixties is fully in charge here in Kate’s gradual awareness that a possibly fatal wedge has been driven into her marriage, and that “communication,” ubiquitously vaunted as the key to conjugal happiness, may be a double-edged sword.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As to whether this will turn out to be a lasting union or a fatally compromised marriage of convenience, Haigh won’t tip his hand exactly, and you can make what you like of the long, steady shot of wind rustling through dead leaves that haven’t yet left a tree. Or of the couple’s choice of an old Platters cover of \u003cem>Smoke Gets in Your Eyes\u003c/em> to accompany their first dance at a party that gives every appearance of becoming a roaring success.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>45 Years\u003c/em> is Kate’s film, and at the party, this enigmatic woman seems to have opted for pragmatism, or maybe it’s forbearance. But as the camera comes to rest on that lovely face, you may see a look so lost and stricken, it will rip the heart right out of your chest.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2011, the British director Andrew Haigh made \u003cem>Weekend\u003c/em>, an achingly wistful chamber piece about a lifetime of unfulfilled longing poured into a brief encounter between two very different gay men. \u003cem>Weekend\u003c/em> comes highly recommended, as does Haigh’s new film, \u003cem>45 Years\u003c/em>, which also spans a few days, here slogged through by an aging couple forced by startling news to reassess their long marriage. Neither film has a plot in the received sense, nor does either lead us to a foregone conclusion. Both take sympathetic but precise measure of seismic changes in emotional temperature. Both are for people who love to watch the momentous percolate within the mundane.\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/Tg5cpiX18TA'\n title='//www.youtube.com/embed/Tg5cpiX18TA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the run-up to a party to celebrate the 45th anniversary of Geoff and Kate (Tom Courtenay and Charlotte Rampling), a letter arrives bearing news that the body of Geoff’s former lover, Katya, who fell down a rock fissure during a hike in the Swiss Alps more than a half-century earlier, has been found preserved in ice. Kate has always known of Katya, but she’s about to learn a lot more than might be good for her or Geoff, who is visibly shaken. Katya remains as she was on the day of her death, and in less sensitive hands that fact, along with the fissure and the ice, might be worked to death as metaphors for the abyss that opens up in a union that has chugged along comfortably for most of its life. Instead, Haigh trickles the symbolism insidiously into our consciousness and Kate’s, along with the flat, winterized Norfolk landscape that frames their quietly intense struggle to recover equilibrium.\u003c/p>\n\u003cp>Life continues to flow along. Kate makes tea; walks the dog; lunches with a friend; oversees party arrangements. Geoff maintains an ongoing struggle with a broken toilet; cracks open Kierkegaard (again, his wife feels moved to point out); blows hard against this racist or that sellout in their circle. But a switch has been thrown. Is it salutary or the kiss of death? There’s more sex and more calling up the past than either Kate or Geoff has done in a while. It’s harder for them than most: these resolutely anti-bourgeois children of the ’60s are retired from jobs that don’t seem to have been central to the identity of either, and they have no photos of children or grandchildren to give shape and meaning to their lives. Each begins to conduct covert operations that threaten the status quo and exacerbate a mounting agitation in volatile Geoff, a gathering unease in his more contained wife.\u003c/p>\n\u003cp>Well, of course she’s contained. She’s Charlotte Rampling, ever gracious and composed but also slightly imperious, slightly impatient — and very, very, spare with the growing confusion of a woman reeling from news that throws a harsh new light on her hitherto unexamined life. Pairing Rampling with Courtenay was an ingenious move, and not only because the two perform a beautifully calibrated \u003cem>pas de deux\u003c/em>. As actors they belong to roughly the same generation, but their early careers span a profound change in the British cultural weather. For moviegoers their age, Courtenay still comes inextricably identified with the working-class-conscious \u003cem>The Loneliness of the Long Distance Runner\u003c/em> and other Angry Young Men films of late 1950s; Rampling remains (via \u003cem>Georgy Girl\u003c/em> and others) a potent, if patrician, symbol of the Swinging Sixties. Haigh slyly alludes to this. “You were a knockout!” Geoff recalls of his first sighting of Kate. That she was, but the nuanced, assessing intelligence that has earned Rampling a thriving international career well into her sixties is fully in charge here in Kate’s gradual awareness that a possibly fatal wedge has been driven into her marriage, and that “communication,” ubiquitously vaunted as the key to conjugal happiness, may be a double-edged sword.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As to whether this will turn out to be a lasting union or a fatally compromised marriage of convenience, Haigh won’t tip his hand exactly, and you can make what you like of the long, steady shot of wind rustling through dead leaves that haven’t yet left a tree. Or of the couple’s choice of an old Platters cover of \u003cem>Smoke Gets in Your Eyes\u003c/em> to accompany their first dance at a party that gives every appearance of becoming a roaring success.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>45 Years\u003c/em> is Kate’s film, and at the party, this enigmatic woman seems to have opted for pragmatism, or maybe it’s forbearance. But as the camera comes to rest on that lovely face, you may see a look so lost and stricken, it will rip the heart right out of your chest.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Where a mainstream fashion magazine might do a special “black issue,” like \u003ca href=\"http://jezebel.com/5031485/the-all-black-issue-of-italian-vogue-both-a-success-and-a-failure\" target=\"_blank\" rel=\"noopener\">Italian Vogue back in 2008\u003c/a>, or a black lifestyle magazine might \u003ca href=\"http://www.ebony.com/news-views/too-black-for-tv-gay-media-game-changers-find-a-home-on-the-internet-405#axzz3vdpaJFqH\" target=\"_blank\" rel=\"noopener\">run a queer feature\u003c/a>, the perspective of queer black folks tends to occupy occasional outskirts in fashion and lifestyle glossies, never the mainstay.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thetenthzine.com/\" target=\"_blank\" rel=\"noopener\">The Tenth\u003c/a>, a new print magazine by and for queer black men, now on its third issue, wants to help change that, at least from the POV of its founders. Its name is inspired by two sources: W.E.B. DuBois’ early 20th-century concept of the \u003ca href=\"http://teachingamericanhistory.org/library/document/the-talented-tenth/\" target=\"_blank\" rel=\"noopener\">Talented Tenth\u003c/a>, a vanguard group of exceptionally gifted black people who would elevate the community as a whole, and the voguing practice of “getting your tens” — earning a perfect score from the judges at a ballroom competition.\u003c/p>\n\u003cp>Like its inspirations, \u003cem>The Tenth\u003c/em> shows off queer black greatness across a wide variety of fields, ranging from interviews with new literary lions like \u003ca href=\"http://theferocity.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Saeed Jones\u003c/a> and \u003ca href=\"http://www.lambdaliterary.org/features/10/11/brontez-purnell/\" target=\"_blank\" rel=\"noopener\">Brontez Purnell\u003c/a> to under-recognized but influential historical figures like photographer \u003ca href=\"http://www.anothermag.com/art-photography/3370/under-the-piers-alvin-baltrops-gay-new-york\" target=\"_blank\" rel=\"noopener\">Alvin Baltrop\u003c/a> and musician Robert Brewster.\u003c/p>\n\u003cfigure id=\"attachment_11280801\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-1180x885.jpg\" alt=\"Finding spaces to shoot is often challenging for 'The Tenth' in ways that it isn't for more mainstream publication\" width=\"640\" height=\"480\" class=\"size-large wp-image-11280801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3.jpg 1840w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Finding spaces to shoot is often challenging for ‘The Tenth’ in ways that it isn’t for more mainstream publication \u003ccite>(Photo: Rakeem Cunningham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The magazine began as a personal project between Khary Septh and Kyle Banks, who are boyfriends in real life. They wanted to create a photographic collage of a group of their queer black friends, all creative professionals working in various industries around New York City whose aesthetic influence, \u003cem>The Tenth\u003c/em>‘s founders say, can be found everywhere from Beyonce’s looks to FK Twig’s moves. Septh and Banks wanted their collage to spotlight individuals whose influence is almost always behind the scenes, but they never thought it would go beyond the walls of their Brooklyn loft.\u003c/p>\n\u003cp>“But people were like, ‘We’ve never experienced anything like this before,’ so we were hoodwinked into starting [the magazine] from there,” Banks recalled. It wasn’t just about recognizing the individual work the people they photographed had done. It was about connecting them into a community. Soon, Septh and Banks asked Andre Verdun Jones, a longtime friend of Septh’s, to join them. All three had years of working as cultural creators under their belts: Banks as a stage actor (\u003ca href=\"http://www.broadwayworld.com/people/Kyle-R.-Banks/\">most recently in The Lion King\u003c/a>, both touring and on Broadway), Septh as a fashion designer and commercial art director, and Jones as a \u003ca href=\"http://sundance.festivalgenius.com/2010/films/mrokra_sundance2010\" target=\"_blank\" rel=\"noopener\">producer and filmmaker\u003c/a>. But they wanted to do something that would put their talents to use in service of their community and their ideals.\u003c/p>\n\u003cfigure id=\"attachment_11280803\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-1180x885.jpg\" alt=\"Khary Septh, Andre Jones, and Kyle Banks decided to tell a black queer version of Romeo and Juliet, set in South Central L.A.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11280803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80.jpg 1840w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Khary Septh, Andre Jones, and Kyle Banks decided to tell a black queer version of Romeo and Juliet, set in South Central L.A. \u003ccite>(Photo: Rakeem Cunningham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The world of the magazine is not limited to queer black men. Septh says they want it to reflect “the multiplicity of our identities, the layers of our lives.” You’ll find stories and images of straight people, white people, trans people, and queer black women in its pages, like a feature called “Detroit Is the New Black” that anchors the \u003ca href=\"http://www.thetenthzine.com/volume3\" target=\"_blank\" rel=\"noopener\">current issue\u003c/a>, which explores Detroit through the eyes of four young queer black women who are giving “Rock City” a renaissance made in their own image.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It might seem surprising that such an endeavor would begin in print, and indeed, \u003ca href=\"http://www.musedmagonline.com/\" target=\"_blank\" rel=\"noopener\">Mused Magazine\u003c/a>, another newer publication aimed at black gay men, is online-only. But a few other high-production, high-concept queer men’s print magazines have debuted in the last few years, like \u003ca href=\"http://gayletter.com/\" target=\"_blank\" rel=\"noopener\">Gayletter\u003c/a> and \u003ca href=\"http://cakeboymag.com/\" target=\"_blank\" rel=\"noopener\">Cakeboy\u003c/a>. Although all three take a more intersectional approach than most old-guard gay men’s mags, \u003cem>The Tenth\u003c/em> is the only one explicitly by and for people of color.\u003c/p>\n\u003cp>Yet despite the similarity of their projects, \u003cem>The Tenth\u003c/em> has been unable to match its peers in one crucial aspect: Advertising dollars. “As soon as we knock on the door, no one’s home,” said Jones, recalling fruitless attempts to convince fashion and lifestyle brands to invest in \u003cem>The Tenth\u003c/em>. The magazine is produced largely as a labor of love, with a shoe-string budget raised from small events and the print-on-demand sales of their first two issues, which are $40 each.\u003c/p>\n\u003cfigure id=\"attachment_11280804\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-1180x885.jpg\" alt=\"The third issue of 'The Tenth' was shot using cars at a cookout as the backdrop\" width=\"640\" height=\"480\" class=\"size-large wp-image-11280804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c.jpg 1840w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The third issue of ‘The Tenth’ was shot using cars at a cookout as the backdrop \u003ccite>(Photo: Rakeem Cunningham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were speaking with this hedge fund investor who just adores \u003cem>The Tenth\u003c/em>, and he didn’t understand why it was so hard to raise money for a print run,” Banks said with a rueful laugh. “Twenty minutes into the conversation, I asked about being connected to some of his investors and his response was, ‘Oh, they wouldn’t get you.'”\u003c/p>\n\u003cp>\u003cem>Gayletter\u003c/em>‘s Abiezer Benitez recalled similar experiences when he worked as art director at \u003ca href=\"http://uptownmagazine.com\" target=\"_blank\" rel=\"noopener\">Uptown\u003c/a>, a black women’s magazine. “Every single woman was wearing designers every single day. A Vuitton bag and a Vuitton heel,” Benitez said. Yet in his experience, the idea of getting those kinds of high-end advertisers in the magazine was a non-starter. “They think it’s a ‘misrepresentation’ of their brands,” Benitez said.\u003c/p>\n\u003cp>So far, for \u003cem>The Tenth\u003c/em>, the one exception has been the gay-friendly hospitality brand \u003ca href=\"http://www.acehotel.com/\">Ace Hotel\u003c/a>, whose Los Angeles venue hosted the January launch event for the new issue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Those guys have really shown up for us,” Septh said. But even if it means funding their project solely from single-issue sales, he added, “We’re never going to change our conversation, we’re never going to humble ourselves, and we’re never going to misrepresent our radical subversive philosophy.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Meet+%27The+Tenth%2C%27+A+Slick+New+Magazine+For+Queer+Black+Men&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Where a mainstream fashion magazine might do a special “black issue,” like \u003ca href=\"http://jezebel.com/5031485/the-all-black-issue-of-italian-vogue-both-a-success-and-a-failure\" target=\"_blank\" rel=\"noopener\">Italian Vogue back in 2008\u003c/a>, or a black lifestyle magazine might \u003ca href=\"http://www.ebony.com/news-views/too-black-for-tv-gay-media-game-changers-find-a-home-on-the-internet-405#axzz3vdpaJFqH\" target=\"_blank\" rel=\"noopener\">run a queer feature\u003c/a>, the perspective of queer black folks tends to occupy occasional outskirts in fashion and lifestyle glossies, never the mainstay.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thetenthzine.com/\" target=\"_blank\" rel=\"noopener\">The Tenth\u003c/a>, a new print magazine by and for queer black men, now on its third issue, wants to help change that, at least from the POV of its founders. Its name is inspired by two sources: W.E.B. DuBois’ early 20th-century concept of the \u003ca href=\"http://teachingamericanhistory.org/library/document/the-talented-tenth/\" target=\"_blank\" rel=\"noopener\">Talented Tenth\u003c/a>, a vanguard group of exceptionally gifted black people who would elevate the community as a whole, and the voguing practice of “getting your tens” — earning a perfect score from the judges at a ballroom competition.\u003c/p>\n\u003cp>Like its inspirations, \u003cem>The Tenth\u003c/em> shows off queer black greatness across a wide variety of fields, ranging from interviews with new literary lions like \u003ca href=\"http://theferocity.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Saeed Jones\u003c/a> and \u003ca href=\"http://www.lambdaliterary.org/features/10/11/brontez-purnell/\" target=\"_blank\" rel=\"noopener\">Brontez Purnell\u003c/a> to under-recognized but influential historical figures like photographer \u003ca href=\"http://www.anothermag.com/art-photography/3370/under-the-piers-alvin-baltrops-gay-new-york\" target=\"_blank\" rel=\"noopener\">Alvin Baltrop\u003c/a> and musician Robert Brewster.\u003c/p>\n\u003cfigure id=\"attachment_11280801\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-1180x885.jpg\" alt=\"Finding spaces to shoot is often challenging for 'The Tenth' in ways that it isn't for more mainstream publication\" width=\"640\" height=\"480\" class=\"size-large wp-image-11280801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-4-4be4defbb4c7dd0be69a2cc7194aa946b8b164e3.jpg 1840w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Finding spaces to shoot is often challenging for ‘The Tenth’ in ways that it isn’t for more mainstream publication \u003ccite>(Photo: Rakeem Cunningham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The magazine began as a personal project between Khary Septh and Kyle Banks, who are boyfriends in real life. They wanted to create a photographic collage of a group of their queer black friends, all creative professionals working in various industries around New York City whose aesthetic influence, \u003cem>The Tenth\u003c/em>‘s founders say, can be found everywhere from Beyonce’s looks to FK Twig’s moves. Septh and Banks wanted their collage to spotlight individuals whose influence is almost always behind the scenes, but they never thought it would go beyond the walls of their Brooklyn loft.\u003c/p>\n\u003cp>“But people were like, ‘We’ve never experienced anything like this before,’ so we were hoodwinked into starting [the magazine] from there,” Banks recalled. It wasn’t just about recognizing the individual work the people they photographed had done. It was about connecting them into a community. Soon, Septh and Banks asked Andre Verdun Jones, a longtime friend of Septh’s, to join them. All three had years of working as cultural creators under their belts: Banks as a stage actor (\u003ca href=\"http://www.broadwayworld.com/people/Kyle-R.-Banks/\">most recently in The Lion King\u003c/a>, both touring and on Broadway), Septh as a fashion designer and commercial art director, and Jones as a \u003ca href=\"http://sundance.festivalgenius.com/2010/films/mrokra_sundance2010\" target=\"_blank\" rel=\"noopener\">producer and filmmaker\u003c/a>. But they wanted to do something that would put their talents to use in service of their community and their ideals.\u003c/p>\n\u003cfigure id=\"attachment_11280803\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-1180x885.jpg\" alt=\"Khary Septh, Andre Jones, and Kyle Banks decided to tell a black queer version of Romeo and Juliet, set in South Central L.A.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11280803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-6-78c987c6886f628cb87c05133e35e54fc5a25b80.jpg 1840w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Khary Septh, Andre Jones, and Kyle Banks decided to tell a black queer version of Romeo and Juliet, set in South Central L.A. \u003ccite>(Photo: Rakeem Cunningham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The world of the magazine is not limited to queer black men. Septh says they want it to reflect “the multiplicity of our identities, the layers of our lives.” You’ll find stories and images of straight people, white people, trans people, and queer black women in its pages, like a feature called “Detroit Is the New Black” that anchors the \u003ca href=\"http://www.thetenthzine.com/volume3\" target=\"_blank\" rel=\"noopener\">current issue\u003c/a>, which explores Detroit through the eyes of four young queer black women who are giving “Rock City” a renaissance made in their own image.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It might seem surprising that such an endeavor would begin in print, and indeed, \u003ca href=\"http://www.musedmagonline.com/\" target=\"_blank\" rel=\"noopener\">Mused Magazine\u003c/a>, another newer publication aimed at black gay men, is online-only. But a few other high-production, high-concept queer men’s print magazines have debuted in the last few years, like \u003ca href=\"http://gayletter.com/\" target=\"_blank\" rel=\"noopener\">Gayletter\u003c/a> and \u003ca href=\"http://cakeboymag.com/\" target=\"_blank\" rel=\"noopener\">Cakeboy\u003c/a>. Although all three take a more intersectional approach than most old-guard gay men’s mags, \u003cem>The Tenth\u003c/em> is the only one explicitly by and for people of color.\u003c/p>\n\u003cp>Yet despite the similarity of their projects, \u003cem>The Tenth\u003c/em> has been unable to match its peers in one crucial aspect: Advertising dollars. “As soon as we knock on the door, no one’s home,” said Jones, recalling fruitless attempts to convince fashion and lifestyle brands to invest in \u003cem>The Tenth\u003c/em>. The magazine is produced largely as a labor of love, with a shoe-string budget raised from small events and the print-on-demand sales of their first two issues, which are $40 each.\u003c/p>\n\u003cfigure id=\"attachment_11280804\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-1180x885.jpg\" alt=\"The third issue of 'The Tenth' was shot using cars at a cookout as the backdrop\" width=\"640\" height=\"480\" class=\"size-large wp-image-11280804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/bois-8-375e849a460b7d51d80045904b0bcb5d78c7926c.jpg 1840w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The third issue of ‘The Tenth’ was shot using cars at a cookout as the backdrop \u003ccite>(Photo: Rakeem Cunningham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were speaking with this hedge fund investor who just adores \u003cem>The Tenth\u003c/em>, and he didn’t understand why it was so hard to raise money for a print run,” Banks said with a rueful laugh. “Twenty minutes into the conversation, I asked about being connected to some of his investors and his response was, ‘Oh, they wouldn’t get you.'”\u003c/p>\n\u003cp>\u003cem>Gayletter\u003c/em>‘s Abiezer Benitez recalled similar experiences when he worked as art director at \u003ca href=\"http://uptownmagazine.com\" target=\"_blank\" rel=\"noopener\">Uptown\u003c/a>, a black women’s magazine. “Every single woman was wearing designers every single day. A Vuitton bag and a Vuitton heel,” Benitez said. Yet in his experience, the idea of getting those kinds of high-end advertisers in the magazine was a non-starter. “They think it’s a ‘misrepresentation’ of their brands,” Benitez said.\u003c/p>\n\u003cp>So far, for \u003cem>The Tenth\u003c/em>, the one exception has been the gay-friendly hospitality brand \u003ca href=\"http://www.acehotel.com/\">Ace Hotel\u003c/a>, whose Los Angeles venue hosted the January launch event for the new issue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Those guys have really shown up for us,” Septh said. But even if it means funding their project solely from single-issue sales, he added, “We’re never going to change our conversation, we’re never going to humble ourselves, and we’re never going to misrepresent our radical subversive philosophy.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Meet+%27The+Tenth%2C%27+A+Slick+New+Magazine+For+Queer+Black+Men&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "PEN American Center Awards Free-Speech Prize to J.K. Rowling",
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"content": "\u003cp>The free-speech organization PEN American Center says it is giving its 2016 PEN/Allen award to author J.K. Rowling. The prize honors “a critically acclaimed author whose work embodies its mission to oppose repression in any form and to champion the best of humanity.”\u003c/p>\n\u003cp>In particular, the award recognizes Rowling’s two charitable foundations — \u003ca href=\"https://www.volanttrust.com/\" target=\"_blank\" rel=\"noopener\">Volant\u003c/a>, which works to alleviate poverty and social deprivation, especially among women and children, and \u003ca href=\"http://wearelumos.org/about\" target=\"_blank\" rel=\"noopener\">Lumos\u003c/a>, which helps institutionalized children return to family life.\u003c/p>\n\u003cp>Rowling is a frequent target of censorship. In 2006, the American Library Association named her \u003ca href=\"http://www.ala.org/news/news/pressreleases2006/september2006/harrypottermostchallenge\" target=\"_blank\" rel=\"noopener\">the most challenged author of the 21st century\u003c/a>.\u003c/p>\n\u003cp>“I’m deeply honored to receive this award and humbled that my work has been recognized as having moral value by an organization I so admire,” Rowling \u003ca href=\"http://bigstory.ap.org/article/232fc18709de421d828631bef39b19bd/jk-rowling-receive-pen-award-literary-service\" target=\"_blank\" rel=\"noopener\">told The Associated Press.\u003c/a>\u003c/p>\n\u003cp>“Through her writing, Rowling engenders imagination, empathy, humor, and a love of reading, along the way revealing moral choices that help us better understand ourselves,” PEN American President Andrew Solomon said in a statement. “Through their experiences with Rowling both on and off the page, countless children have learned not only the power of speaking their own minds, but the critical importance of hearing others.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Past winners include Salman Rushdie, Toni Morrison and Margaret Atwood. PEN is also honoring Hachette Book Group CEO \u003ca href=\"http://www.npr.org/2013/02/05/171164095/why-traditional-publishing-is-really-in-a-golden-age\" target=\"_blank\" rel=\"noopener\">Michael Pietsch\u003c/a>. Pietsch joined with several other publishers last year in \u003ca href=\"http://worldvoices.pen.org/blog/publishers%E2%80%99-pledge-chinese-censorship-translated-works\" target=\"_blank\" rel=\"noopener\">an informal pledge to combat censorship of translated books in China\u003c/a>. Hachette also published the \u003ca href=\"http://www.npr.org/2016/01/02/461754069/charlie-hebdo-the-licensed-anarchist-clowns-of-french-society\" target=\"_blank\" rel=\"noopener\">posthumous manifesto\u003c/a> \u003cem>Open Letter: On Blasphemy, Islamophobia, and the True Enemies of Free Expression\u003c/em> by \u003cem>Charlie Hebdo\u003c/em> editor Stephane Charbonnier, who died in the terrorist attack on the French satirical magazine last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both prizes will be handed out at PEN’s annual literary gala in May. Last year, \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/04/27/402541818/6-novelists-withdraw-from-event-honoring-charlie-hebdo-for-free-speech\" target=\"_blank\" rel=\"noopener\">six authors withdrew\u003c/a> from the gala and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/27/402541818/6-novelists-withdraw-from-event-honoring-charlie-hebdo-for-free-speech\" target=\"_blank\" rel=\"noopener\">more than 150 signed an open letter\u003c/a> of protest after PEN gave \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=PEN+American+Center+Awards+Free-Speech+Prize+To+J.K.+Rowling+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The free-speech organization PEN American Center says it is giving its 2016 PEN/Allen award to author J.K. Rowling. The prize honors “a critically acclaimed author whose work embodies its mission to oppose repression in any form and to champion the best of humanity.”\u003c/p>\n\u003cp>In particular, the award recognizes Rowling’s two charitable foundations — \u003ca href=\"https://www.volanttrust.com/\" target=\"_blank\" rel=\"noopener\">Volant\u003c/a>, which works to alleviate poverty and social deprivation, especially among women and children, and \u003ca href=\"http://wearelumos.org/about\" target=\"_blank\" rel=\"noopener\">Lumos\u003c/a>, which helps institutionalized children return to family life.\u003c/p>\n\u003cp>Rowling is a frequent target of censorship. In 2006, the American Library Association named her \u003ca href=\"http://www.ala.org/news/news/pressreleases2006/september2006/harrypottermostchallenge\" target=\"_blank\" rel=\"noopener\">the most challenged author of the 21st century\u003c/a>.\u003c/p>\n\u003cp>“I’m deeply honored to receive this award and humbled that my work has been recognized as having moral value by an organization I so admire,” Rowling \u003ca href=\"http://bigstory.ap.org/article/232fc18709de421d828631bef39b19bd/jk-rowling-receive-pen-award-literary-service\" target=\"_blank\" rel=\"noopener\">told The Associated Press.\u003c/a>\u003c/p>\n\u003cp>“Through her writing, Rowling engenders imagination, empathy, humor, and a love of reading, along the way revealing moral choices that help us better understand ourselves,” PEN American President Andrew Solomon said in a statement. “Through their experiences with Rowling both on and off the page, countless children have learned not only the power of speaking their own minds, but the critical importance of hearing others.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Past winners include Salman Rushdie, Toni Morrison and Margaret Atwood. PEN is also honoring Hachette Book Group CEO \u003ca href=\"http://www.npr.org/2013/02/05/171164095/why-traditional-publishing-is-really-in-a-golden-age\" target=\"_blank\" rel=\"noopener\">Michael Pietsch\u003c/a>. Pietsch joined with several other publishers last year in \u003ca href=\"http://worldvoices.pen.org/blog/publishers%E2%80%99-pledge-chinese-censorship-translated-works\" target=\"_blank\" rel=\"noopener\">an informal pledge to combat censorship of translated books in China\u003c/a>. Hachette also published the \u003ca href=\"http://www.npr.org/2016/01/02/461754069/charlie-hebdo-the-licensed-anarchist-clowns-of-french-society\" target=\"_blank\" rel=\"noopener\">posthumous manifesto\u003c/a> \u003cem>Open Letter: On Blasphemy, Islamophobia, and the True Enemies of Free Expression\u003c/em> by \u003cem>Charlie Hebdo\u003c/em> editor Stephane Charbonnier, who died in the terrorist attack on the French satirical magazine last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both prizes will be handed out at PEN’s annual literary gala in May. Last year, \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/04/27/402541818/6-novelists-withdraw-from-event-honoring-charlie-hebdo-for-free-speech\" target=\"_blank\" rel=\"noopener\">six authors withdrew\u003c/a> from the gala and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/27/402541818/6-novelists-withdraw-from-event-honoring-charlie-hebdo-for-free-speech\" target=\"_blank\" rel=\"noopener\">more than 150 signed an open letter\u003c/a> of protest after PEN gave \u003cem>Charlie Hebdo\u003c/em> its annual Freedom of Expression Courage Award. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=PEN+American+Center+Awards+Free-Speech+Prize+To+J.K.+Rowling+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the early 1970s, an elderly homeless woman who called herself Miss Shepherd parked her decrepit van in the London driveway of British playwright Alan Bennett. Bennett had invited her, ambivalently and with every expectation she’d leave before long. She stayed for 15 years, and \u003cem>The Lady in the Van\u003c/em>, Bennett’s hilarious, self-lacerating, and wistful account of her sojourn among the trendy liberals of Camden Town, became first an article and then a stage play starring — who else? — Maggie Smith. The play was a transatlantic success, but Bennett took some flack for “exploiting” Miss Shepherd for literary purposes. A curious charge given that most writers’ source material tends to be — in or out of the driveway — other people.\u003c/p>\n\u003cp>Now Bennett has teamed with the play’s director, Nicholas Hytner, for a charming, if slightly over-sugared movie version, their third film collaboration after \u003cem>The History Boys\u003c/em> and the wonderful \u003cem>The Madness of King George\u003c/em>. Dame Maggie takes the lead again as the cantankerous Miss S., looking, in elaborate layers of bag-lady threads artfully adorned with crumbs and stains, for all the world like Lady Grantham fallen on hard times. Miss Shepherd’s a show-stopper, flapping her hands and popping her eyes, complaining to Bennett in a querulous, Julia Child warble about the facilities, the food brought to her van’s door by well-meaning neighbors, the social workers bearing second-hand coats.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_dm-a9R763A\u003c/p>\n\u003cp>By way of a malevolent stranger played with smarmy relish by Jim Broadbent, we learn that Miss Shepherd is not the old lady’s real name. Bit by bit, flashbacks clear up the mystery of why a woman so down on her luck would have a posh accent, speak fluent French, perk up at a few bars of Beethoven, and go down on her knees early and often to seek atonement for a crime she may or may not have committed. There’s tragedy to burn in Miss Shepherd’s past, and Hytner, ever ready to gild the lily, lays it on with gusto. Mercifully, Dame Maggie’s fully in touch with her inner Yelling Ingrate, and Bennett’s sharp dialogue makes it clear that the old lady’s strident refusal of help unless she demands it herself is her way of hanging onto her independence and the tatters of a dignity horribly wounded by early adversity and current cruelty.\u003c/p>\n\u003cp>What’s more, it turns out that Miss Shepherd has led a more adventurous life than all the trendy lefties who queue up to ply her with gourmet delicatesse while holding their noses and wishing her anywhere but here. The ghost of Charles Dickens hovers closely over every neighbor (Roger Allam and Frances de la Tour excel) who tries to pitch in while backing away from the old lady’s rank odor. What many daintily refer to as English eccentricity is more accurately grasped here as a kind of barely controlled lunacy, gussied up in sensible sweaters and good manners. This includes Bennett, and for thematic reasons Hytner splits him into two Alan Bennetts, both rendered by the terrific Alex Jennings, who memorably played a pitifully ineffectual Prince Charles in the 2006 movie \u003cem>The Queen\u003c/em>. There’s Bennett the sardonic writer in search of material; and Bennett the owlish, partially closeted bachelor in search of a life, ruefully aware that his fascination with Miss Shepherd is intimately connected with his tortured love for his Mam (Gwen Taylor), a kindly ingénue who’s losing the plot far faster than Miss Shepherd.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hytner’s directing style is perhaps best described as BBC Films Plus, a functional telly-realism garnished with formal flourishes — unusual life forms come and go without warning — that head off any potential slide into kitchen-sink pathos. That would be to betray Bennett’s sensibility, which sits uncomfortably but fruitfully between jaundiced observation and the compassion of a man who understands marginality all too well. Divided against himself and forever unsure of his own motives, Bennett Squared isn’t just telling the story of his encounter with one of England’s dispossessed. He’s conducting an inquiry into the roots of kindness, where he finds indolence, passivity, self-interest — and a genuine desire to help and heal that he sees in the very doctors, social workers and ambulance drivers routinely fingered in movies as the enemy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a semi-final burst of special effects that shifts gears yet again, the movie pays tribute to the undefeated brio of Miss Shepherd, bestowing on her a make-a-wish fantasy exit as welcome as it is giddily off-kilter. Hytner’s not done locking things up, though. At the very end, each Alan is presented with a gift he’s longed for, too. Sentimental? In spades, and would you believe? For once, it actually happened that way.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1970s, an elderly homeless woman who called herself Miss Shepherd parked her decrepit van in the London driveway of British playwright Alan Bennett. Bennett had invited her, ambivalently and with every expectation she’d leave before long. She stayed for 15 years, and \u003cem>The Lady in the Van\u003c/em>, Bennett’s hilarious, self-lacerating, and wistful account of her sojourn among the trendy liberals of Camden Town, became first an article and then a stage play starring — who else? — Maggie Smith. The play was a transatlantic success, but Bennett took some flack for “exploiting” Miss Shepherd for literary purposes. A curious charge given that most writers’ source material tends to be — in or out of the driveway — other people.\u003c/p>\n\u003cp>Now Bennett has teamed with the play’s director, Nicholas Hytner, for a charming, if slightly over-sugared movie version, their third film collaboration after \u003cem>The History Boys\u003c/em> and the wonderful \u003cem>The Madness of King George\u003c/em>. Dame Maggie takes the lead again as the cantankerous Miss S., looking, in elaborate layers of bag-lady threads artfully adorned with crumbs and stains, for all the world like Lady Grantham fallen on hard times. Miss Shepherd’s a show-stopper, flapping her hands and popping her eyes, complaining to Bennett in a querulous, Julia Child warble about the facilities, the food brought to her van’s door by well-meaning neighbors, the social workers bearing second-hand coats.\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/_dm-a9R763A'\n title='//www.youtube.com/embed/_dm-a9R763A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By way of a malevolent stranger played with smarmy relish by Jim Broadbent, we learn that Miss Shepherd is not the old lady’s real name. Bit by bit, flashbacks clear up the mystery of why a woman so down on her luck would have a posh accent, speak fluent French, perk up at a few bars of Beethoven, and go down on her knees early and often to seek atonement for a crime she may or may not have committed. There’s tragedy to burn in Miss Shepherd’s past, and Hytner, ever ready to gild the lily, lays it on with gusto. Mercifully, Dame Maggie’s fully in touch with her inner Yelling Ingrate, and Bennett’s sharp dialogue makes it clear that the old lady’s strident refusal of help unless she demands it herself is her way of hanging onto her independence and the tatters of a dignity horribly wounded by early adversity and current cruelty.\u003c/p>\n\u003cp>What’s more, it turns out that Miss Shepherd has led a more adventurous life than all the trendy lefties who queue up to ply her with gourmet delicatesse while holding their noses and wishing her anywhere but here. The ghost of Charles Dickens hovers closely over every neighbor (Roger Allam and Frances de la Tour excel) who tries to pitch in while backing away from the old lady’s rank odor. What many daintily refer to as English eccentricity is more accurately grasped here as a kind of barely controlled lunacy, gussied up in sensible sweaters and good manners. This includes Bennett, and for thematic reasons Hytner splits him into two Alan Bennetts, both rendered by the terrific Alex Jennings, who memorably played a pitifully ineffectual Prince Charles in the 2006 movie \u003cem>The Queen\u003c/em>. There’s Bennett the sardonic writer in search of material; and Bennett the owlish, partially closeted bachelor in search of a life, ruefully aware that his fascination with Miss Shepherd is intimately connected with his tortured love for his Mam (Gwen Taylor), a kindly ingénue who’s losing the plot far faster than Miss Shepherd.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hytner’s directing style is perhaps best described as BBC Films Plus, a functional telly-realism garnished with formal flourishes — unusual life forms come and go without warning — that head off any potential slide into kitchen-sink pathos. That would be to betray Bennett’s sensibility, which sits uncomfortably but fruitfully between jaundiced observation and the compassion of a man who understands marginality all too well. Divided against himself and forever unsure of his own motives, Bennett Squared isn’t just telling the story of his encounter with one of England’s dispossessed. He’s conducting an inquiry into the roots of kindness, where he finds indolence, passivity, self-interest — and a genuine desire to help and heal that he sees in the very doctors, social workers and ambulance drivers routinely fingered in movies as the enemy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a semi-final burst of special effects that shifts gears yet again, the movie pays tribute to the undefeated brio of Miss Shepherd, bestowing on her a make-a-wish fantasy exit as welcome as it is giddily off-kilter. Hytner’s not done locking things up, though. At the very end, each Alan is presented with a gift he’s longed for, too. Sentimental? In spades, and would you believe? For once, it actually happened that way.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Blowfly, Black Music's Filthiest Legend",
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"content": "\u003cp>\u003cem>\u003cstrong>WARNING:\u003c/strong> This story contains language and music that could be considered inappropriate for children and the workplace.\u003c/em>\u003c/p>\n\u003cp>The last few weeks have seen a remarkable series of iconoclastic musician deaths. Although Clarence Reid, better known by his sometime stage-name, Blowfly, who died of liver cancer in a South Florida hospice facility on January 17th 2016 at the age of 76, may not seem as epochal as \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\">David Bowie\u003c/a>, composer/conductor \u003ca href=\"http://www.npr.org/artists/15289724/pierre-boulez\">Pierre Boulez\u003c/a>, jazz piano eminence \u003ca href=\"http://www.npr.org/artists/92366136/paul-bley\">Paul Bley\u003c/a> or \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/28/461327109/rock-icon-lemmy-of-mot-rhead-dies-at-age-70\">Lemmy Kilminster\u003c/a>, he was the dominant exponent of a uniquely American idiom. Blowfly was the \u003cem>ne plus ultra\u003c/em> of raunchy pop-music parodies, writing profane lyrics to existing songs, which he then re-recorded and performed live. Many compared him to \u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\">“Weird Al” Yankovic\u003c/a>, but his records are the shadowy id to the platinum-selling accordionist’s super ego. Speaking to the German magazine \u003cem>Exberliner\u003c/em> in 2008, Reid was clear: “Weird Al has said ‘Blowfly is an X-rated Weird Al.’ Wrong. I was writing parodies when Weird Al was in diapers. He’s a goody-goody version of Blowfly.”\u003c/p>\n\u003cp>Vinyl crate-diggers knew Clarence Reid as an often-thoughtful songwriter, producer and a major figure in Miami’s soul and R&B independent music business. And the hours following Reid’s death saw encomia from \u003ca href=\"https://twitter.com/FINALLEVEL/status/688832230752423936?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Ice-T\u003c/a>, Snoop Dogg and the Red Hot Chili Peppers’ \u003ca href=\"https://twitter.com/flea333/status/688815108865175553?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Flea\u003c/a>, each paying tribute to not only his foul-mouthed versions of R&B classics, but also the late-’70s/early-’80s hip-hop he transitioned towards. Blowfly’s works presage the gleeful filth of fellow Miami residents \u003ca href=\"http://www.npr.org/2015/08/02/427850689/luther-campbell-of-2-live-crew-on-fame-obscenity-and-community\">2 Live Crew\u003c/a>, with only country singer David Allan Coe’s semi-legitimate, contemporaneous lewd (and racist) recordings and Millie Jackson’s similarly ribald R&B looming as large in the pantheons of dirty music. And if Blowfly took a cue or two from ’50s frat-R&B smut peddlers Doug Clark and His Hot Nuts, the overwhelming majority of current hip-hop and R&B artists owe Blowfly for their frank representations of unadulterated carnality and drug use. Needless to say, radio wouldn’t go anywhere near him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TzHurQoBMM0\u003c/p>\n\u003cp>The recorded legacy of Blowfly is replete with often sly, inventive references to every known sexual and scatological practice, featuring slurs regarding ethnicity, body type and sexual preference, delivered with the glee of a fifth grader —or perhaps of individuals willing to access a fifth grader’s mindset. And yet it worked. For you see, Blowfly is really really funny. The shock of defiling soul standards with nasty talk is powerful; fans of original, bighearted songs like Brook Benton’s “\u003ca href=\"https://www.youtube.com/watch?v=bDRbF80NKDU\" target=\"_blank\" rel=\"noopener\">Rainy Night In Georgia\u003c/a>” may resent the effrontery of “\u003ca href=\"https://www.youtube.com/watch?v=b-FFqLAJEBI\" target=\"_blank\" rel=\"noopener\">Spermy Night In Georgia\u003c/a>,” but go with it and see where it takes you. As he told the \u003ca href=\"mailto:http://www.miaminewtimes.com/news/blowfly-unmasked-6365163?subject=Miami%20New%20Times\">\u003cem>Miami New Times\u003c/em> in 1991\u003c/a>, “When Frank Sinatra sings, ‘When you love somebody / It’s no good unless he loves you / All the way,’ what’s he really saying? It’s about sex.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reid was born on February 14, 1939 in rural Cochran, Ga.; his family was poor and he had little in the way of a formal education, supposedly never learning to write and evidently memorizing the thousands of lyrics he composed. “‘Blowfly was invented when I was seven years old in the fields in Georgia,” he told the \u003cem>Exberliner\u003c/em>. “I had to quit school to work the farms. I was a mean little f*****, so I turned hillbilly songs like ‘Walkin’ the Floor Over You’ to ‘J*****’ My Dick Over You.’ The white people loved it and gave me money when I’d sing the songs to them. My grandmamma thought I stole the money, and when I told her how I earned it, she said I was a disgrace to the black race and no better than an old Blowfly. But a little white girl told me blowflies lay eggs on dead things and that without them, the world would be consumed by germs.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8Ut9XQBAol0\u003c/p>\n\u003cp>He made his way to South Florida in the early ’60s and cut a number of soul singles for regional labels with the original, self-pressed 1964 version of “Blowfly’s Rapp” laying credible claim as the first rap record, Reid having claimed that his delivery therein was influenced by the patter of southern DJs. That recording remains rare.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vh-2_kdVcyA\u003c/p>\n\u003cp>Reid eventually met Miami record impresario Henry Stone, and began writing songs for artists on his many labels, including \u003ca href=\"http://www.npr.org/2011/11/13/142240590/betty-wright-soul-singer-legacy-protector\">Betty Wright\u003c/a>. Her huge 1972 hit “Clean Up Woman” is one of the many songs of empowerment that Reid wrote (and produced) for women. (Wright’s “\u003ca href=\"https://www.youtube.com/watch?v=vZtkVj3JPaw\" target=\"_blank\" rel=\"noopener\">Girls Can’t Do What The Guys Do\u003c/a>,” which would be sampled for Beyonce’s “\u003ca href=\"https://www.youtube.com/watch?v=6nr8hPnZfMU\" target=\"_blank\" rel=\"noopener\">Upgrade U\u003c/a>,” is another.) They are striking for the level of empathy Reid deployed with respect to the romantic and professional travails that women have endured since antiquity — and in light of the recordings his alter ego would soon be notorious for. Reid became a bedrock of Stone’s TK Records, a key Miami label behind George McCrae’s oddly wistful early disco benchmark “Rock Your Baby,” working with artists such as Gwen McRae and Timmy Thomas, among many others, and making key contributions to the early, defining hits by KC and the Sunshine Band.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=laynlS8ngmM\u003c/p>\n\u003cp>All the while, Reid entertained fellow musicians and friends with dirty versions of the R&B hits of the late ’60s and ’70s\u003cdel>,\u003c/del> — “S***ing On The Dock of the Bay\u003cdel>.\u003c/del>” was an early standout. Stone encouraged him to record these and then released and marketed them in the guise of underground “party records” from “Blowfly.” His first album as such, 1973’s \u003cem>Weird World Of Blowfly\u003c/em>, is presented as a live show (crowd noise was edited in), comprised of repurposed soul gems. When that record and subsequent efforts such as \u003cdel> \u003c/del>1977’s \u003cem>Blowfly’s Disco\u003c/em> gathered steam, \u003cdel> \u003c/del>Reid became concerned that their reputation would besmirch his standing as a songwriter, so he took to donning a sequined hood and top and a pair of ill-advised booty shorts for album covers and appearances. He even recorded “\u003ca href=\"https://www.youtube.com/watch?v=Bq25vxTKFs0\" target=\"_blank\" rel=\"noopener\">Nobody’s Butt But Yours Babe\u003c/a>,” reworking Clarence Reid’s semi-hit “Nobody But You Babe.” His adoption of an alter ego did not stop Stanley Adams, the president of ASCAP at the time, from suing Reid for befouling his composition “What A Difference A Day Makes” as “\u003ca href=\"https://www.youtube.com/watch?v=laynlS8ngmM\" target=\"_blank\" rel=\"noopener\">What A Difference A Lay Makes\u003c/a>.” His marriage of the time produced two children, including 1998 WNBA Rookie of the Year, Tracy Reid.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7KlnU2ZVNpU\u003c/p>\n\u003cp>Once hip-hop emerged, in 1980 Reid recut “Blowfly’s Rapp,” the first of a series of tall tales delivered via the nascent form. Dipping a toe into the period’s CB radio craze (the market-conscious Blowfly consistently responded to technological and cultural trends), the new “Rapp” spun the tale of a \u003cem>Deliverance\u003c/em>-style encounter with Ku Klux Klan-accredited truck drivers to light funk backing; “\u003ca href=\"https://www.youtube.com/watch?v=fPj6BWCH6co\" target=\"_blank\" rel=\"noopener\">The Incredible Fulk\u003c/a>” found our hero undergoing an experiment that makes his manhood so big that it ascends into the sky and “planes had to re-route themselves” while 1981’s “\u003ca href=\"https://www.youtube.com/watch?v=E5JaQEXszJk\" target=\"_blank\" rel=\"noopener\">Convoy\u003c/a>” again found him behind the wheel (and also included an “argument” between “Blowfly” and “Reid”). He adopted what would now be understood as a tag: almost every song from this era features a sinister bellowing laugh, redolent of a twirly mustached villain: “NEEE-AH-AH-AH-AH-AH-AH!!!!” At Blowfly’s creative height, he was as agile and resourceful a singer as any he mocked, occasionally ascending into a keening falsetto few could achieve.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8K1iTW1szfw\u003c/p>\n\u003cp>After TK Records collapsed in 1980, he recorded for Bo Crane’s Pandisc, a label that would become a cornerstone of the Miami Bass sound. Released in 1984, “Electronic P**** Sucker” drew on the emerging synthetic “electro” movement by sampling Cybotron’s “\u003ca href=\"https://www.youtube.com/watch?v=fGqiBFqWCTU\" target=\"_blank\" rel=\"noopener\">Clear\u003c/a>,” and is one of the genre’s cult classics (its narrative finds Blowfly encountering a rogue horny robot at a computer store, with Reid voicing the robot via a sinister vocoder treatment). That election year also saw the release of “First Black President,” with Blowfly becoming POTUS and the song running over with sex, drugs and racially stereotypical imagery. His cuts, either very popular or obscure, would be sampled by the likes of Warren G., Jurassic Five, DJ Quik, the Avalanches, and the Ol Dirty Bastard.\u003c/p>\n\u003cp>From the ’90s onwards, Reid was chiefly championed by \u003cdel> \u003c/del>the bearded and tattooed set. His records had long since stopped selling via traditional channels, and mounting debt and unpaid bills saw him sell the rights to his catalog in 2003; he ceded all future royalties for a nominal sum and had to scramble for the rest of his life, according to the 2010 documentary, \u003cem>\u003ca href=\"http://www.blowflyfilm.com/\" target=\"_blank\" rel=\"noopener\">The Weird World Of Blowfly\u003c/a>\u003c/em>. For the past decade, he has worked on the punk rock circuit with his drummer/right hand man “Uncle” Tom Bowker. \u003cem>Blowfly’s Punk Rock \u003cdel> \u003c/del>Party\u003c/em> was released in 2006 on Jello Biafra’s Alternative Tentacles: the Dead Kennedys takeoff “\u003ca href=\"https://www.youtube.com/watch?v=vWLK-JEH4vU\" target=\"_blank\" rel=\"noopener\">R. Kelly In Cambodia\u003c/a>” not only reflects his intended audience’s interests, but also indicates his own alienation towards black audiences. The \u003cem>Weird World\u003c/em> documentary, which is largely concerned with the drudgery of his touring life in the late 2000s, saw Reid expressing contempt for other African\u003cdel> \u003c/del>Americans in terms similar to the extreme respectability politics diatribes of black conservatives like Shelby Steele.\u003c/p>\n\u003cp>Yet Reid was consistently less interested in the “respectable” long view of 50 years of nasty song parodies. “Blowfly has never ‘developed,'” he told the \u003cem>Exberliner\u003c/em>. “Blowfly is still the same mean, perverted little bastard he was back in Georgia in the ’40s. That’s why I still eat pizza and honey like a little kid and watch cartoons every day. I live in my own Weird World.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Additional reporting by D. Strauss.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Blowfly%2C+Black+Music%27s+Filthiest+Legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>WARNING:\u003c/strong> This story contains language and music that could be considered inappropriate for children and the workplace.\u003c/em>\u003c/p>\n\u003cp>The last few weeks have seen a remarkable series of iconoclastic musician deaths. Although Clarence Reid, better known by his sometime stage-name, Blowfly, who died of liver cancer in a South Florida hospice facility on January 17th 2016 at the age of 76, may not seem as epochal as \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\">David Bowie\u003c/a>, composer/conductor \u003ca href=\"http://www.npr.org/artists/15289724/pierre-boulez\">Pierre Boulez\u003c/a>, jazz piano eminence \u003ca href=\"http://www.npr.org/artists/92366136/paul-bley\">Paul Bley\u003c/a> or \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/28/461327109/rock-icon-lemmy-of-mot-rhead-dies-at-age-70\">Lemmy Kilminster\u003c/a>, he was the dominant exponent of a uniquely American idiom. Blowfly was the \u003cem>ne plus ultra\u003c/em> of raunchy pop-music parodies, writing profane lyrics to existing songs, which he then re-recorded and performed live. Many compared him to \u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\">“Weird Al” Yankovic\u003c/a>, but his records are the shadowy id to the platinum-selling accordionist’s super ego. Speaking to the German magazine \u003cem>Exberliner\u003c/em> in 2008, Reid was clear: “Weird Al has said ‘Blowfly is an X-rated Weird Al.’ Wrong. I was writing parodies when Weird Al was in diapers. He’s a goody-goody version of Blowfly.”\u003c/p>\n\u003cp>Vinyl crate-diggers knew Clarence Reid as an often-thoughtful songwriter, producer and a major figure in Miami’s soul and R&B independent music business. And the hours following Reid’s death saw encomia from \u003ca href=\"https://twitter.com/FINALLEVEL/status/688832230752423936?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Ice-T\u003c/a>, Snoop Dogg and the Red Hot Chili Peppers’ \u003ca href=\"https://twitter.com/flea333/status/688815108865175553?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Flea\u003c/a>, each paying tribute to not only his foul-mouthed versions of R&B classics, but also the late-’70s/early-’80s hip-hop he transitioned towards. Blowfly’s works presage the gleeful filth of fellow Miami residents \u003ca href=\"http://www.npr.org/2015/08/02/427850689/luther-campbell-of-2-live-crew-on-fame-obscenity-and-community\">2 Live Crew\u003c/a>, with only country singer David Allan Coe’s semi-legitimate, contemporaneous lewd (and racist) recordings and Millie Jackson’s similarly ribald R&B looming as large in the pantheons of dirty music. And if Blowfly took a cue or two from ’50s frat-R&B smut peddlers Doug Clark and His Hot Nuts, the overwhelming majority of current hip-hop and R&B artists owe Blowfly for their frank representations of unadulterated carnality and drug use. Needless to say, radio wouldn’t go anywhere near him.\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/TzHurQoBMM0'\n title='//www.youtube.com/embed/TzHurQoBMM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The recorded legacy of Blowfly is replete with often sly, inventive references to every known sexual and scatological practice, featuring slurs regarding ethnicity, body type and sexual preference, delivered with the glee of a fifth grader —or perhaps of individuals willing to access a fifth grader’s mindset. And yet it worked. For you see, Blowfly is really really funny. The shock of defiling soul standards with nasty talk is powerful; fans of original, bighearted songs like Brook Benton’s “\u003ca href=\"https://www.youtube.com/watch?v=bDRbF80NKDU\" target=\"_blank\" rel=\"noopener\">Rainy Night In Georgia\u003c/a>” may resent the effrontery of “\u003ca href=\"https://www.youtube.com/watch?v=b-FFqLAJEBI\" target=\"_blank\" rel=\"noopener\">Spermy Night In Georgia\u003c/a>,” but go with it and see where it takes you. As he told the \u003ca href=\"mailto:http://www.miaminewtimes.com/news/blowfly-unmasked-6365163?subject=Miami%20New%20Times\">\u003cem>Miami New Times\u003c/em> in 1991\u003c/a>, “When Frank Sinatra sings, ‘When you love somebody / It’s no good unless he loves you / All the way,’ what’s he really saying? It’s about sex.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reid was born on February 14, 1939 in rural Cochran, Ga.; his family was poor and he had little in the way of a formal education, supposedly never learning to write and evidently memorizing the thousands of lyrics he composed. “‘Blowfly was invented when I was seven years old in the fields in Georgia,” he told the \u003cem>Exberliner\u003c/em>. “I had to quit school to work the farms. I was a mean little f*****, so I turned hillbilly songs like ‘Walkin’ the Floor Over You’ to ‘J*****’ My Dick Over You.’ The white people loved it and gave me money when I’d sing the songs to them. My grandmamma thought I stole the money, and when I told her how I earned it, she said I was a disgrace to the black race and no better than an old Blowfly. But a little white girl told me blowflies lay eggs on dead things and that without them, the world would be consumed by germs.”\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/8Ut9XQBAol0'\n title='//www.youtube.com/embed/8Ut9XQBAol0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He made his way to South Florida in the early ’60s and cut a number of soul singles for regional labels with the original, self-pressed 1964 version of “Blowfly’s Rapp” laying credible claim as the first rap record, Reid having claimed that his delivery therein was influenced by the patter of southern DJs. That recording remains rare.\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/vh-2_kdVcyA'\n title='//www.youtube.com/embed/vh-2_kdVcyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reid eventually met Miami record impresario Henry Stone, and began writing songs for artists on his many labels, including \u003ca href=\"http://www.npr.org/2011/11/13/142240590/betty-wright-soul-singer-legacy-protector\">Betty Wright\u003c/a>. Her huge 1972 hit “Clean Up Woman” is one of the many songs of empowerment that Reid wrote (and produced) for women. (Wright’s “\u003ca href=\"https://www.youtube.com/watch?v=vZtkVj3JPaw\" target=\"_blank\" rel=\"noopener\">Girls Can’t Do What The Guys Do\u003c/a>,” which would be sampled for Beyonce’s “\u003ca href=\"https://www.youtube.com/watch?v=6nr8hPnZfMU\" target=\"_blank\" rel=\"noopener\">Upgrade U\u003c/a>,” is another.) They are striking for the level of empathy Reid deployed with respect to the romantic and professional travails that women have endured since antiquity — and in light of the recordings his alter ego would soon be notorious for. Reid became a bedrock of Stone’s TK Records, a key Miami label behind George McCrae’s oddly wistful early disco benchmark “Rock Your Baby,” working with artists such as Gwen McRae and Timmy Thomas, among many others, and making key contributions to the early, defining hits by KC and the Sunshine Band.\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/laynlS8ngmM'\n title='//www.youtube.com/embed/laynlS8ngmM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All the while, Reid entertained fellow musicians and friends with dirty versions of the R&B hits of the late ’60s and ’70s\u003cdel>,\u003c/del> — “S***ing On The Dock of the Bay\u003cdel>.\u003c/del>” was an early standout. Stone encouraged him to record these and then released and marketed them in the guise of underground “party records” from “Blowfly.” His first album as such, 1973’s \u003cem>Weird World Of Blowfly\u003c/em>, is presented as a live show (crowd noise was edited in), comprised of repurposed soul gems. When that record and subsequent efforts such as \u003cdel> \u003c/del>1977’s \u003cem>Blowfly’s Disco\u003c/em> gathered steam, \u003cdel> \u003c/del>Reid became concerned that their reputation would besmirch his standing as a songwriter, so he took to donning a sequined hood and top and a pair of ill-advised booty shorts for album covers and appearances. He even recorded “\u003ca href=\"https://www.youtube.com/watch?v=Bq25vxTKFs0\" target=\"_blank\" rel=\"noopener\">Nobody’s Butt But Yours Babe\u003c/a>,” reworking Clarence Reid’s semi-hit “Nobody But You Babe.” His adoption of an alter ego did not stop Stanley Adams, the president of ASCAP at the time, from suing Reid for befouling his composition “What A Difference A Day Makes” as “\u003ca href=\"https://www.youtube.com/watch?v=laynlS8ngmM\" target=\"_blank\" rel=\"noopener\">What A Difference A Lay Makes\u003c/a>.” His marriage of the time produced two children, including 1998 WNBA Rookie of the Year, Tracy Reid.\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/7KlnU2ZVNpU'\n title='//www.youtube.com/embed/7KlnU2ZVNpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once hip-hop emerged, in 1980 Reid recut “Blowfly’s Rapp,” the first of a series of tall tales delivered via the nascent form. Dipping a toe into the period’s CB radio craze (the market-conscious Blowfly consistently responded to technological and cultural trends), the new “Rapp” spun the tale of a \u003cem>Deliverance\u003c/em>-style encounter with Ku Klux Klan-accredited truck drivers to light funk backing; “\u003ca href=\"https://www.youtube.com/watch?v=fPj6BWCH6co\" target=\"_blank\" rel=\"noopener\">The Incredible Fulk\u003c/a>” found our hero undergoing an experiment that makes his manhood so big that it ascends into the sky and “planes had to re-route themselves” while 1981’s “\u003ca href=\"https://www.youtube.com/watch?v=E5JaQEXszJk\" target=\"_blank\" rel=\"noopener\">Convoy\u003c/a>” again found him behind the wheel (and also included an “argument” between “Blowfly” and “Reid”). He adopted what would now be understood as a tag: almost every song from this era features a sinister bellowing laugh, redolent of a twirly mustached villain: “NEEE-AH-AH-AH-AH-AH-AH!!!!” At Blowfly’s creative height, he was as agile and resourceful a singer as any he mocked, occasionally ascending into a keening falsetto few could achieve.\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/8K1iTW1szfw'\n title='//www.youtube.com/embed/8K1iTW1szfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After TK Records collapsed in 1980, he recorded for Bo Crane’s Pandisc, a label that would become a cornerstone of the Miami Bass sound. Released in 1984, “Electronic P**** Sucker” drew on the emerging synthetic “electro” movement by sampling Cybotron’s “\u003ca href=\"https://www.youtube.com/watch?v=fGqiBFqWCTU\" target=\"_blank\" rel=\"noopener\">Clear\u003c/a>,” and is one of the genre’s cult classics (its narrative finds Blowfly encountering a rogue horny robot at a computer store, with Reid voicing the robot via a sinister vocoder treatment). That election year also saw the release of “First Black President,” with Blowfly becoming POTUS and the song running over with sex, drugs and racially stereotypical imagery. His cuts, either very popular or obscure, would be sampled by the likes of Warren G., Jurassic Five, DJ Quik, the Avalanches, and the Ol Dirty Bastard.\u003c/p>\n\u003cp>From the ’90s onwards, Reid was chiefly championed by \u003cdel> \u003c/del>the bearded and tattooed set. His records had long since stopped selling via traditional channels, and mounting debt and unpaid bills saw him sell the rights to his catalog in 2003; he ceded all future royalties for a nominal sum and had to scramble for the rest of his life, according to the 2010 documentary, \u003cem>\u003ca href=\"http://www.blowflyfilm.com/\" target=\"_blank\" rel=\"noopener\">The Weird World Of Blowfly\u003c/a>\u003c/em>. For the past decade, he has worked on the punk rock circuit with his drummer/right hand man “Uncle” Tom Bowker. \u003cem>Blowfly’s Punk Rock \u003cdel> \u003c/del>Party\u003c/em> was released in 2006 on Jello Biafra’s Alternative Tentacles: the Dead Kennedys takeoff “\u003ca href=\"https://www.youtube.com/watch?v=vWLK-JEH4vU\" target=\"_blank\" rel=\"noopener\">R. Kelly In Cambodia\u003c/a>” not only reflects his intended audience’s interests, but also indicates his own alienation towards black audiences. The \u003cem>Weird World\u003c/em> documentary, which is largely concerned with the drudgery of his touring life in the late 2000s, saw Reid expressing contempt for other African\u003cdel> \u003c/del>Americans in terms similar to the extreme respectability politics diatribes of black conservatives like Shelby Steele.\u003c/p>\n\u003cp>Yet Reid was consistently less interested in the “respectable” long view of 50 years of nasty song parodies. “Blowfly has never ‘developed,'” he told the \u003cem>Exberliner\u003c/em>. “Blowfly is still the same mean, perverted little bastard he was back in Georgia in the ’40s. That’s why I still eat pizza and honey like a little kid and watch cartoons every day. I live in my own Weird World.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by D. Strauss.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Blowfly%2C+Black+Music%27s+Filthiest+Legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I am an academy member and it doesn’t reflect me,” actor David Oyelowo said last night, rebuking the Academy of Motion Picture Arts and Sciences for again failing to nominate black performers.\u003c/p>\n\u003cp>Speaking at a Martin Luther King Jr. Legacy Award Gala in Los Angeles, Oyelowo asked those present to pray for the academy’s president, Cheryl Boone Isaacs, saying she needs their support.\u003c/p>\n\u003cp>“The academy has a problem,” Oyelowo said, according to \u003ca href=\"http://www.hollywoodreporter.com/news/actor-david-oyelowo-slams-academy-857045\" target=\"_blank\" rel=\"noopener\">the Hollywood Reporter\u003c/a>. “It’s a problem that needs to be solved.”\u003c/p>\n\u003cp>He also criticized the slow pace of change in Hollywood, comparing it unfavorably with the U.S. passage of civil rights legislation 50 years ago.\u003c/p>\n\u003cp>The lack of diversity in the Oscar nominations announced Thursday quickly set off a wave of criticism. Over the weekend, filmmaker Spike Lee and actress Jada Pinkett Smith both said they won’t attend the ceremony.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Boone Isaacs, who was elected the academy’s first black president in 2013, was present for Oyelowo’s speech — she was being presented with the Rosa Parks Humanitarian Award when Oyelowo diverted from his prepared text, according to the \u003cem>Reporter\u003c/em>.\u003c/p>\n\u003cp>The academy president aired her own thoughts on diversity last night, issuing a statement via the Oscars site that reads in part:\u003c/p>\n\u003cblockquote>\n\u003cp>“While we celebrate their extraordinary achievements, I am both heartbroken and frustrated about the lack of inclusion. This is a difficult but important conversation, and it’s time for big changes. The Academy is taking dramatic steps to alter the makeup of our membership.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Those steps center on recruitment, \u003ca href=\"http://www.oscars.org/news/statement-academy-president-cheryl-boone-isaacs\" target=\"_blank\" rel=\"noopener\">Boone Isaacs said\u003c/a>, noting that in the 1960s and ’70s, the organization had sought younger members “to stay vital and relevant.”\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/14/463024972/2016-oscar-nominations-are-announced\" target=\"_blank\" rel=\"noopener\">we reported Thursday\u003c/a>, “for the second year in a row, no black actor or actress was nominated for an Oscar. And unlike last year, when \u003cem>Selma\u003c/em> competed for best picture, no black faces are featured in what the academy is calling the top films of 2015.”\u003c/p>\n\u003cp>One day after the nominations were announced, Chris Rock, who’s hosting next month’s awards ceremony, tweeted, “The #Oscars. The White BET Awards.”\u003c/p>\n\u003cp>Saying via \u003ca href=\"https://www.facebook.com/jada/videos/10153983404106320/\">a video posted to Facebook\u003c/a> that she won’t be attending, Pinkett Smith said, “The academy has the right to acknowledge whomever they choose, to invite whomever they choose.” She added, “Begging for acknowledgement — or even asking — diminishes dignity. It diminishes power.”\u003c/p>\n\u003cp>Announcing his decision \u003ca href=\"https://www.instagram.com/p/BArm7C2Sqh_/\" target=\"_blank\" rel=\"noopener\">via Instagram\u003c/a>, Spike Lee said, “As I see it, the Academy Awards is not where the ‘real’ battle is. It’s in the executive office of the Hollywood studios and TV and cable networks. … People, the truth is we ain’t in those rooms and until minorities are, the Oscar nominees will remain lily-white.”\u003c/p>\n\u003cp>Lee also thanked Boone Isaacs and the academy for awarding him an honorary Oscar in November. But he said of the upcoming ceremony, “We cannot support it.”\u003c/p>\n\u003cp>Last year, Oyelowo’s portrayal of Martin Luther King Jr. in \u003cem>Selma\u003c/em> was widely expected to garner an Oscar nomination. On Monday, he said that after the snub, Boone Isaacs “invited me to her office to talk about what went wrong.”\u003c/p>\n\u003cp>He added, “For 20 opportunities to celebrate actors of color, actresses of color, to be missed last year is one thing; for that to happen again this year is unforgivable.”\u003c/p>\n\u003cp>Referring to black performers’ prominent roles in \u003cem>Star Wars: The Force Awakens\u003c/em> and other successful films, Oyelowo stated, “This institution doesn’t reflect its president and it doesn’t reflect this room. I am an academy member, and it doesn’t reflect me and it doesn’t reflect this nation.”\u003c/p>\n\u003cp>This year, Pinkett Smith’s husband, Will Smith, did not receive a nomination for his work in \u003cem>Concussion\u003c/em>. Neither did Idris Elba, despite winning acclaim for his part in \u003cem>Beasts of No Nation\u003c/em>. Both actors were nominated for Golden Globes.\u003c/p>\n\u003cp>Within the strong criticism that has met this year’s Oscar nominations, there’s also disagreement over who should have been recognized.\u003c/p>\n\u003cp>In response to Pinkett Smith’s video, actress Janet Hubert, who portrayed Will Smith’s Aunt Viv on the 1990s TV show \u003cem>Fresh Prince of Bel-Air\u003c/em>, released a video of her own in which she told the couple, “Y’all need to get over yourselves.”\u003c/p>\n\u003cp>After saying she felt Elba and others deserved recognition, Hubert addressed her former co-star:\u003c/p>\n\u003cblockquote>\n\u003cp>“I didn’t think, frankly, you deserved a Golden Globe nomination with that accent, but you got one. And just because the world doesn’t go the way you want it to go doesn’t mean that you can go out and then you start asking people to stand up and sing ‘We Shall Overcome’ for you.”\u003c/p>\n\u003c/blockquote>\n\u003cp>For his part, Elba, who, like Oyewolo, grew up in London, gave his own speech yesterday “about a lack of diversity on British television,” as \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/18/462657954/actor-idris-elba-to-british-politicians-more-diversity-needed-in-media\" target=\"_blank\" rel=\"noopener\">NPR’s Tanya Ballard Brown reported\u003c/a>. In it, he told members of Parliament and senior TV executives about hitting a point in his acting career when he realized he would only be seen as either a best friend or a gang leader.\u003c/p>\n\u003cp>“I knew I wasn’t going to land a lead role,” Elba said. “I knew there wasn’t enough imagination in the industry for me to be seen as a lead.”\u003c/p>\n\u003cp>In his speech Monday night, Oyelowo said performers dream of being accepted by the academy “because it is the height of excellence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He added, “I would like to walk away and say it doesn’t matter, but it does, because that acknowledgement changes the trajectory of your life, your career and the culture of the world we live in.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Academy+Has+A+Problem%2C%27+David+Oyelowo+Says+At+MLK+Event+Honoring+Academy+President&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\"I am an academy member and it doesn't reflect me, and it doesn't reflect this nation,\" the actor said Monday, in a speech that cited black performers' prominent roles in successful films.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I am an academy member and it doesn’t reflect me,” actor David Oyelowo said last night, rebuking the Academy of Motion Picture Arts and Sciences for again failing to nominate black performers.\u003c/p>\n\u003cp>Speaking at a Martin Luther King Jr. Legacy Award Gala in Los Angeles, Oyelowo asked those present to pray for the academy’s president, Cheryl Boone Isaacs, saying she needs their support.\u003c/p>\n\u003cp>“The academy has a problem,” Oyelowo said, according to \u003ca href=\"http://www.hollywoodreporter.com/news/actor-david-oyelowo-slams-academy-857045\" target=\"_blank\" rel=\"noopener\">the Hollywood Reporter\u003c/a>. “It’s a problem that needs to be solved.”\u003c/p>\n\u003cp>He also criticized the slow pace of change in Hollywood, comparing it unfavorably with the U.S. passage of civil rights legislation 50 years ago.\u003c/p>\n\u003cp>The lack of diversity in the Oscar nominations announced Thursday quickly set off a wave of criticism. Over the weekend, filmmaker Spike Lee and actress Jada Pinkett Smith both said they won’t attend the ceremony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Boone Isaacs, who was elected the academy’s first black president in 2013, was present for Oyelowo’s speech — she was being presented with the Rosa Parks Humanitarian Award when Oyelowo diverted from his prepared text, according to the \u003cem>Reporter\u003c/em>.\u003c/p>\n\u003cp>The academy president aired her own thoughts on diversity last night, issuing a statement via the Oscars site that reads in part:\u003c/p>\n\u003cblockquote>\n\u003cp>“While we celebrate their extraordinary achievements, I am both heartbroken and frustrated about the lack of inclusion. This is a difficult but important conversation, and it’s time for big changes. The Academy is taking dramatic steps to alter the makeup of our membership.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Those steps center on recruitment, \u003ca href=\"http://www.oscars.org/news/statement-academy-president-cheryl-boone-isaacs\" target=\"_blank\" rel=\"noopener\">Boone Isaacs said\u003c/a>, noting that in the 1960s and ’70s, the organization had sought younger members “to stay vital and relevant.”\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/14/463024972/2016-oscar-nominations-are-announced\" target=\"_blank\" rel=\"noopener\">we reported Thursday\u003c/a>, “for the second year in a row, no black actor or actress was nominated for an Oscar. And unlike last year, when \u003cem>Selma\u003c/em> competed for best picture, no black faces are featured in what the academy is calling the top films of 2015.”\u003c/p>\n\u003cp>One day after the nominations were announced, Chris Rock, who’s hosting next month’s awards ceremony, tweeted, “The #Oscars. The White BET Awards.”\u003c/p>\n\u003cp>Saying via \u003ca href=\"https://www.facebook.com/jada/videos/10153983404106320/\">a video posted to Facebook\u003c/a> that she won’t be attending, Pinkett Smith said, “The academy has the right to acknowledge whomever they choose, to invite whomever they choose.” She added, “Begging for acknowledgement — or even asking — diminishes dignity. It diminishes power.”\u003c/p>\n\u003cp>Announcing his decision \u003ca href=\"https://www.instagram.com/p/BArm7C2Sqh_/\" target=\"_blank\" rel=\"noopener\">via Instagram\u003c/a>, Spike Lee said, “As I see it, the Academy Awards is not where the ‘real’ battle is. It’s in the executive office of the Hollywood studios and TV and cable networks. … People, the truth is we ain’t in those rooms and until minorities are, the Oscar nominees will remain lily-white.”\u003c/p>\n\u003cp>Lee also thanked Boone Isaacs and the academy for awarding him an honorary Oscar in November. But he said of the upcoming ceremony, “We cannot support it.”\u003c/p>\n\u003cp>Last year, Oyelowo’s portrayal of Martin Luther King Jr. in \u003cem>Selma\u003c/em> was widely expected to garner an Oscar nomination. On Monday, he said that after the snub, Boone Isaacs “invited me to her office to talk about what went wrong.”\u003c/p>\n\u003cp>He added, “For 20 opportunities to celebrate actors of color, actresses of color, to be missed last year is one thing; for that to happen again this year is unforgivable.”\u003c/p>\n\u003cp>Referring to black performers’ prominent roles in \u003cem>Star Wars: The Force Awakens\u003c/em> and other successful films, Oyelowo stated, “This institution doesn’t reflect its president and it doesn’t reflect this room. I am an academy member, and it doesn’t reflect me and it doesn’t reflect this nation.”\u003c/p>\n\u003cp>This year, Pinkett Smith’s husband, Will Smith, did not receive a nomination for his work in \u003cem>Concussion\u003c/em>. Neither did Idris Elba, despite winning acclaim for his part in \u003cem>Beasts of No Nation\u003c/em>. Both actors were nominated for Golden Globes.\u003c/p>\n\u003cp>Within the strong criticism that has met this year’s Oscar nominations, there’s also disagreement over who should have been recognized.\u003c/p>\n\u003cp>In response to Pinkett Smith’s video, actress Janet Hubert, who portrayed Will Smith’s Aunt Viv on the 1990s TV show \u003cem>Fresh Prince of Bel-Air\u003c/em>, released a video of her own in which she told the couple, “Y’all need to get over yourselves.”\u003c/p>\n\u003cp>After saying she felt Elba and others deserved recognition, Hubert addressed her former co-star:\u003c/p>\n\u003cblockquote>\n\u003cp>“I didn’t think, frankly, you deserved a Golden Globe nomination with that accent, but you got one. And just because the world doesn’t go the way you want it to go doesn’t mean that you can go out and then you start asking people to stand up and sing ‘We Shall Overcome’ for you.”\u003c/p>\n\u003c/blockquote>\n\u003cp>For his part, Elba, who, like Oyewolo, grew up in London, gave his own speech yesterday “about a lack of diversity on British television,” as \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/18/462657954/actor-idris-elba-to-british-politicians-more-diversity-needed-in-media\" target=\"_blank\" rel=\"noopener\">NPR’s Tanya Ballard Brown reported\u003c/a>. In it, he told members of Parliament and senior TV executives about hitting a point in his acting career when he realized he would only be seen as either a best friend or a gang leader.\u003c/p>\n\u003cp>“I knew I wasn’t going to land a lead role,” Elba said. “I knew there wasn’t enough imagination in the industry for me to be seen as a lead.”\u003c/p>\n\u003cp>In his speech Monday night, Oyelowo said performers dream of being accepted by the academy “because it is the height of excellence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He added, “I would like to walk away and say it doesn’t matter, but it does, because that acknowledgement changes the trajectory of your life, your career and the culture of the world we live in.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Academy+Has+A+Problem%2C%27+David+Oyelowo+Says+At+MLK+Event+Honoring+Academy+President&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "diversity-in-hollywood-heres-what-critics-are-saying-about-round-2-of-oscarsowhite",
"title": "Diversity In Hollywood: Here's What Critics Are Saying About Round 2 of #OscarSoWhite",
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"headTitle": "Diversity In Hollywood: Here’s What Critics Are Saying About Round 2 of #OscarSoWhite | KQED",
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"content": "\u003cp>Last week saw the unhappy reprise of #\u003ca href=\"https://twitter.com/hashtag/oscarssowhite?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">OscarSoWhite\u003c/a>, a Twitter hashtag that’s becoming something of an annual tradition skewering the lack of diversity in nominations for the Academy Awards. Many fans and critics are frustrated — to say the least — that all of this year’s nominees in acting categories are white, citing Michael B. Jordan’s performance in \u003cem>Creed\u003c/em> as one of a handful of expected shoe-ins for recognition.\u003c/p>\n\u003cp>Now, thousands are pledging to boycott watching the awards ceremony on television, and Jada Pinkett-Smith and Spike Lee have \u003ca href=\"http://www.bbc.com/news/world-us-canada-35348062\" target=\"_blank\" rel=\"noopener\">publicly stated\u003c/a> that they will not attend.\u003c/p>\n\u003cp>We’ve rounded up some of the most thoughtful responses to #OscarsSoWhite, shedding light on the history of race in Hollywood, how Oscars voting actually works, and how the Academy could respond to the backlash.\u003c/p>\n\u003cp>Eliza Berman of \u003cem>Time\u003c/em> \u003ca href=\"http://time.com/4180868/oscar-nominations-analysis/\" target=\"_blank\" rel=\"noopener\">says\u003c/a> actors of color seem to be receiving deserved recognition from everywhere \u003cem>but\u003c/em> the Academy:\u003c/p>\n\u003cblockquote>\n\u003cp>“If this year’s field feels like déjà vu all over again, that’s because there’s virtually no improvement to speak of. The lack of nods to actors of color — and stories about people of color — comes despite Golden Globe nominations for Idris Elba (Beasts of No Nation) and Will Smith (Concussion); despite the critical success of Beasts of No Nation, Straight Outta Compton and Creed, not to mention widespread accolades calling the latter’s director, Ryan Coogler, one of the most promising new talents in the industry.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Todd VanDerWerff at Vox delves into the \u003ca href=\"http://www.vox.com/2016/1/14/10767662/oscar-nominations-2016-so-white\" target=\"_blank\" rel=\"noopener\">context\u003c/a> of diversity within the movie industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“Diversity, in short, isn’t about simply including as many nonwhite men as possible. It’s about acknowledging that white men don’t have a lock on good stories, and letting others’ stories be told as well as possible. The Oscars improve at this conversation in fits and starts with every year. This year was much better in terms of recognizing films about women than the past several years have been, for instance. But the awards still have a long way to go. And as the film industry’s most prestigious prize, simply bestowing their stamp upon a film automatically makes it more viable.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Filmmaker Spike Lee shared his \u003ca href=\"http://www.cnn.com/2016/01/18/entertainment/oscars-boycott-spike-lee-jada-pinkett-smith-feat/\" target=\"_blank\" rel=\"noopener\">views\u003c/a> on the roots of the issue, as reported by Brandon Griggs of CNN:\u003c/p>\n\u003cblockquote>\n\u003cp>“Lee said the ‘real’ battle’ over racism in Hollywood is not with the Academy Awards but in ‘the executive offices of the Hollywood studios and TV and cable networks,’ where gatekeepers decide which projects get made and which don’t.”\u003c/p>\n\u003cp>“‘People, the truth is we ain’t in those rooms, and until minorities are, the Oscar nominees will remain lily white,’ he wrote [on his Instagram].”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Academy did, in fact, try to broaden its voting membership in \u003ca href=\"http://variety.com/2015/film/awards/oscar-diversity-in-new-members-1201528597/\" target=\"_blank\" rel=\"noopener\">2015\u003c/a>. Rebecca Keegan and Steven Zeitchik of the \u003cem>Los Angeles Times\u003c/em> \u003ca href=\"http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-all-white-oscar-acting-nominees-20160114-story.html\" target=\"_blank\" rel=\"noopener\">write\u003c/a> about the new changes that took place within the Academy. Not only did the Academy invite over 300 new members, but they also launched A2020, a new initiative designed to promote inclusion within the organization. However, Steve Pond at The Wrap \u003ca href=\"http://www.thewrap.com/academy-members-applaud-oscars-push-for-diversity/\" target=\"_blank\" rel=\"noopener\">questions\u003c/a> the feasibility of the changes:\u003c/p>\n\u003cblockquote>\n\u003cp>“[It] raises the question of whether an organization the size of the Academy can be changed significantly just through an influx of new members. Many AMPAS-watchers have suggested that any real Academy makeover would have to also include purging the voting rolls of older members who have not worked in the movie industry in years or even decades.That, however, would be a huge step that would likely anger an enormous number of members, and one that [Academy president Cheryl Boone] Isaacs’ statement does not address.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Tim Gray at \u003cem>Variety\u003c/em> \u003ca href=\"http://variety.com/2016/biz/news/oscar-nominations-2016-diversity-white-1201674903/\" target=\"_blank\" rel=\"noopener\">explains\u003c/a> how A2020, which was \u003ca href=\"http://www.hollywoodreporter.com/news/spike-lee-getting-a-black-840371\" target=\"_blank\" rel=\"noopener\">launched\u003c/a> in November 2015 to help the Academy and studio executives expand their thinking when hiring and mentoring new talent, might work (or not):\u003c/p>\n\u003cblockquote>\n\u003cp>For pessimists, a five-year plan is too slow. But the harsh reality is that the film industry works at a glacial pace, locking in stars, writers and directors several years in advance. So even though studios and agencies may say they want immediate change, it’s a question-mark how realistic that is; an overhaul was not evident in this year’s nominations, and it may not be apparent next year either.\u003c/p>\n\u003c/blockquote>\n\u003cp>This is an issue Academy President Cheryl Boone Isaacs, who is African-American, expressed in a \u003ca href=\"https://twitter.com/TheAcademy/status/689287654492377089\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> released on Twitter on Sunday, saying she is “heartbroken and frustrated by the lack of inclusion”:\u003c/p>\n\u003cblockquote>\n\u003cp>As many of you know, we have implemented changes to diversify our membership in the last four years. But the change is not coming as fast as we would like. We need to do more, and better and more quickly . . . This isn’t unprecedented for the Academy. In the ’60s and ’70s it was about recruiting younger members to stay vital and relevant. In 2016, the mandate is inclusion in all of its facets: gender, race, ethnicity and sexual orientation. We recognize the very real concerns of our community, and I so appreciate all of you who have reached out to me in our effort to move forward together.\u003c/p>\n\u003c/blockquote>\n\u003cp>While criticism of Isaacs and the Academy abounds, David Oyelowo, who played Martin Luther King, Jr. in \u003cem>Selma\u003c/em>, \u003ca href=\"http://www.refinery29.com/2016/01/101458/cheryl-boone-isaacs-oscars-2016-diversity\" target=\"_blank\" rel=\"noopener\">addressed\u003c/a> this issue in a gala honoring Isaacs, according to \u003ca href=\"http://www.refinery29.com/2016/01/101458/cheryl-boone-isaacs-oscars-2016-diversity\" target=\"_blank\" rel=\"noopener\">Refinery29\u003c/a> and \u003ca href=\"http://www.hollywoodreporter.com/news/actor-david-oyelowo-slams-academy-857045\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter.\u003c/a> (Read more about \u003ca href=\"http://ww2.kqed.org/arts/2016/01/19/academy-has-a-problem-david-oyelowo-says-at-mlk-event-honoring-academy-president/\" target=\"_blank\" rel=\"noopener\">his statements on KQED Arts\u003c/a>):\u003c/p>\n\u003cblockquote>\n\u003cp>“Oyelowo said: ‘This institution doesn’t reflect its president and it doesn’t reflect this room. I am an Academy member and it doesn’t reflect me, and it doesn’t reflect this nation.’ Still, he offered his ‘support’ for Isaacs. ‘The Academy is an institution in which they all say radical and timely change cannot happen quickly,’ Oyelowo said, per \u003cem>THR\u003c/em>. ‘It better happen quickly. The law of this country can change in a matter of months. It better come on. The Oscars is on February 28. Cheryl needs us to pray that by that date, change is going to come. We need to pray for Cheryl, we need to support Cheryl, we need to love Cheryl. We cannot afford to get bitter, we cannot afford to get negative. But we must make our voice heard.'”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Diversity+In+Hollywood%3A+Here%27s+What+Critics+Are+Saying+About+Round+2+Of+%23OscarSoWhite&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week saw the unhappy reprise of #\u003ca href=\"https://twitter.com/hashtag/oscarssowhite?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">OscarSoWhite\u003c/a>, a Twitter hashtag that’s becoming something of an annual tradition skewering the lack of diversity in nominations for the Academy Awards. Many fans and critics are frustrated — to say the least — that all of this year’s nominees in acting categories are white, citing Michael B. Jordan’s performance in \u003cem>Creed\u003c/em> as one of a handful of expected shoe-ins for recognition.\u003c/p>\n\u003cp>Now, thousands are pledging to boycott watching the awards ceremony on television, and Jada Pinkett-Smith and Spike Lee have \u003ca href=\"http://www.bbc.com/news/world-us-canada-35348062\" target=\"_blank\" rel=\"noopener\">publicly stated\u003c/a> that they will not attend.\u003c/p>\n\u003cp>We’ve rounded up some of the most thoughtful responses to #OscarsSoWhite, shedding light on the history of race in Hollywood, how Oscars voting actually works, and how the Academy could respond to the backlash.\u003c/p>\n\u003cp>Eliza Berman of \u003cem>Time\u003c/em> \u003ca href=\"http://time.com/4180868/oscar-nominations-analysis/\" target=\"_blank\" rel=\"noopener\">says\u003c/a> actors of color seem to be receiving deserved recognition from everywhere \u003cem>but\u003c/em> the Academy:\u003c/p>\n\u003cblockquote>\n\u003cp>“If this year’s field feels like déjà vu all over again, that’s because there’s virtually no improvement to speak of. The lack of nods to actors of color — and stories about people of color — comes despite Golden Globe nominations for Idris Elba (Beasts of No Nation) and Will Smith (Concussion); despite the critical success of Beasts of No Nation, Straight Outta Compton and Creed, not to mention widespread accolades calling the latter’s director, Ryan Coogler, one of the most promising new talents in the industry.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Todd VanDerWerff at Vox delves into the \u003ca href=\"http://www.vox.com/2016/1/14/10767662/oscar-nominations-2016-so-white\" target=\"_blank\" rel=\"noopener\">context\u003c/a> of diversity within the movie industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“Diversity, in short, isn’t about simply including as many nonwhite men as possible. It’s about acknowledging that white men don’t have a lock on good stories, and letting others’ stories be told as well as possible. The Oscars improve at this conversation in fits and starts with every year. This year was much better in terms of recognizing films about women than the past several years have been, for instance. But the awards still have a long way to go. And as the film industry’s most prestigious prize, simply bestowing their stamp upon a film automatically makes it more viable.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Filmmaker Spike Lee shared his \u003ca href=\"http://www.cnn.com/2016/01/18/entertainment/oscars-boycott-spike-lee-jada-pinkett-smith-feat/\" target=\"_blank\" rel=\"noopener\">views\u003c/a> on the roots of the issue, as reported by Brandon Griggs of CNN:\u003c/p>\n\u003cblockquote>\n\u003cp>“Lee said the ‘real’ battle’ over racism in Hollywood is not with the Academy Awards but in ‘the executive offices of the Hollywood studios and TV and cable networks,’ where gatekeepers decide which projects get made and which don’t.”\u003c/p>\n\u003cp>“‘People, the truth is we ain’t in those rooms, and until minorities are, the Oscar nominees will remain lily white,’ he wrote [on his Instagram].”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Academy did, in fact, try to broaden its voting membership in \u003ca href=\"http://variety.com/2015/film/awards/oscar-diversity-in-new-members-1201528597/\" target=\"_blank\" rel=\"noopener\">2015\u003c/a>. Rebecca Keegan and Steven Zeitchik of the \u003cem>Los Angeles Times\u003c/em> \u003ca href=\"http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-all-white-oscar-acting-nominees-20160114-story.html\" target=\"_blank\" rel=\"noopener\">write\u003c/a> about the new changes that took place within the Academy. Not only did the Academy invite over 300 new members, but they also launched A2020, a new initiative designed to promote inclusion within the organization. However, Steve Pond at The Wrap \u003ca href=\"http://www.thewrap.com/academy-members-applaud-oscars-push-for-diversity/\" target=\"_blank\" rel=\"noopener\">questions\u003c/a> the feasibility of the changes:\u003c/p>\n\u003cblockquote>\n\u003cp>“[It] raises the question of whether an organization the size of the Academy can be changed significantly just through an influx of new members. Many AMPAS-watchers have suggested that any real Academy makeover would have to also include purging the voting rolls of older members who have not worked in the movie industry in years or even decades.That, however, would be a huge step that would likely anger an enormous number of members, and one that [Academy president Cheryl Boone] Isaacs’ statement does not address.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Tim Gray at \u003cem>Variety\u003c/em> \u003ca href=\"http://variety.com/2016/biz/news/oscar-nominations-2016-diversity-white-1201674903/\" target=\"_blank\" rel=\"noopener\">explains\u003c/a> how A2020, which was \u003ca href=\"http://www.hollywoodreporter.com/news/spike-lee-getting-a-black-840371\" target=\"_blank\" rel=\"noopener\">launched\u003c/a> in November 2015 to help the Academy and studio executives expand their thinking when hiring and mentoring new talent, might work (or not):\u003c/p>\n\u003cblockquote>\n\u003cp>For pessimists, a five-year plan is too slow. But the harsh reality is that the film industry works at a glacial pace, locking in stars, writers and directors several years in advance. So even though studios and agencies may say they want immediate change, it’s a question-mark how realistic that is; an overhaul was not evident in this year’s nominations, and it may not be apparent next year either.\u003c/p>\n\u003c/blockquote>\n\u003cp>This is an issue Academy President Cheryl Boone Isaacs, who is African-American, expressed in a \u003ca href=\"https://twitter.com/TheAcademy/status/689287654492377089\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> released on Twitter on Sunday, saying she is “heartbroken and frustrated by the lack of inclusion”:\u003c/p>\n\u003cblockquote>\n\u003cp>As many of you know, we have implemented changes to diversify our membership in the last four years. But the change is not coming as fast as we would like. We need to do more, and better and more quickly . . . This isn’t unprecedented for the Academy. In the ’60s and ’70s it was about recruiting younger members to stay vital and relevant. In 2016, the mandate is inclusion in all of its facets: gender, race, ethnicity and sexual orientation. We recognize the very real concerns of our community, and I so appreciate all of you who have reached out to me in our effort to move forward together.\u003c/p>\n\u003c/blockquote>\n\u003cp>While criticism of Isaacs and the Academy abounds, David Oyelowo, who played Martin Luther King, Jr. in \u003cem>Selma\u003c/em>, \u003ca href=\"http://www.refinery29.com/2016/01/101458/cheryl-boone-isaacs-oscars-2016-diversity\" target=\"_blank\" rel=\"noopener\">addressed\u003c/a> this issue in a gala honoring Isaacs, according to \u003ca href=\"http://www.refinery29.com/2016/01/101458/cheryl-boone-isaacs-oscars-2016-diversity\" target=\"_blank\" rel=\"noopener\">Refinery29\u003c/a> and \u003ca href=\"http://www.hollywoodreporter.com/news/actor-david-oyelowo-slams-academy-857045\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter.\u003c/a> (Read more about \u003ca href=\"http://ww2.kqed.org/arts/2016/01/19/academy-has-a-problem-david-oyelowo-says-at-mlk-event-honoring-academy-president/\" target=\"_blank\" rel=\"noopener\">his statements on KQED Arts\u003c/a>):\u003c/p>\n\u003cblockquote>\n\u003cp>“Oyelowo said: ‘This institution doesn’t reflect its president and it doesn’t reflect this room. I am an Academy member and it doesn’t reflect me, and it doesn’t reflect this nation.’ Still, he offered his ‘support’ for Isaacs. ‘The Academy is an institution in which they all say radical and timely change cannot happen quickly,’ Oyelowo said, per \u003cem>THR\u003c/em>. ‘It better happen quickly. The law of this country can change in a matter of months. It better come on. The Oscars is on February 28. Cheryl needs us to pray that by that date, change is going to come. We need to pray for Cheryl, we need to support Cheryl, we need to love Cheryl. We cannot afford to get bitter, we cannot afford to get negative. But we must make our voice heard.'”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Diversity+In+Hollywood%3A+Here%27s+What+Critics+Are+Saying+About+Round+2+Of+%23OscarSoWhite&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Idris Elba is expected to make a speech about a lack of diversity on British television before members of Parliament and senior TV executives on Monday, \u003ca href=\"http://www.theguardian.com/culture/2016/jan/17/idris-elba-black-actors-lack-of-diversity-uk-television\" target=\"_blank\" rel=\"noopener\">according to \u003c/a>\u003cem>\u003ca href=\"http://www.theguardian.com/culture/2016/jan/17/idris-elba-black-actors-lack-of-diversity-uk-television\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Elba gained popularity after his breakout role as Stringer Bell on HBO’s \u003cem>\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/01/06/375147386/rewatching-the-wire-classic-crime-drama-seems-written-for-today\" target=\"_blank\" rel=\"noopener\">The Wire\u003c/a>, \u003c/em>won a Golden Globe award for his lead role on the \u003ca href=\"https://en.wikipedia.org/wiki/Luther_(TV_series)\" target=\"_blank\" rel=\"noopener\">BBC series \u003c/a>\u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Luther_(TV_series)\" target=\"_blank\" rel=\"noopener\">Luther\u003c/a> \u003c/em>and is a current Screen Actor’s Guild Award nominee for his stint as Commandant in \u003cem>\u003ca href=\"http://www.npr.org/2015/10/16/448718006/in-the-midst-of-war-a-boy-becomes-a-soldier-in-beasts-of-no-nation\" target=\"_blank\" rel=\"noopener\">Beasts of No Nation\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The London native is expected to point to his own experience having to move to the U.S. to land roles before being able to get a lead role in his home country, according to \u003cem>The Guardian\u003c/em>, which has excerpts of his speech.\u003c/p>\n\u003cblockquote>\n\u003cp>“I knew I wasn’t going to land a lead role. I knew there wasn’t enough imagination in the industry for me to be seen as a lead. In other words, if I wanted to star in a British drama like \u003cem>Luther\u003c/em>, then I’d have to go to a country like America. And the other thing was, because I never saw myself on TV, I stopped watching TV. Instead I decided to just go out and become TV.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Elba will tell the audience that without going to the U.S., he would have remained the “best friend” and “cop sidekick,” adding:\u003c/p>\n\u003cblockquote>\n\u003cp>“But when you don’t reflect the real world, too much talent gets trashed. Thrown on the scrapheap. Talent is everywhere, opportunity isn’t. And talent can’t reach opportunity.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Elba is not the first British actor of color to make these observations, late last year David Oyelowo, who starred as \u003ca href=\"http://www.npr.org/2015/05/28/409718943/david-oyelowo-on-acting-his-royal-roots-and-the-one-role-he-wont-take\" target=\"_blank\" rel=\"noopener\">Martin Luther King Jr. in \u003cem>Selma\u003c/em>\u003c/a>, \u003ca href=\"http://www.theguardian.com/film/2015/sep/28/roles-uk-black-minority-ethnic-actors-worse-than-ever-claims-david-oyelowo\" target=\"_blank\" rel=\"noopener\">told \u003c/a>\u003cem>\u003ca href=\"http://www.theguardian.com/film/2015/sep/28/roles-uk-black-minority-ethnic-actors-worse-than-ever-claims-david-oyelowo\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> \u003c/em>he also felt “pushed out of the U.K. because of the glass ceiling” that prevented actors of color from landing lead roles in his home country.\u003c/p>\n\u003cblockquote>\n\u003cp>“I could see that actors, my peers, those who had a similar trajectory to me were going on to do movies, to play leads. I started to feel I was going to go round in circles. Nice TV, back to the theatre, nice TV … but I wasn’t going to be James McAvoy, I wasn’t going to be Benedict Cumberbatch.’\u003c/p>\n\u003c/blockquote>\n\u003cp>Sophie Okonedo, who snagged a best supporting actress Oscar nomination for \u003cem>Hotel Rwanda\u003c/em> in 2004, and won a Tony award for \u003cem>A Raisin in the Sun\u003c/em>, \u003ca href=\"http://www.theguardian.com/film/2014/jul/04/sophie-okonedo-interview\" target=\"_blank\" rel=\"noopener\">told the publication\u003c/a> in 2014 she was “still struggling [in the U.K.] in a way that my white counterparts at the same level wouldn’t have quite the same struggle. People who started with me would have their own series by now, and I’m still fighting to get the second lead or whatever. I think I’m at a certain level and have a good range, so why isn’t my inbox of English scripts busting at the seams in the same way as my American one is? There’s something amiss there.” \u003cem>\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actor+Idris+Elba+To+British+Politicians%3A+More+Diversity+Needed+In+Media&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\"When you don't reflect the real world, too much talent gets trashed,\" the Golden Globe winner says. Elba is scheduled to speak to senior TV executives and more than 100 members of Parliament.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Idris Elba is expected to make a speech about a lack of diversity on British television before members of Parliament and senior TV executives on Monday, \u003ca href=\"http://www.theguardian.com/culture/2016/jan/17/idris-elba-black-actors-lack-of-diversity-uk-television\" target=\"_blank\" rel=\"noopener\">according to \u003c/a>\u003cem>\u003ca href=\"http://www.theguardian.com/culture/2016/jan/17/idris-elba-black-actors-lack-of-diversity-uk-television\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Elba gained popularity after his breakout role as Stringer Bell on HBO’s \u003cem>\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/01/06/375147386/rewatching-the-wire-classic-crime-drama-seems-written-for-today\" target=\"_blank\" rel=\"noopener\">The Wire\u003c/a>, \u003c/em>won a Golden Globe award for his lead role on the \u003ca href=\"https://en.wikipedia.org/wiki/Luther_(TV_series)\" target=\"_blank\" rel=\"noopener\">BBC series \u003c/a>\u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Luther_(TV_series)\" target=\"_blank\" rel=\"noopener\">Luther\u003c/a> \u003c/em>and is a current Screen Actor’s Guild Award nominee for his stint as Commandant in \u003cem>\u003ca href=\"http://www.npr.org/2015/10/16/448718006/in-the-midst-of-war-a-boy-becomes-a-soldier-in-beasts-of-no-nation\" target=\"_blank\" rel=\"noopener\">Beasts of No Nation\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The London native is expected to point to his own experience having to move to the U.S. to land roles before being able to get a lead role in his home country, according to \u003cem>The Guardian\u003c/em>, which has excerpts of his speech.\u003c/p>\n\u003cblockquote>\n\u003cp>“I knew I wasn’t going to land a lead role. I knew there wasn’t enough imagination in the industry for me to be seen as a lead. In other words, if I wanted to star in a British drama like \u003cem>Luther\u003c/em>, then I’d have to go to a country like America. And the other thing was, because I never saw myself on TV, I stopped watching TV. Instead I decided to just go out and become TV.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Elba will tell the audience that without going to the U.S., he would have remained the “best friend” and “cop sidekick,” adding:\u003c/p>\n\u003cblockquote>\n\u003cp>“But when you don’t reflect the real world, too much talent gets trashed. Thrown on the scrapheap. Talent is everywhere, opportunity isn’t. And talent can’t reach opportunity.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Elba is not the first British actor of color to make these observations, late last year David Oyelowo, who starred as \u003ca href=\"http://www.npr.org/2015/05/28/409718943/david-oyelowo-on-acting-his-royal-roots-and-the-one-role-he-wont-take\" target=\"_blank\" rel=\"noopener\">Martin Luther King Jr. in \u003cem>Selma\u003c/em>\u003c/a>, \u003ca href=\"http://www.theguardian.com/film/2015/sep/28/roles-uk-black-minority-ethnic-actors-worse-than-ever-claims-david-oyelowo\" target=\"_blank\" rel=\"noopener\">told \u003c/a>\u003cem>\u003ca href=\"http://www.theguardian.com/film/2015/sep/28/roles-uk-black-minority-ethnic-actors-worse-than-ever-claims-david-oyelowo\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> \u003c/em>he also felt “pushed out of the U.K. because of the glass ceiling” that prevented actors of color from landing lead roles in his home country.\u003c/p>\n\u003cblockquote>\n\u003cp>“I could see that actors, my peers, those who had a similar trajectory to me were going on to do movies, to play leads. I started to feel I was going to go round in circles. Nice TV, back to the theatre, nice TV … but I wasn’t going to be James McAvoy, I wasn’t going to be Benedict Cumberbatch.’\u003c/p>\n\u003c/blockquote>\n\u003cp>Sophie Okonedo, who snagged a best supporting actress Oscar nomination for \u003cem>Hotel Rwanda\u003c/em> in 2004, and won a Tony award for \u003cem>A Raisin in the Sun\u003c/em>, \u003ca href=\"http://www.theguardian.com/film/2014/jul/04/sophie-okonedo-interview\" target=\"_blank\" rel=\"noopener\">told the publication\u003c/a> in 2014 she was “still struggling [in the U.K.] in a way that my white counterparts at the same level wouldn’t have quite the same struggle. People who started with me would have their own series by now, and I’m still fighting to get the second lead or whatever. I think I’m at a certain level and have a good range, so why isn’t my inbox of English scripts busting at the seams in the same way as my American one is? There’s something amiss there.” \u003cem>\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actor+Idris+Elba+To+British+Politicians%3A+More+Diversity+Needed+In+Media&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"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.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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