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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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"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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"slug": "academy-has-a-problem-david-oyelowo-says-at-mlk-event-honoring-academy-president",
"title": "'Academy Has A Problem,' David Oyelowo Says at MLK Event Honoring Academy President",
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"headTitle": "‘Academy Has A Problem,’ David Oyelowo Says at MLK Event Honoring Academy President | KQED",
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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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"title": "Showtime's Financial Drama 'Billions' Doubles Down on Machismo",
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"content": "\u003cp>“Money doesn’t talk,” said Bob Dylan. “It swears.” This is almost literally true in the blizzard of books, movies and TV shows about our financial one-percenters. If our wolves of Wall Street love anything more than obscene wealth, it’s obscene language. These guys — and they \u003cem>are\u003c/em> mainly guys — don’t trust anyone who’s shy about dropping F-bombs.\u003c/p>\n\u003cp>Who’s effing who — and how — is one of the governing metaphors of \u003cem>Billions\u003c/em>, a new Showtime series whose opening shot features one of its lead characters trussed up and awaiting a dominatrix. Though my heart sank when I saw this, such an image is truth in advertising. This is a show about power relationships, one that’s positively shameless in its desire to grab you.\u003c/p>\n\u003cp>\u003cem>Billions\u003c/em> is built around the collision of two megalomaniacal power-brokers, both played by actors who specialize in characters you can’t trust. That Pavarotti of prickliness Paul Giamatti is Chuck Rhoades, a well-born U.S. Attorney with just enough conscience that he can’t completely enjoy his vaulting ambition.\u003c/p>\n\u003cp>The calculating Rhoades dreams of being governor, which will be easier if he takes the scalp of a financial high-flier. Enter Bobby “Axe” Axelrod, played by perma-slippery Damian Lewis, far different here than in \u003cem>Homeland\u003c/em>. He’s a hedge-fund maestro who presents himself as a regular guy, but is the kind of thug who remembers, and avenges, slights decades later.\u003c/p>\n\u003cp>At first, Rhoades worries about going after Axe, who’s popular because of his casual dress, blue-collar origins and canny post-9/11 donations. But when Axe courts bad publicity by deciding to buy a staggeringly expensive house, Rhoades thinks it safe to make his move.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there are complications. For starters, Rhoades’ psychologist wife, Wendy — niftily played by Maggie Siff — is a long-time life coach at Axelrod’s firm. And naturally Axe fights back. His personal fixer, played with a mortician’s sangfroid by Terry Kinney, instantly starts targeting Rhoades’ staff and family.\u003c/p>\n\u003cp>\u003cem>Billions\u003c/em> was created by the screenwriting team of Brian Koppelman and David Levien — who wrote \u003cem>Oceans Thirteen\u003c/em>, among others — along with \u003cem>New York Times\u003c/em> financial columnist Andrew Ross Sorkin. Together they’ve come up with a plot that doesn’t even aspire to the earnestness of an old-fashioned Hollywood morality play. The show’s basically a glossy melodrama.\u003c/p>\n\u003cp>And it offers a melodrama’s pleasures. The action clips right along, with punchy dialogue, twists and machinations, gratuitous premium-cable nudity, and lots of prime acting moments — Lewis showing Axe’s affability melt into ruthlessness, Giamatti’s blend of righteousness and bullying when Rhoades yells at a stranger for not cleaning up after his dog. They’re really good.\u003c/p>\n\u003cp>But their effing machismo lacks inner dimension and often feels generic. We’ve heard these alpha dogs bark many times before. The female roles feel fresher. Axe’s wife, Lara — played by Malin Ackerman — seems like a perky nice girl but she’s a smiler with a knife.\u003c/p>\n\u003cp>The show’s juiciest and most original character is Wendy Rhoades, who hears everyone’s secret feelings. Loyal to both her husband and to Axe — to what extent we can’t be sure — this gifted psychologist plays the deepest game of all. Wendy uses her role as a confessor/advisor to nudge people into doing what she wants. She admits that such manipulation turns her on. It turns us on, too. The show perks up whenever she’s on-screen.\u003c/p>\n\u003cp>When I heard that Andrew Ross Sorkin was involved with \u003cem>Billions\u003c/em>, I hoped he would use his inside knowledge to depict the workings of money and power with the same precision that David Simon brought to \u003cem>The Wire\u003c/em>. In fact, the series doesn’t really care about such authenticity. In a way, this is hardly surprising. It’s hard to explain, for example, what hedge funds do without losing or boring the audience. The thing that’s done it best, \u003ca href=\"http://www.npr.org/2015/12/11/459344815/on-the-money-how-the-big-short-and-its-jerk-heroes-explain-finance\" target=\"_blank\" rel=\"noopener\">\u003cem>The Big Short\u003c/em>\u003c/a>, jumped through all sorts of stylistic hoops to demystify the 2008 sub-prime mortgage crisis and the financial instruments that helped spawn it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You’ll find none of those hoops here. \u003cem> \u003c/em>The show is so eager to keep us watching that it can’t be bothered to show us how the world actually works. An entertaining fantasy, \u003cem>Billions\u003c/em> teaches you as much about the financial world as \u003cem>Empire\u003c/em> teaches you about the music business or \u003cem>House of Cards\u003c/em> does the road to the White House. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fresh Air\u003c/em>\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Showtime%27s+Financial+Drama+%27Billions%27+Doubles+Down+On+Melodrama+And+Machismo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Money doesn’t talk,” said Bob Dylan. “It swears.” This is almost literally true in the blizzard of books, movies and TV shows about our financial one-percenters. If our wolves of Wall Street love anything more than obscene wealth, it’s obscene language. These guys — and they \u003cem>are\u003c/em> mainly guys — don’t trust anyone who’s shy about dropping F-bombs.\u003c/p>\n\u003cp>Who’s effing who — and how — is one of the governing metaphors of \u003cem>Billions\u003c/em>, a new Showtime series whose opening shot features one of its lead characters trussed up and awaiting a dominatrix. Though my heart sank when I saw this, such an image is truth in advertising. This is a show about power relationships, one that’s positively shameless in its desire to grab you.\u003c/p>\n\u003cp>\u003cem>Billions\u003c/em> is built around the collision of two megalomaniacal power-brokers, both played by actors who specialize in characters you can’t trust. That Pavarotti of prickliness Paul Giamatti is Chuck Rhoades, a well-born U.S. Attorney with just enough conscience that he can’t completely enjoy his vaulting ambition.\u003c/p>\n\u003cp>The calculating Rhoades dreams of being governor, which will be easier if he takes the scalp of a financial high-flier. Enter Bobby “Axe” Axelrod, played by perma-slippery Damian Lewis, far different here than in \u003cem>Homeland\u003c/em>. He’s a hedge-fund maestro who presents himself as a regular guy, but is the kind of thug who remembers, and avenges, slights decades later.\u003c/p>\n\u003cp>At first, Rhoades worries about going after Axe, who’s popular because of his casual dress, blue-collar origins and canny post-9/11 donations. But when Axe courts bad publicity by deciding to buy a staggeringly expensive house, Rhoades thinks it safe to make his move.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there are complications. For starters, Rhoades’ psychologist wife, Wendy — niftily played by Maggie Siff — is a long-time life coach at Axelrod’s firm. And naturally Axe fights back. His personal fixer, played with a mortician’s sangfroid by Terry Kinney, instantly starts targeting Rhoades’ staff and family.\u003c/p>\n\u003cp>\u003cem>Billions\u003c/em> was created by the screenwriting team of Brian Koppelman and David Levien — who wrote \u003cem>Oceans Thirteen\u003c/em>, among others — along with \u003cem>New York Times\u003c/em> financial columnist Andrew Ross Sorkin. Together they’ve come up with a plot that doesn’t even aspire to the earnestness of an old-fashioned Hollywood morality play. The show’s basically a glossy melodrama.\u003c/p>\n\u003cp>And it offers a melodrama’s pleasures. The action clips right along, with punchy dialogue, twists and machinations, gratuitous premium-cable nudity, and lots of prime acting moments — Lewis showing Axe’s affability melt into ruthlessness, Giamatti’s blend of righteousness and bullying when Rhoades yells at a stranger for not cleaning up after his dog. They’re really good.\u003c/p>\n\u003cp>But their effing machismo lacks inner dimension and often feels generic. We’ve heard these alpha dogs bark many times before. The female roles feel fresher. Axe’s wife, Lara — played by Malin Ackerman — seems like a perky nice girl but she’s a smiler with a knife.\u003c/p>\n\u003cp>The show’s juiciest and most original character is Wendy Rhoades, who hears everyone’s secret feelings. Loyal to both her husband and to Axe — to what extent we can’t be sure — this gifted psychologist plays the deepest game of all. Wendy uses her role as a confessor/advisor to nudge people into doing what she wants. She admits that such manipulation turns her on. It turns us on, too. The show perks up whenever she’s on-screen.\u003c/p>\n\u003cp>When I heard that Andrew Ross Sorkin was involved with \u003cem>Billions\u003c/em>, I hoped he would use his inside knowledge to depict the workings of money and power with the same precision that David Simon brought to \u003cem>The Wire\u003c/em>. In fact, the series doesn’t really care about such authenticity. In a way, this is hardly surprising. It’s hard to explain, for example, what hedge funds do without losing or boring the audience. The thing that’s done it best, \u003ca href=\"http://www.npr.org/2015/12/11/459344815/on-the-money-how-the-big-short-and-its-jerk-heroes-explain-finance\" target=\"_blank\" rel=\"noopener\">\u003cem>The Big Short\u003c/em>\u003c/a>, jumped through all sorts of stylistic hoops to demystify the 2008 sub-prime mortgage crisis and the financial instruments that helped spawn it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You’ll find none of those hoops here. \u003cem> \u003c/em>The show is so eager to keep us watching that it can’t be bothered to show us how the world actually works. An entertaining fantasy, \u003cem>Billions\u003c/em> teaches you as much about the financial world as \u003cem>Empire\u003c/em> teaches you about the music business or \u003cem>House of Cards\u003c/em> does the road to the White House. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fresh Air\u003c/em>\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Showtime%27s+Financial+Drama+%27Billions%27+Doubles+Down+On+Melodrama+And+Machismo&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The camera stays tight on a gaunt, weathered face as we hear a train and the dull roar of exhausted travelers disembarking at the outset of \u003cem>Son of Saul\u003c/em>. The screen is narrow — almost square — so there’s very little space in the image around his head. As a result, we hear but don’t see a band playing as the train’s passengers are herded into a building, then to a large room with benches and wall pegs.\u003c/p>\n\u003cp>The camera stays tight on this man who’s ushering people silently. A red “X” painted on the back of his jacket marks him as a \u003cem>Sonderkommando\u003c/em>, a prisoner who’s being forced to work with the guards. He’s different from the other prisoners, but the rest are out of focus anyway, stripping off all their clothes as an off-screen voice tells them, “You’re exactly the kind of people we need in our workshops. After the shower and hot soup, come directly to me. Remember your hook number.”\u003c/p>\n\u003cp>Then the door clanks shut behind them, and the gaunt man with the “X” on his jacket starts pulling the clothing off all those hooks people were urged to remember.\u003c/p>\n\u003cp>And after a bit, the screaming starts.\u003c/p>\n\u003cp>First-time Hungarian director László Nemes has been telling interviewers that he’d wanted \u003cem>Son of Saul\u003c/em> to be an immersive experience, and it definitely is that. What he’s immersing you in is Auschwitz-Birkenau, \u003cem>\u003cstrong>the\u003c/strong>\u003c/em> Nazi concentration camp, so it’s not an easy sit, but it is a riveting, effective one, and a genuine change from the familiar conventions of most holocaust dramas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The director’s technique is to shoot almost the entire film in severe close-up on his leading man (Géza Röhrig), which has the effect of putting you next to him in Auschwitz. It also, because the director uses very shallow focus, has the effect of making the atrocities around him blurry and indistinct — which sounds as if it would make the film easier to watch, but actually makes it all the more horrific because you can’t focus on what you’re hearing: German officers mocking those on their way to slaughter, ashes shoveled into swollen rivers, killing frenzies for no apparent reason.\u003c/p>\n\u003cp>And filling most of the frame, always, is the man with the “X” on his jacket, who is consumed while we watch him by a single obsession: Though he has been present for thousands of murders, seen many bodies burn in the camp’s crematoria, he is searching for a rabbi to give one body — that of a boy who died before his eyes — what he thinks is a proper Jewish burial.\u003c/p>\n\u003cp>“You’ve betrayed the living to help the dead,” he’s told when his single-mindedness puts a camp uprising in jeopardy. But that’s a moral quandary that doesn’t slow him for a second.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The character’s narrow focus, the director’s shallow focus, add up somehow to profound depth of feeling in \u003cem>Son of Saul\u003c/em>. If there has been a more powerful cinematic experience this year, I didn’t see it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The camera stays tight on a gaunt, weathered face as we hear a train and the dull roar of exhausted travelers disembarking at the outset of \u003cem>Son of Saul\u003c/em>. The screen is narrow — almost square — so there’s very little space in the image around his head. As a result, we hear but don’t see a band playing as the train’s passengers are herded into a building, then to a large room with benches and wall pegs.\u003c/p>\n\u003cp>The camera stays tight on this man who’s ushering people silently. A red “X” painted on the back of his jacket marks him as a \u003cem>Sonderkommando\u003c/em>, a prisoner who’s being forced to work with the guards. He’s different from the other prisoners, but the rest are out of focus anyway, stripping off all their clothes as an off-screen voice tells them, “You’re exactly the kind of people we need in our workshops. After the shower and hot soup, come directly to me. Remember your hook number.”\u003c/p>\n\u003cp>Then the door clanks shut behind them, and the gaunt man with the “X” on his jacket starts pulling the clothing off all those hooks people were urged to remember.\u003c/p>\n\u003cp>And after a bit, the screaming starts.\u003c/p>\n\u003cp>First-time Hungarian director László Nemes has been telling interviewers that he’d wanted \u003cem>Son of Saul\u003c/em> to be an immersive experience, and it definitely is that. What he’s immersing you in is Auschwitz-Birkenau, \u003cem>\u003cstrong>the\u003c/strong>\u003c/em> Nazi concentration camp, so it’s not an easy sit, but it is a riveting, effective one, and a genuine change from the familiar conventions of most holocaust dramas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>British actor Alan Rickman, a veteran of dozens of films, has died at age 69. Recently, Rickman was most well-known for portraying the complicated villain Severus Snape in the films based on J.K. Rowling’s Harry Potter books.\u003c/p>\n\u003cp>“Rickman had been suffering from cancer,” \u003ca href=\"http://www.theguardian.com/film/2016/jan/14/alan-rickman-giant-of-british-film-and-theatre-dies-at-69\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> reports.\u003c/p>\n\u003cp>Rickman appeared in many blockbuster films during his prolific career, from 1988’s \u003cem>Die Hard\u003c/em> with Bruce Willis to 2003’s \u003cem>Love Actually\u003c/em> and the Harry Potter films.\u003c/p>\n\u003cp>Blessed with a rich and deep voice, the actor brought intelligence and humanity to a wide spectrum of roles, judiciously deploying what seemed to be a bottomless supply of frowns and smirks that endeared him to his fans.\u003c/p>\n\u003cp>While his voice became something of a trademark, Rickman once said that he endured much criticism for it in drama school. One voice teacher, as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=17424143\" target=\"_blank\" rel=\"noopener\">he recalled in 2007\u003c/a>, told Rickman that he sounded as if his voice was “coming out of the back end of a drain pipe.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Explaining his own opinion of his voice, Rickman said, “Well, it’s what I’m stuck with, so it’s not like I can go and get another one. And also, I don’t hear what anybody else hears. So it’s always a bit of a shock, you know. And it never goes away.”\u003c/p>\n\u003cp>While he might be famous for playing villains, Rickman once told NPR that those roles are “a very small part of whatever I’ve done. It’s like two or three parts, and they just happened to have big publicity budgets.”\u003c/p>\n\u003cp>Rickman also directed films and theatrical works, and he acted in plays from Shakespeare’s Antony and Cleopatra to Noel Coward’s Private Lives.\u003c/p>\n\u003cp>A former member of the Royal Shakespeare Company, Rickman \u003ca href=\"http://www.npr.org/2011/11/29/142903636/alan-rickman-from-shakespeare-to-snape\" target=\"_blank\" rel=\"noopener\">spoke to NPR in 2011 \u003c/a>about his stage work in the U.S.:\u003c/p>\n\u003cblockquote>\u003cp>\n“I love working in New York theater. … It is very demanding, but it’s good to be in a city where you feel that theater is actually part of the life of the city. You know, London is so sprawling, and you can sometimes forget that anybody else is on a stage anywhere else. But here, it’s, you know, your friends and neighbors.”\n\u003c/p>\u003c/blockquote>\n\u003cp>Three films from the 1990s help describe Rickman’s range.\u003c/p>\n\u003cp>In 1991, he turned in a memorable performance as the Sheriff of Nottingham in Robin Hood: Prince of Thieves — a film whose legacy these days isn’t helped by Kevin Costner’s hair, but which was the second-most popular film in theaters that year.\u003c/p>\n\u003cp>In 1995, he appeared in the director Ang Lee’s Sense and Sensibility, playing Colonel Brandon opposite Kate Winslet’s Marianne Dashwood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in 1999, he showed his willingness to camp it up onscreen, when he starred with Sigourney Weaver and Tim Allen in Galaxy Quest, a film that might best be described as a sci-fi romp.\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+Alan+Rickman+Has+Died%3B+Portrayed+Snape+In+Harry+Potter+Films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>British actor Alan Rickman, a veteran of dozens of films, has died at age 69. Recently, Rickman was most well-known for portraying the complicated villain Severus Snape in the films based on J.K. Rowling’s Harry Potter books.\u003c/p>\n\u003cp>“Rickman had been suffering from cancer,” \u003ca href=\"http://www.theguardian.com/film/2016/jan/14/alan-rickman-giant-of-british-film-and-theatre-dies-at-69\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> reports.\u003c/p>\n\u003cp>Rickman appeared in many blockbuster films during his prolific career, from 1988’s \u003cem>Die Hard\u003c/em> with Bruce Willis to 2003’s \u003cem>Love Actually\u003c/em> and the Harry Potter films.\u003c/p>\n\u003cp>Blessed with a rich and deep voice, the actor brought intelligence and humanity to a wide spectrum of roles, judiciously deploying what seemed to be a bottomless supply of frowns and smirks that endeared him to his fans.\u003c/p>\n\u003cp>While his voice became something of a trademark, Rickman once said that he endured much criticism for it in drama school. One voice teacher, as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=17424143\" target=\"_blank\" rel=\"noopener\">he recalled in 2007\u003c/a>, told Rickman that he sounded as if his voice was “coming out of the back end of a drain pipe.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Explaining his own opinion of his voice, Rickman said, “Well, it’s what I’m stuck with, so it’s not like I can go and get another one. And also, I don’t hear what anybody else hears. So it’s always a bit of a shock, you know. And it never goes away.”\u003c/p>\n\u003cp>While he might be famous for playing villains, Rickman once told NPR that those roles are “a very small part of whatever I’ve done. It’s like two or three parts, and they just happened to have big publicity budgets.”\u003c/p>\n\u003cp>Rickman also directed films and theatrical works, and he acted in plays from Shakespeare’s Antony and Cleopatra to Noel Coward’s Private Lives.\u003c/p>\n\u003cp>A former member of the Royal Shakespeare Company, Rickman \u003ca href=\"http://www.npr.org/2011/11/29/142903636/alan-rickman-from-shakespeare-to-snape\" target=\"_blank\" rel=\"noopener\">spoke to NPR in 2011 \u003c/a>about his stage work in the U.S.:\u003c/p>\n\u003cblockquote>\u003cp>\n“I love working in New York theater. … It is very demanding, but it’s good to be in a city where you feel that theater is actually part of the life of the city. You know, London is so sprawling, and you can sometimes forget that anybody else is on a stage anywhere else. But here, it’s, you know, your friends and neighbors.”\n\u003c/p>\u003c/blockquote>\n\u003cp>Three films from the 1990s help describe Rickman’s range.\u003c/p>\n\u003cp>In 1991, he turned in a memorable performance as the Sheriff of Nottingham in Robin Hood: Prince of Thieves — a film whose legacy these days isn’t helped by Kevin Costner’s hair, but which was the second-most popular film in theaters that year.\u003c/p>\n\u003cp>In 1995, he appeared in the director Ang Lee’s Sense and Sensibility, playing Colonel Brandon opposite Kate Winslet’s Marianne Dashwood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in 1999, he showed his willingness to camp it up onscreen, when he starred with Sigourney Weaver and Tim Allen in Galaxy Quest, a film that might best be described as a sci-fi romp.\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+Alan+Rickman+Has+Died%3B+Portrayed+Snape+In+Harry+Potter+Films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lego says it’s \u003ca href=\"http://www.lego.com/en-us/aboutus/news-room/2016/january/adjusted-guidelines-for-bulk-sales\" target=\"_blank\" rel=\"noopener\">changing its guidelines\u003c/a> for the purchase of large amounts of its iconic toy bricks, a policy that generated a social-media firestorm when used to block sales to \u003ca href=\"http://ww2.kqed.org/arts/series/ai-weiwei-on-alcatraz/\" target=\"_blank\" rel=\"noopener\">Chinese artist Ai Weiwei\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”EcodlGcbJMFUCS35XZ11YHYwKdDibnNE”]\u003c/p>\n\u003cp>The company said in a statement that it will no longer ask people who want to buy the bricks in bulk what they’re using them for:\u003c/p>\n\u003cblockquote>\n\u003cp>“Instead, the customers will be asked to make it clear — if they intend to display their LEGO creations in public — that the LEGO Group does not support or endorse the specific projects.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In October, Ai said Lego had refused to sell him the bricks he needed for an exhibition on free speech at Australia’s National Gallery of Victoria. He intended to use the bricks to create portraits of freedom advocates.\u003c/p>\n\u003cp>A frequent critic of China who was imprisoned by the government, Ai accused the Danish company of censorship and said it was afraid to offend Beijing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the company’s decision, supporters of Ai \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/10/26/451925443/fans-flood-artist-ai-weiwei-with-offers-of-legos\" target=\"_blank\" rel=\"noopener\">set up donation points around the world\u003c/a> for people to donate used bricks. Ai also told NPR that he was flooded with messages of support on social media:\u003c/p>\n\u003cblockquote>\n\u003cp>“They’re not necessarily museum goers, but they understand what is the most important meaning of art, which is to really express yourself successfully and to really defend the essential values.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Ai said pressure from his supporters had pressured Lego to change its policy on bulk orders, and told The Associated Press that it was a “good move”:\u003c/p>\n\u003cblockquote>\n\u003cp>“Lego is a language which everybody can appreciate and should be able to use it according to their will, and that’s what all freedom of expression is about.”\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=Lego+Says+It%27s+Changing+Its+Policy+After+Ai+Weiwei+Controversy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lego says it’s \u003ca href=\"http://www.lego.com/en-us/aboutus/news-room/2016/january/adjusted-guidelines-for-bulk-sales\" target=\"_blank\" rel=\"noopener\">changing its guidelines\u003c/a> for the purchase of large amounts of its iconic toy bricks, a policy that generated a social-media firestorm when used to block sales to \u003ca href=\"http://ww2.kqed.org/arts/series/ai-weiwei-on-alcatraz/\" target=\"_blank\" rel=\"noopener\">Chinese artist Ai Weiwei\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The company said in a statement that it will no longer ask people who want to buy the bricks in bulk what they’re using them for:\u003c/p>\n\u003cblockquote>\n\u003cp>“Instead, the customers will be asked to make it clear — if they intend to display their LEGO creations in public — that the LEGO Group does not support or endorse the specific projects.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In October, Ai said Lego had refused to sell him the bricks he needed for an exhibition on free speech at Australia’s National Gallery of Victoria. He intended to use the bricks to create portraits of freedom advocates.\u003c/p>\n\u003cp>A frequent critic of China who was imprisoned by the government, Ai accused the Danish company of censorship and said it was afraid to offend Beijing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the company’s decision, supporters of Ai \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/10/26/451925443/fans-flood-artist-ai-weiwei-with-offers-of-legos\" target=\"_blank\" rel=\"noopener\">set up donation points around the world\u003c/a> for people to donate used bricks. Ai also told NPR that he was flooded with messages of support on social media:\u003c/p>\n\u003cblockquote>\n\u003cp>“They’re not necessarily museum goers, but they understand what is the most important meaning of art, which is to really express yourself successfully and to really defend the essential values.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Ai said pressure from his supporters had pressured Lego to change its policy on bulk orders, and told The Associated Press that it was a “good move”:\u003c/p>\n\u003cblockquote>\n\u003cp>“Lego is a language which everybody can appreciate and should be able to use it according to their will, and that’s what all freedom of expression is about.”\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=Lego+Says+It%27s+Changing+Its+Policy+After+Ai+Weiwei+Controversy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>David Bowie’s death \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/11/462650669/tributes-pour-in-for-rock-legend-david-bowie\" target=\"_blank\" rel=\"noopener\">has a lot of communities mourning\u003c/a>. Though his greatest success was in music, he was admired as a trailblazer in fashion, film, gender politics and, as it turns out, technology. Here are just a few of his early forays into digital media.\u003c/p>\n\u003cp>In 1996, he released his single “Telling Lies” online and got 300,000 downloads at a time when most of the world barely understood what the Internet was.\u003c/p>\n\u003cp>In 1997, Bowie did a “cybercast” of his Earthling concert in Boston, though it was well before most people had a fast enough Internet connection to really experience it.\u003c/p>\n\u003cp>Then, in 1998 he launched \u003ca href=\"http://www.davidbowie.com/news/ultrastar-launches-bowienet-united-kingdom-47001\" target=\"_blank\" rel=\"noopener\">his own Internet service provider\u003c/a>, BowieNet, which offered global high-speed Internet service. (Well, high speed for its time.)\u003c/p>\n\u003cp>More than that, it was an early fan community. According to a 1998 press release, the service included a personal email address (yourname@davidbowie.com), access to exclusive music from \u003cem>Rolling Stone\u003c/em> and, of course, exclusive content from Bowie and his friends, including live chats with the artist. (BowieNet quietly shut down in 2006.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1999, Bowie made a foray into \u003ca href=\"http://www.pastemagazine.com/articles/2016/01/time-may-change-me-david-bowie-and-omikron-the-nom-1.html\" target=\"_blank\" rel=\"noopener\">the video game world\u003c/a>. He worked on the soundtrack for Omikron: The Nomad Soul with French game developer Quantic Dream and made an appearance in the game itself.\u003c/p>\n\u003cp>Bowie’s endeavors proved ahead of their time. Though launching new Internet services may not have become commonplace for artists, the rest has: Musicians write music for video games, live-stream concerts, share music digitally and engage with fans online.\u003c/p>\n\u003cp>Bowie understood before most of his compatriots in the music business that the Internet would change everything. \u003ca href=\"https://www.youtube.com/watch?time_continue=397&v=FiK7s_0tGsg\" target=\"_blank\" rel=\"noopener\">In an interview from late 1999\u003c/a>, Bowie spouted off about the revolutionary qualities of the Internet to the largely skeptical BBC interviewer Jeremy Paxman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FiK7s_0tGsg\u003c/p>\n\u003cp>Bowie told Paxman that if he were 19 at the time of their chat, he wouldn’t have gone into music, which he thought had lost its place as the flag-bearer of rebellion. “The Internet carries the flag of being subversive and possibly rebellious and chaotic, nihilistic,” Bowie said.\u003c/p>\n\u003cp>What Bowie seemed to know in his gut was the Internet was fundamentally shifting the relationship between artist and audience. And while so many musicians and music business insiders reacted to the changes with fear, Bowie was filled with curiosity, inspired by technology.\u003c/p>\n\u003cp>“It’s becoming more about the audience,” he said. “So from my standpoint, being an artist, I want to see what the new construction is between artist and audience. There is a breakdown.”\u003c/p>\n\u003cp>Bowie cited rave culture “where the audience is at least as important as whoever is playing at the rave,” as if the artist accompanies the audience.\u003c/p>\n\u003cp>“I don’t think we’ve seen the tip of the iceberg,” Bowie told Paxman. “It’s almost if we’re on the cusp of something both exhilarating and terrifying.”\u003c/p>\n\u003cp>Bowie mentioned the French-American artist Marcel Duchamp, whom he called prescient on the idea that a piece of work is not finished until the audience adds its interpretation — “and what the piece of art is about is the gray space in the middle.”\u003c/p>\n\u003cp>To Bowie, the 21st century was all going to be about the gray space in the middle. The place where artist and audience meet and improvise — a kind of ongoing live performance. With a little bit of irony, he called the Internet “an alien life form.”\u003c/p>\n\u003cp>Of course, some thought Bowie himself was a bit of an alien life form. His first starring \u003ca href=\"http://www.npr.org/2016/01/11/462691030/ziggy-stardust-was-a-star-on-screen-too\">film role\u003c/a> was as an alien in \u003cem>The Man Who Fell To Earth\u003c/em>. And it was one of so many roles he played on stage and on screen — Ziggy Stardust, Aladdin Sane, the Thin White Duke, Jareth the Goblin King, Major Tom.\u003c/p>\n\u003cp>Bowie was an explorer of what it meant to be human. He took us places with his music and creativity. And he was curious and interested to find out how new technology would shape him and us. Sadly, he won’t be here to help us continue this exploration of “the gray space in the middle.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For my part, I say thank you, David Bowie, for helping to launch us into the 21st century. I have faith that your music will be very much alive online. \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=David+Bowie%2C+The+Internet+Visionary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Bowie’s death \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/11/462650669/tributes-pour-in-for-rock-legend-david-bowie\" target=\"_blank\" rel=\"noopener\">has a lot of communities mourning\u003c/a>. Though his greatest success was in music, he was admired as a trailblazer in fashion, film, gender politics and, as it turns out, technology. Here are just a few of his early forays into digital media.\u003c/p>\n\u003cp>In 1996, he released his single “Telling Lies” online and got 300,000 downloads at a time when most of the world barely understood what the Internet was.\u003c/p>\n\u003cp>In 1997, Bowie did a “cybercast” of his Earthling concert in Boston, though it was well before most people had a fast enough Internet connection to really experience it.\u003c/p>\n\u003cp>Then, in 1998 he launched \u003ca href=\"http://www.davidbowie.com/news/ultrastar-launches-bowienet-united-kingdom-47001\" target=\"_blank\" rel=\"noopener\">his own Internet service provider\u003c/a>, BowieNet, which offered global high-speed Internet service. (Well, high speed for its time.)\u003c/p>\n\u003cp>More than that, it was an early fan community. According to a 1998 press release, the service included a personal email address (yourname@davidbowie.com), access to exclusive music from \u003cem>Rolling Stone\u003c/em> and, of course, exclusive content from Bowie and his friends, including live chats with the artist. (BowieNet quietly shut down in 2006.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1999, Bowie made a foray into \u003ca href=\"http://www.pastemagazine.com/articles/2016/01/time-may-change-me-david-bowie-and-omikron-the-nom-1.html\" target=\"_blank\" rel=\"noopener\">the video game world\u003c/a>. He worked on the soundtrack for Omikron: The Nomad Soul with French game developer Quantic Dream and made an appearance in the game itself.\u003c/p>\n\u003cp>Bowie’s endeavors proved ahead of their time. Though launching new Internet services may not have become commonplace for artists, the rest has: Musicians write music for video games, live-stream concerts, share music digitally and engage with fans online.\u003c/p>\n\u003cp>Bowie understood before most of his compatriots in the music business that the Internet would change everything. \u003ca href=\"https://www.youtube.com/watch?time_continue=397&v=FiK7s_0tGsg\" target=\"_blank\" rel=\"noopener\">In an interview from late 1999\u003c/a>, Bowie spouted off about the revolutionary qualities of the Internet to the largely skeptical BBC interviewer Jeremy Paxman.\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/FiK7s_0tGsg'\n title='//www.youtube.com/embed/FiK7s_0tGsg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bowie told Paxman that if he were 19 at the time of their chat, he wouldn’t have gone into music, which he thought had lost its place as the flag-bearer of rebellion. “The Internet carries the flag of being subversive and possibly rebellious and chaotic, nihilistic,” Bowie said.\u003c/p>\n\u003cp>What Bowie seemed to know in his gut was the Internet was fundamentally shifting the relationship between artist and audience. And while so many musicians and music business insiders reacted to the changes with fear, Bowie was filled with curiosity, inspired by technology.\u003c/p>\n\u003cp>“It’s becoming more about the audience,” he said. “So from my standpoint, being an artist, I want to see what the new construction is between artist and audience. There is a breakdown.”\u003c/p>\n\u003cp>Bowie cited rave culture “where the audience is at least as important as whoever is playing at the rave,” as if the artist accompanies the audience.\u003c/p>\n\u003cp>“I don’t think we’ve seen the tip of the iceberg,” Bowie told Paxman. “It’s almost if we’re on the cusp of something both exhilarating and terrifying.”\u003c/p>\n\u003cp>Bowie mentioned the French-American artist Marcel Duchamp, whom he called prescient on the idea that a piece of work is not finished until the audience adds its interpretation — “and what the piece of art is about is the gray space in the middle.”\u003c/p>\n\u003cp>To Bowie, the 21st century was all going to be about the gray space in the middle. The place where artist and audience meet and improvise — a kind of ongoing live performance. With a little bit of irony, he called the Internet “an alien life form.”\u003c/p>\n\u003cp>Of course, some thought Bowie himself was a bit of an alien life form. His first starring \u003ca href=\"http://www.npr.org/2016/01/11/462691030/ziggy-stardust-was-a-star-on-screen-too\">film role\u003c/a> was as an alien in \u003cem>The Man Who Fell To Earth\u003c/em>. And it was one of so many roles he played on stage and on screen — Ziggy Stardust, Aladdin Sane, the Thin White Duke, Jareth the Goblin King, Major Tom.\u003c/p>\n\u003cp>Bowie was an explorer of what it meant to be human. He took us places with his music and creativity. And he was curious and interested to find out how new technology would shape him and us. Sadly, he won’t be here to help us continue this exploration of “the gray space in the middle.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For my part, I say thank you, David Bowie, for helping to launch us into the 21st century. I have faith that your music will be very much alive online. \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=David+Bowie%2C+The+Internet+Visionary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>David Bowie, who died Sunday at the age of 69, is best-known for his music — but he was also an actor of considerable gifts.\u003c/p>\n\u003cp>When he fell to Earth in 1976, an extraterrestrial seeking water for a dying planet, Bowie was persuasively otherworldly. One eye blue, the other green, hair a flaming auburn, his never-aging, British-accented alien was the first glimpse movie audiences got of a rock star who had already been a “Space Oddity,” sung about a Starman, and become internationally recognized as the glammed-up Ziggy Stardust.\u003c/p>\n\u003cp>His casting by director Nicholas Roeg was regarded by many at the time as a stunt — it would be his look, his androgyny, his weirdness audiences would be coming for. But then they saw his Man Who Fell to Earth, struggling to appear normal, to not attract suspicion, and audiences realized this enigmatic, infinitely changeable musician had acting chops as well.\u003c/p>\n\u003cp>Bowie, had, in fact, studied avant-garde theater and mime in the early 1960s before his music career took off. And as in his music, he was attracted to dramatic material that let him be a chameleon. Four years after appearing in \u003cem>The Man Who Fell To Earth,\u003c/em> he stepped into the title role on Broadway of \u003cem>The Elephant Man,\u003c/em> earning excellent reviews as Joseph Merrick, grotesque of body, eloquent of spirit. “Sometimes I think my head is so big,” Bowie keened in-character, “because it is so full of dreams.”\u003c/p>\n\u003cp>Bowie’s film choices inspired dreams. He was a vampire’s lover in \u003cem>The Hunger,\u003c/em> both a prisoner of war and an object of desire in \u003cem>Merry Christmas Mr. Lawrence,\u003c/em> the prize catch in Marlene Dietrich’s stable of escorts in \u003cem>Just a Gigolo,\u003c/em> the goblin king in \u003cem>Labyrinth,\u003c/em> and a soft-spoken Pontius Pilate in Martin Scorsese’s \u003cem>The Last Temptation of Chris\u003c/em>t. And if none of those roles required him to sing, he brought a knowing expertise to one role that did — a record exec grooming a young recording artist in \u003cem>Absolute Beginners\u003c/em>. “Why am I so exciting?” he sings. “What makes me dramatic?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who better to ask those questions than this man who had made a career of reinvention: David Bowie, enigmatic artist who fell — all too briefly — to Earth. \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=Ziggy+Stardust+Was+A+Star+On-Screen%2C+Too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "David Bowie may have been best-known for his music, but NPR's movie critic Bob Mondello points out that he was also a gifted actor, both onstage and in movies like 'The Man Who Fell To Earth.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Bowie, who died Sunday at the age of 69, is best-known for his music — but he was also an actor of considerable gifts.\u003c/p>\n\u003cp>When he fell to Earth in 1976, an extraterrestrial seeking water for a dying planet, Bowie was persuasively otherworldly. One eye blue, the other green, hair a flaming auburn, his never-aging, British-accented alien was the first glimpse movie audiences got of a rock star who had already been a “Space Oddity,” sung about a Starman, and become internationally recognized as the glammed-up Ziggy Stardust.\u003c/p>\n\u003cp>His casting by director Nicholas Roeg was regarded by many at the time as a stunt — it would be his look, his androgyny, his weirdness audiences would be coming for. But then they saw his Man Who Fell to Earth, struggling to appear normal, to not attract suspicion, and audiences realized this enigmatic, infinitely changeable musician had acting chops as well.\u003c/p>\n\u003cp>Bowie, had, in fact, studied avant-garde theater and mime in the early 1960s before his music career took off. And as in his music, he was attracted to dramatic material that let him be a chameleon. Four years after appearing in \u003cem>The Man Who Fell To Earth,\u003c/em> he stepped into the title role on Broadway of \u003cem>The Elephant Man,\u003c/em> earning excellent reviews as Joseph Merrick, grotesque of body, eloquent of spirit. “Sometimes I think my head is so big,” Bowie keened in-character, “because it is so full of dreams.”\u003c/p>\n\u003cp>Bowie’s film choices inspired dreams. He was a vampire’s lover in \u003cem>The Hunger,\u003c/em> both a prisoner of war and an object of desire in \u003cem>Merry Christmas Mr. Lawrence,\u003c/em> the prize catch in Marlene Dietrich’s stable of escorts in \u003cem>Just a Gigolo,\u003c/em> the goblin king in \u003cem>Labyrinth,\u003c/em> and a soft-spoken Pontius Pilate in Martin Scorsese’s \u003cem>The Last Temptation of Chris\u003c/em>t. And if none of those roles required him to sing, he brought a knowing expertise to one role that did — a record exec grooming a young recording artist in \u003cem>Absolute Beginners\u003c/em>. “Why am I so exciting?” he sings. “What makes me dramatic?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who better to ask those questions than this man who had made a career of reinvention: David Bowie, enigmatic artist who fell — all too briefly — to Earth. \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=Ziggy+Stardust+Was+A+Star+On-Screen%2C+Too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In recent years, the Golden Globes have been picking up steam as a less stuffy, less predictable awards show than most others. From the marvelous hosting of Tina Fey and Amy Poehler for the past three years to glorious little moments like Emma Thompson \u003ca href=\"http://big.assets.huffingtonpost.com/martini.gif\" target=\"_blank\" rel=\"noopener\">tossing her shoes in the air\u003c/a>, the Globes were starting to get a little bit of air under them — a fun diversion during awards season.\u003c/p>\n\u003cp>It was not to remain so. Sunday night, Ricky Gervais, who hosted the three ceremonies before the Fey/Poehler years, returned. What distinguished Gervais’ previous appearances was the attempt to position him as a dangerous, rebellious, take-no-prisoners host — a tough sell when he was making jokes about things like Hugh Hefner being really old. But for the most part, the Hollywood Foreign Press Association (which gives out these awards) has successfully sold the narrative of Gervais as fearless provocateur, and from the minute he stepped on stage Sunday, it was clear he was going to ride that horse as far as it would take him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v3JQf-WTLo8\u003c/p>\n\u003cp>His early targets included Caitlyn Jenner (one joke about her car accident followed one that was basically just “transgender people, right?”), Jeffrey Tambor for playing a transgender woman, NBC for having no nominations (true, but there are far more daring things to say about network TV than that NBC didn’t get nominated for any Golden Globes), and the Globes themselves, which he ribbed with a tamer version of a joke he made years ago about how the awards are all bought and paid for. It’s a joke that doesn’t feel particularly daring since he’s basically already made it and been invited back. They clearly don’t mind and he’s already said the same thing years ago, so where’s the risk?\u003c/p>\n\u003cp>Unfortunately, Gervais’ weak monologue was followed by a weird appearance by Channing Tatum and Jonah Hill, who — OK, look. The whole reputation of the Globes is that everybody is bombed the entire time. Either bombed in practice or in spirit — that’s part of the charm. And I would never comment on who is bombed and who is not as a matter of science, but I can say that Hill, wearing a bear head, threw himself into the bombed \u003cem>feeling \u003c/em>of the ceremony in the “some drunk people are hostile and nonsensical” fashion rather than the more enjoyable “some drunk people burble delightfully with enthusiasm” fashion. Whether he was actually bombed or not, you see.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bear bit was also the beginning of a recurring problem over the course of the evening: at some point, people seemed to forget entirely that they were on network television, and they swore so gratuitously that big chunks of things said on stage were silenced by the censor button, rendering certain appearances rather difficult to interpret. Swearing isn’t necessarily bad in and of itself, but the way it leaves giant gaps in the audio doesn’t make for a very good show at home.\u003c/p>\n\u003cp>One of the most striking things about the evening was that the low points brought out the ability of some of the presenters to instantly lift audience spirits. Andy Samberg, who hosted the Emmys, has become a reliably lovely and funny presence at events like this, and America Ferrera and Eva Longoria did a really funny bit about being confused with other Latina actresses: “Hi, I’m Eva Longoria, not Eva Mendes.” “And hi, I’m America Ferrera, not Gina Rodriguez.” (Ferrera and Rodriguez actually were mistaken for each other by the Globes themselves during the nominations. Mentioning that? That’s a little daring.) It ended with the women addressing each other as “Salma” and “Charo.” Funny!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SHBijKSOI8U\u003c/p>\n\u003cp>At times, though, these awards just seemed a little snakebit, having trouble getting joy where joy should have been easy: What should have been a great moment for Sylvester Stallone (who won a supporting award for \u003cem>Creed\u003c/em>) was marred by his forgetting to thank writer-director Ryan Coogler or anyone in the cast, which he reportedly ran back on stage to correct, but after the TV coverage had already cut away. Aziz Ansari had a very funny bit where he was in the audience reading \u003cem>How to Lose to Jeffrey Tambor with Dignity\u003c/em> when the lead TV comedy actors were announced, but his joke fell victim to the unexpected victory of Gael Garcia Bernal for \u003cem>Mozart in the Jungle\u003c/em> — a very low-profile Amazon show that was also named the best TV comedy.\u003c/p>\n\u003cp>Of course, the advantage that awards shows have is that when you put enough charismatic, enjoyable people on stage, you’ll get good moments. Rachel Bloom of the CW’s \u003cem>Crazy Ex-Girlfriend \u003c/em>was an excited delight as the winning TV comic actress, Oscar Isaac was charming accepting an award for the HBO miniseries \u003cem>Show Me a Hero\u003c/em>, Taraji P. Henson was luminous accepting for \u003cem>Empire\u003c/em>, and Tom Hanks made a predictably fine presenter of the Cecil B. DeMille Award to his \u003cem>Philadelphia \u003c/em>co-star, Denzel Washington, who got a very good career montage out of the deal.\u003c/p>\n\u003cp>Other winners included \u003cem>The Revenant\u003c/em> for outstanding dramatic movie and \u003cem>The Martian \u003c/em>for outstanding comedy/musical (another moment marred by a side issue: in this case, whether \u003cem>The Martian \u003c/em>is actually comedic), Leonardo DiCaprio (\u003cem>The Revenant\u003c/em>) and Brie Larson (\u003cem>Room\u003c/em>) for their lead dramatic roles in film, Jennifer Lawrence (\u003cem>Joy\u003c/em>) and Matt Damon (\u003cem>The Martian\u003c/em>) for their lead roles in comedies (or comedies-ish), and the terrific USA show \u003cem>Mr. Robot \u003c/em>for TV drama series — exactly the kind of slightly offbeat winner the Globes redeem themselves by sometimes crowning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There have been worse awards shows, certainly. But Gervais’ ancient-feeling shtick about Mel Gibson and Brad Pitt and Angelina Jolie’s adopted kids was enough to put the evening at a disadvantage that the awards themselves struggled to overcome.\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=Even+Bears%2C+Martians+And+Robots+Can%27t+Perk+Up+The+Dull+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent years, the Golden Globes have been picking up steam as a less stuffy, less predictable awards show than most others. From the marvelous hosting of Tina Fey and Amy Poehler for the past three years to glorious little moments like Emma Thompson \u003ca href=\"http://big.assets.huffingtonpost.com/martini.gif\" target=\"_blank\" rel=\"noopener\">tossing her shoes in the air\u003c/a>, the Globes were starting to get a little bit of air under them — a fun diversion during awards season.\u003c/p>\n\u003cp>It was not to remain so. Sunday night, Ricky Gervais, who hosted the three ceremonies before the Fey/Poehler years, returned. What distinguished Gervais’ previous appearances was the attempt to position him as a dangerous, rebellious, take-no-prisoners host — a tough sell when he was making jokes about things like Hugh Hefner being really old. But for the most part, the Hollywood Foreign Press Association (which gives out these awards) has successfully sold the narrative of Gervais as fearless provocateur, and from the minute he stepped on stage Sunday, it was clear he was going to ride that horse as far as it would take 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/v3JQf-WTLo8'\n title='//www.youtube.com/embed/v3JQf-WTLo8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His early targets included Caitlyn Jenner (one joke about her car accident followed one that was basically just “transgender people, right?”), Jeffrey Tambor for playing a transgender woman, NBC for having no nominations (true, but there are far more daring things to say about network TV than that NBC didn’t get nominated for any Golden Globes), and the Globes themselves, which he ribbed with a tamer version of a joke he made years ago about how the awards are all bought and paid for. It’s a joke that doesn’t feel particularly daring since he’s basically already made it and been invited back. They clearly don’t mind and he’s already said the same thing years ago, so where’s the risk?\u003c/p>\n\u003cp>Unfortunately, Gervais’ weak monologue was followed by a weird appearance by Channing Tatum and Jonah Hill, who — OK, look. The whole reputation of the Globes is that everybody is bombed the entire time. Either bombed in practice or in spirit — that’s part of the charm. And I would never comment on who is bombed and who is not as a matter of science, but I can say that Hill, wearing a bear head, threw himself into the bombed \u003cem>feeling \u003c/em>of the ceremony in the “some drunk people are hostile and nonsensical” fashion rather than the more enjoyable “some drunk people burble delightfully with enthusiasm” fashion. Whether he was actually bombed or not, you see.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bear bit was also the beginning of a recurring problem over the course of the evening: at some point, people seemed to forget entirely that they were on network television, and they swore so gratuitously that big chunks of things said on stage were silenced by the censor button, rendering certain appearances rather difficult to interpret. Swearing isn’t necessarily bad in and of itself, but the way it leaves giant gaps in the audio doesn’t make for a very good show at home.\u003c/p>\n\u003cp>One of the most striking things about the evening was that the low points brought out the ability of some of the presenters to instantly lift audience spirits. Andy Samberg, who hosted the Emmys, has become a reliably lovely and funny presence at events like this, and America Ferrera and Eva Longoria did a really funny bit about being confused with other Latina actresses: “Hi, I’m Eva Longoria, not Eva Mendes.” “And hi, I’m America Ferrera, not Gina Rodriguez.” (Ferrera and Rodriguez actually were mistaken for each other by the Globes themselves during the nominations. Mentioning that? That’s a little daring.) It ended with the women addressing each other as “Salma” and “Charo.” Funny!\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/SHBijKSOI8U'\n title='//www.youtube.com/embed/SHBijKSOI8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At times, though, these awards just seemed a little snakebit, having trouble getting joy where joy should have been easy: What should have been a great moment for Sylvester Stallone (who won a supporting award for \u003cem>Creed\u003c/em>) was marred by his forgetting to thank writer-director Ryan Coogler or anyone in the cast, which he reportedly ran back on stage to correct, but after the TV coverage had already cut away. Aziz Ansari had a very funny bit where he was in the audience reading \u003cem>How to Lose to Jeffrey Tambor with Dignity\u003c/em> when the lead TV comedy actors were announced, but his joke fell victim to the unexpected victory of Gael Garcia Bernal for \u003cem>Mozart in the Jungle\u003c/em> — a very low-profile Amazon show that was also named the best TV comedy.\u003c/p>\n\u003cp>Of course, the advantage that awards shows have is that when you put enough charismatic, enjoyable people on stage, you’ll get good moments. Rachel Bloom of the CW’s \u003cem>Crazy Ex-Girlfriend \u003c/em>was an excited delight as the winning TV comic actress, Oscar Isaac was charming accepting an award for the HBO miniseries \u003cem>Show Me a Hero\u003c/em>, Taraji P. Henson was luminous accepting for \u003cem>Empire\u003c/em>, and Tom Hanks made a predictably fine presenter of the Cecil B. DeMille Award to his \u003cem>Philadelphia \u003c/em>co-star, Denzel Washington, who got a very good career montage out of the deal.\u003c/p>\n\u003cp>Other winners included \u003cem>The Revenant\u003c/em> for outstanding dramatic movie and \u003cem>The Martian \u003c/em>for outstanding comedy/musical (another moment marred by a side issue: in this case, whether \u003cem>The Martian \u003c/em>is actually comedic), Leonardo DiCaprio (\u003cem>The Revenant\u003c/em>) and Brie Larson (\u003cem>Room\u003c/em>) for their lead dramatic roles in film, Jennifer Lawrence (\u003cem>Joy\u003c/em>) and Matt Damon (\u003cem>The Martian\u003c/em>) for their lead roles in comedies (or comedies-ish), and the terrific USA show \u003cem>Mr. Robot \u003c/em>for TV drama series — exactly the kind of slightly offbeat winner the Globes redeem themselves by sometimes crowning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There have been worse awards shows, certainly. But Gervais’ ancient-feeling shtick about Mel Gibson and Brad Pitt and Angelina Jolie’s adopted kids was enough to put the evening at a disadvantage that the awards themselves struggled to overcome.\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=Even+Bears%2C+Martians+And+Robots+Can%27t+Perk+Up+The+Dull+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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