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"content": "\u003cp>Almost exactly one month after senators \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">held a hearing\u003c/a> on issues in the ticketing industry, they are calling on the U.S. Department of Justice to continue examining what they call the “anticompetitive conduct” of Ticketmaster and its parent company, Live Nation.\u003c/p>\n\u003cp>The ticketing giant came under renewed scrutiny after the \u003ca href=\"https://www.npr.org/2022/11/17/1137465465/taylor-swift-ticketmaster-klobuchar-tennessee\">Taylor Swift presale debacle\u003c/a> in November, which prompted widespread accusations of monopolistic behavior (as well as several state consumer protection investigations and a fan-led \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">antitrust lawsuit\u003c/a>).\u003c/p>\n\u003cp>[aside postid='arts_13921777']The Justice Department had \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">reportedly opened\u003c/a> an antitrust investigation into the company even before that ill-fated sale. NPR has reached out to Justice Department for comment.\u003c/p>\n\u003cp>Live Nation has acknowledged areas of improvement, especially when it comes to bots and scalpers, but has repeatedly — both in \u003ca href=\"https://www.livenationentertainment.com/2022/11/a-statement-from-live-nation-entertainment-2/\">written statements\u003c/a> and congressional testimony — denied engaging in behavior that would justify antitrust litigation or changes to its business practices.\u003c/p>\n\u003cp>On Thursday, the company issued a \u003ca href=\"https://www.livenationentertainment.com/2023/02/statement-from-live-nation-entertainment/\">new statement\u003c/a> urging people to “focus on the facts.” Live Nation has submitted “more than 35 pages of information” in recent weeks in an effort to provide context and transparency to policymakers “on the realities of the industry,” it said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We believe that policymakers would benefit from asking more questions about the chaos caused by scalpers and the resale-first side of the industry,” the statement added.\u003c/p>\n\u003cp>The company says it supports reforms to ticketing practices, including those it has outlined in \u003ca href=\"https://www.livenationentertainment.com/2023/02/live-nation-entertainment-announces-support-for-a-fair-ticketing-act/\">a proposal it called the “FAIR Ticketing Act.”\u003c/a>\u003c/p>\n\u003cp>Live Nation’s efforts have evidently done little to assuage the concerns of lawmakers on both sides of the aisle who have demanded answers and now say they aren’t satisfied with what they’ve gotten so far.\u003c/p>\n\u003cfigure id=\"attachment_13925511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg\" alt=\"A man with a receding hairline smiles and leans to the right towards a smiling woman wearing a pink suit. She has a small microphone in front of her and a sign that reads 'Ms. Klobuchar.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sen. Mike Lee, R-Utah speaks with Sen. Amy Klobuchar, D-Minn., during a Senate Judiciary Committee hearing to examine promoting competition and protecting consumers in live entertainment on Capitol Hill in Washington, Tuesday, Jan. 24, 2023. \u003ccite>(AP Photo/Andrew Harnik))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sens. Amy Klobuchar, D-Minn., and Mike Lee, R-Utah — who lead the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights — \u003ca href=\"https://www.klobuchar.senate.gov/public/_cache/files/4/5/45fa9671-39a0-4749-bb9c-184e44196d42/74F90B7BF1BDBE3A06829530913FB8A3.klobuchar-lee-letter.pdf\">sent a letter\u003c/a> on Wednesday to the Justice Department presenting evidence from the January hearing and urging it to follow up on unanswered questions.\u003c/p>\n\u003cp>Writing to Jonathan Kanter, the assistant attorney general for the Antitrust Division, the senators stressed that all of the witnesses except for Live Nation’s president had testified that the company’s practices harm the music industry. And they said Live Nation hasn’t sufficiently responded to all of their questions, both at the hearing and after.\u003c/p>\n\u003cp>“Live Nation’s responses amount to ‘trust us.’ We believe that is wholly insufficient,” they wrote. “We thank you for your prompt attention to these matters and encourage the Antitrust Division to take action if it finds that Ticketmaster has walled itself off from competitive pressure at the expense of the industry and fans.”\u003c/p>\n\u003ch3>These are the questions that lawmakers want answered\u003c/h3>\n\u003cp>The senators’ letter is divided into two main lists: allegations against Ticketmaster and follow-up questions to which they found the company’s response lacking.\u003c/p>\n\u003cp>[aside postid='arts_13923059']The hearing featured testimony from antitrust experts, entertainment company executives and a musician, who collectively painted a picture of an industry that is dominated by one oversized company at the expense of fans, venues and artists.\u003c/p>\n\u003cp>Some of the issues they raised involved Live Nation’s pricing models and fees, increasingly long contracts with competitors and alleged retaliatory behavior against artists and venues that don’t want to work with it.\u003c/p>\n\u003cp>Lawmakers in the room seemed to agree that the company’s dominance poses a problem in the industry, even if they had different ideas for how to address it. After the hearing, the subcommittee leaders sent Live Nation \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=153645B0-39D9-45A0-A3DA-A5BAAC487D6E\">a letter\u003c/a> with seven additional questions, requesting a response by Feb. 15.\u003c/p>\n\u003cp>“As the hearing demonstrated, there is a strong bipartisan consensus about taking steps to improve the way America’s ticketing industry functions,” they wrote. “We must ensure that we have competition in the market to drive down prices, encourage companies to innovate, and give consumers choice.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.livenationentertainment.com/wp-content/uploads/2023/02/Response-to-Senate-Judiciary-Written-Questions-2.14.23-FINAL1.pdf\">a 38-page response dated Feb. 14\u003c/a>, Live Nation claimed that both primary and secondary ticketing markets are “highly competitive.”\u003c/p>\n\u003cp>“Ticketmaster remains the largest primary ticketing company, but it has steadily lost market share and has lowered pricing despite having by far the best product in the industry — sure signs that it is not the monopolist that some claim,” it said.\u003c/p>\n\u003cp>The letter, signed by executive vice president for corporate and regulatory affairs Daniel Wall, also urged Congress to take action against bots, to ban fraudulent resale practices and to mandate the ability for artists and other event providers to set their own resale terms on all ticketing websites.\u003c/p>\n\u003cp>[aside postid='arts_13861791']But Klobuchar and Lee say Live Nation “largely failed” to answer lawmakers’ questions.\u003c/p>\n\u003cp>Senators asked how many concerts each year were promoted by Live Nation and ticketed by Ticketmaster. It says the company said it was “unable to determine” the answer “in the time available” but did not ask for an extension.\u003c/p>\n\u003cp>They also asked Live Nation if it would commit to having third-party audits to confirm that it isn’t retaliating, in threat or actuality, against venues that pursue other ticketing providers.\u003c/p>\n\u003cp>Lawmakers say Live Nation refused, responding: “Live Nation does not need to be subject to a consent decree or any similar legal obligation to refrain from retaliating against a venue for using another company’s ticketing services, and from threatening to retaliate for such choosing of another ticketing company.”\u003c/p>\n\u003cp>There are also several questions that senators say Live Nation didn’t answer at all, including about how many of the top 100 arenas it provides ticketing services for and whether it’s entered into any agreements with venues where the contract term for ticketing services is longer than five years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Justice Department has not confirmed or commented publicly on a potential antitrust investigation into Live Nation, though Klobuchar and other senators have said that the evidence gathered at their recent hearing could be useful for such a probe — as well as for passing legislation in this area.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We believe that policymakers would benefit from asking more questions about the chaos caused by scalpers and the resale-first side of the industry,” the statement added.\u003c/p>\n\u003cp>The company says it supports reforms to ticketing practices, including those it has outlined in \u003ca href=\"https://www.livenationentertainment.com/2023/02/live-nation-entertainment-announces-support-for-a-fair-ticketing-act/\">a proposal it called the “FAIR Ticketing Act.”\u003c/a>\u003c/p>\n\u003cp>Live Nation’s efforts have evidently done little to assuage the concerns of lawmakers on both sides of the aisle who have demanded answers and now say they aren’t satisfied with what they’ve gotten so far.\u003c/p>\n\u003cfigure id=\"attachment_13925511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg\" alt=\"A man with a receding hairline smiles and leans to the right towards a smiling woman wearing a pink suit. She has a small microphone in front of her and a sign that reads 'Ms. Klobuchar.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/ap23024663604205-9b32cd5d3deb7b34381a192c7cc2239465685f93-scaled-e1677267585307.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sen. Mike Lee, R-Utah speaks with Sen. Amy Klobuchar, D-Minn., during a Senate Judiciary Committee hearing to examine promoting competition and protecting consumers in live entertainment on Capitol Hill in Washington, Tuesday, Jan. 24, 2023. \u003ccite>(AP Photo/Andrew Harnik))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sens. Amy Klobuchar, D-Minn., and Mike Lee, R-Utah — who lead the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights — \u003ca href=\"https://www.klobuchar.senate.gov/public/_cache/files/4/5/45fa9671-39a0-4749-bb9c-184e44196d42/74F90B7BF1BDBE3A06829530913FB8A3.klobuchar-lee-letter.pdf\">sent a letter\u003c/a> on Wednesday to the Justice Department presenting evidence from the January hearing and urging it to follow up on unanswered questions.\u003c/p>\n\u003cp>Writing to Jonathan Kanter, the assistant attorney general for the Antitrust Division, the senators stressed that all of the witnesses except for Live Nation’s president had testified that the company’s practices harm the music industry. And they said Live Nation hasn’t sufficiently responded to all of their questions, both at the hearing and after.\u003c/p>\n\u003cp>“Live Nation’s responses amount to ‘trust us.’ We believe that is wholly insufficient,” they wrote. “We thank you for your prompt attention to these matters and encourage the Antitrust Division to take action if it finds that Ticketmaster has walled itself off from competitive pressure at the expense of the industry and fans.”\u003c/p>\n\u003ch3>These are the questions that lawmakers want answered\u003c/h3>\n\u003cp>The senators’ letter is divided into two main lists: allegations against Ticketmaster and follow-up questions to which they found the company’s response lacking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hearing featured testimony from antitrust experts, entertainment company executives and a musician, who collectively painted a picture of an industry that is dominated by one oversized company at the expense of fans, venues and artists.\u003c/p>\n\u003cp>Some of the issues they raised involved Live Nation’s pricing models and fees, increasingly long contracts with competitors and alleged retaliatory behavior against artists and venues that don’t want to work with it.\u003c/p>\n\u003cp>Lawmakers in the room seemed to agree that the company’s dominance poses a problem in the industry, even if they had different ideas for how to address it. After the hearing, the subcommittee leaders sent Live Nation \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=153645B0-39D9-45A0-A3DA-A5BAAC487D6E\">a letter\u003c/a> with seven additional questions, requesting a response by Feb. 15.\u003c/p>\n\u003cp>“As the hearing demonstrated, there is a strong bipartisan consensus about taking steps to improve the way America’s ticketing industry functions,” they wrote. “We must ensure that we have competition in the market to drive down prices, encourage companies to innovate, and give consumers choice.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.livenationentertainment.com/wp-content/uploads/2023/02/Response-to-Senate-Judiciary-Written-Questions-2.14.23-FINAL1.pdf\">a 38-page response dated Feb. 14\u003c/a>, Live Nation claimed that both primary and secondary ticketing markets are “highly competitive.”\u003c/p>\n\u003cp>“Ticketmaster remains the largest primary ticketing company, but it has steadily lost market share and has lowered pricing despite having by far the best product in the industry — sure signs that it is not the monopolist that some claim,” it said.\u003c/p>\n\u003cp>The letter, signed by executive vice president for corporate and regulatory affairs Daniel Wall, also urged Congress to take action against bots, to ban fraudulent resale practices and to mandate the ability for artists and other event providers to set their own resale terms on all ticketing websites.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Klobuchar and Lee say Live Nation “largely failed” to answer lawmakers’ questions.\u003c/p>\n\u003cp>Senators asked how many concerts each year were promoted by Live Nation and ticketed by Ticketmaster. It says the company said it was “unable to determine” the answer “in the time available” but did not ask for an extension.\u003c/p>\n\u003cp>They also asked Live Nation if it would commit to having third-party audits to confirm that it isn’t retaliating, in threat or actuality, against venues that pursue other ticketing providers.\u003c/p>\n\u003cp>Lawmakers say Live Nation refused, responding: “Live Nation does not need to be subject to a consent decree or any similar legal obligation to refrain from retaliating against a venue for using another company’s ticketing services, and from threatening to retaliate for such choosing of another ticketing company.”\u003c/p>\n\u003cp>There are also several questions that senators say Live Nation didn’t answer at all, including about how many of the top 100 arenas it provides ticketing services for and whether it’s entered into any agreements with venues where the contract term for ticketing services is longer than five years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Justice Department has not confirmed or commented publicly on a potential antitrust investigation into Live Nation, though Klobuchar and other senators have said that the evidence gathered at their recent hearing could be useful for such a probe — as well as for passing legislation in this area.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Senators+are+calling+on+the+Justice+Department+to+look+into+Ticketmaster%27s+practices+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Science That Spawned Fungal Fears in HBO’s ‘The Last of Us’",
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"content": "\u003cp>The video game series that spawned the new hit HBO drama,\u003cem> The Last of Us, \u003c/em>is the zombie genre with a twist.\u003c/p>\n\u003cp>Instead of a run-of-the-mill viral pandemic or bacterial disease pushing humanity to the brink, a \u003cem>Cordyceps \u003c/em>fungus evolves to survive in human bodies in part due to climate change.\u003c/p>\n\u003cp>[aside postid='arts_13925147']Fungal disease resulted in around 1.7 million deaths in 2021, but it was only last year that the World Health Organization published its first-ever \u003ca href=\"https://www.who.int/publications-detail-redirect/9789240060241\">list of fungal priority pathogens\u003c/a>.\u003c/p>\n\u003cp>To learn more about the science that inspired \u003cem>The Last of Us\u003c/em> and the real-life threats fungal researchers see in the ever-warming world, \u003ca href=\"https://www.npr.org/podcasts/510351/short-wave\">\u003cem>Short Wave \u003c/em>\u003c/a>co-host Aaron Scott recently sat down with \u003ca href=\"https://mgm.duke.edu/personnel/asiya-gusa\">Asiya Gusa\u003c/a>, a post-doctoral fungal researcher at Duke University.\u003c/p>\n\u003cp>As a mycologist, Gusa was excited from the first scene, “When I saw the opening few minutes, I nearly jumped off the couch and was yelling at the screen, ‘This is like what I study!’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OLNagvJHl3g\u003c/p>\n\u003cp>\u003cem>Cordyceps\u003c/em>, the fungus in \u003cem>The Last of Us\u003c/em>, does not affect humans — it affects insects. But Asiya Gusa does study one of the deadliest fungi infecting humans in the real world, \u003ca href=\"https://www.cdc.gov/fungal/diseases/cryptococcosis-neoformans/definition.html\">\u003cem>Cryptococcus neoformans\u003c/em>\u003c/a>. The fungus is found throughout the world. Still, most who are infected do not get sick. Most infections occur in those with weakened immune systems. In those instances, the lungs and central nervous system are usually affected.\u003c/p>\n\u003cp>Although \u003cem>C. neoformans\u003c/em> doesn’t bring about zombie-like symptoms, Gusa’s research does support one hypothesis from \u003cem>The Last of Us\u003c/em>: As the world warms, \u003ca href=\"https://www.cdc.gov/ncezid/what-we-do/climate-change-and-infectious-diseases/index.html\">fungi may adapt to survive\u003c/a>. That could introduce fungi that have the ability to bypass the human body’s first line of defense — its high temperature — and cause more frequent infections.\u003c/p>\n\u003cp>[aside postid='arts_13923656']Gusa will continue her work as an assistant professor at Duke University in May. And although she spends her days immersed in fungal research, she readily admits that the field has a PR problem. Until \u003cem>The Last of Us\u003c/em>, the wider public has been largely unaware of the threat they pose. She hopes the show brings lasting attention to those already suffering from fungal diseases and boosts the surveillance and research capacity for the fungi that pose real threats to humanity.\u003c/p>\n\u003cp>“Whenever you have something that’s understudied, under-researched, and we don’t have the proper tools to fight it — well, that’s a cause for concern,” says Gusa. “And so, you know, I don’t want to sound alarm bells, but at the same time, there are already millions of people suffering from deadly fungal infections, and the attention has just not reached them.”\u003c/p>\n\u003cp>\u003cem>Listen to Short Wave on \u003c/em>\u003ca href=\"https://n.pr/3HOQKeK\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://n.pr/3WA9vqh\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://n.pr/3Vi9Xsm\">\u003cem>Google Podcasts\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Curious to hear more about science in pop culture? Email us at \u003c/em>\u003ca href=\"mailto:shortwave@npr.org\">\u003cem>shortwave@npr.org\u003c/em>\u003c/a>\u003cem>. You can also follow \u003c/em>Short Wave\u003cem> on Twitter \u003c/em>\u003ca href=\"https://twitter.com/NPRShortWave?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">\u003cem>@NPRShortWave\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Liz Metzger, edited by Rebecca Ramirez and fact-checked by Anil Oza. Josh Newell was the audio engineer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+science+that+spawned+fungal+fears+in+HBO%27s+%27The+Last+of+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gusa will continue her work as an assistant professor at Duke University in May. And although she spends her days immersed in fungal research, she readily admits that the field has a PR problem. Until \u003cem>The Last of Us\u003c/em>, the wider public has been largely unaware of the threat they pose. She hopes the show brings lasting attention to those already suffering from fungal diseases and boosts the surveillance and research capacity for the fungi that pose real threats to humanity.\u003c/p>\n\u003cp>“Whenever you have something that’s understudied, under-researched, and we don’t have the proper tools to fight it — well, that’s a cause for concern,” says Gusa. “And so, you know, I don’t want to sound alarm bells, but at the same time, there are already millions of people suffering from deadly fungal infections, and the attention has just not reached them.”\u003c/p>\n\u003cp>\u003cem>Listen to Short Wave on \u003c/em>\u003ca href=\"https://n.pr/3HOQKeK\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://n.pr/3WA9vqh\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://n.pr/3Vi9Xsm\">\u003cem>Google Podcasts\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Curious to hear more about science in pop culture? Email us at \u003c/em>\u003ca href=\"mailto:shortwave@npr.org\">\u003cem>shortwave@npr.org\u003c/em>\u003c/a>\u003cem>. You can also follow \u003c/em>Short Wave\u003cem> on Twitter \u003c/em>\u003ca href=\"https://twitter.com/NPRShortWave?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">\u003cem>@NPRShortWave\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Liz Metzger, edited by Rebecca Ramirez and fact-checked by Anil Oza. Josh Newell was the audio engineer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+science+that+spawned+fungal+fears+in+HBO%27s+%27The+Last+of+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Emily’ Imagines Brontë Before ‘Wuthering Heights’",
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"content": "\u003cp>Given that there are few activities less inherently cinematic than writing, I’m surprised and heartened by how many good movies I’ve seen in recent years that have convincingly entered the lives and minds of authors. I’m thinking of \u003ca href=\"https://www.npr.org/2017/04/13/523799211/new-film-celebrates-emily-dickinsons-poetry-and-quiet-passion\">\u003cem>A Quiet Passion\u003c/em>\u003c/a>, the Emily Dickinson biopic, and \u003ca href=\"https://www.npr.org/2020/06/05/869474413/elisabeth-moss-shines-as-writer-shirley-jackson-in-this-smart-surprising-film\">\u003cem>Shirley\u003c/em>\u003c/a>, about \u003cem>The Haunting of Hill House\u003c/em> author Shirley Jackson. You don’t spend a lot of time watching these women scribbling with their quills or banging away at their typewriters, but you do get a rich sense of how their artistic sensibilities came into being.\u003c/p>\n\u003cp>The latest fine addition to this group is \u003cem>Emily\u003c/em>, which freely speculates about the life of the 19th-century English writer Emily Jane Brontë in the years before she would write her one and only novel, \u003cem>Wuthering Heights\u003c/em>. The movie takes significant liberties with what is known about Emily and her famous sisters, Charlotte and Anne, but as a non-stickler for biopic accuracy, I didn’t mind. True or false or somewhere in between, this is an engagingly detailed and emotionally truthful portrait of a family of artists. Every character and actor leaves a vivid impression.\u003c/p>\n\u003cp>[aside postid='arts_13883118']Emily is strikingly played by Emma Mackey, the French-British actor known for her work on the series \u003cem>Sex Education\u003c/em>; she was also the best thing in the recent remake of \u003cem>Death on the Nile\u003c/em>. Mackey has the kind of searing gaze that cuts right through any period-piece decorum, and that makes her perfect for the sardonic, self-amused Emily. She’s neither as sweet as her younger sister, Anne, nor as well behaved as her older sister, Charlotte, who’s memorably played by Alexandra Dowling. Charlotte is studying to be a teacher and wants Emily to do the same, mainly to please their strict clergyman father.\u003c/p>\n\u003cp>But Emily’s natural talent is for inventing stories and writing poetry, and also for speaking her mind with a boldness that leaves others unsettled. There’s a dark side to Emily, and it emerges whenever she mentions her mother’s long-ago death, something the others don’t like to talk about.\u003c/p>\n\u003cp>Of all her siblings, Emily is probably closest to her fellow-misfit brother, Branwell, an aspiring painter played by Fionn Whitehead. Their bond becomes even stronger after Branwell drops out of art school and sinks into alcoholism and opium addiction. One day, while they’re walking the Yorkshire moors, she notices three words inked on his arm: “Freedom in thought” — a creed that also becomes her own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xaL90sMAzbY\u003c/p>\n\u003cp>And so \u003cem>Emily\u003c/em> tells a familiar but compelling story of a woman rebelling against the expectations of her religious and image-conscious family. In her biggest breach of convention, she falls into a torrid romance with William Weightman, the handsome young curate who assists her father in his church duties.\u003c/p>\n\u003cp>Emily and William, played by Oliver Jackson-Cohen, initially loathe each other, which makes it all the more affecting when they surrender to their passion. Their affair is clearly laying the narrative framework for the forbidden love between Catherine and Heathcliff in \u003cem>Wuthering Heights\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_32197']That idea might sound overly simplistic, especially if, like me, you chafe at the notion that great art can only emerge from direct autobiographical experience. But even if the movie plays hard and loose with the facts — some have speculated that there was a romantic connection between Anne Brontë and William Weightman — Mackey and Jackson-Cohen bring so much heat and conviction that their love story sweeps you up in its wake.\u003c/p>\n\u003cp>But as magnetic as Emily and William are together, their bond isn’t the only one of note here. I’ve rarely seen a movie this attuned to the emotional complexity of sibling relationships, especially between Charlotte and Emily, whose mutual exasperation never obscures the depths of their sisterly love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily\u003c/em> marks an excellent writing and directing debut for the actor Frances O’Connor, who’s appeared in her own share of English literary adaptations like \u003cem>Mansfield Park\u003c/em> and \u003cem>The Importance of Being Earnest\u003c/em>. Her witty but unfussy script is rife with echoes of \u003cem>Wuthering Heights\u003c/em>, which means it often plays like a ghost story. Much of the movie is set in dim, candlelit interiors, including one terrifying scene in which an innocent game among the Brontë siblings becomes a disturbing kind of séance. O’Connor keeps her camera tightly fixed on Emily even at her most anguished moments, when she seems to be teetering on the brink of madness. Maybe she is. But maybe it takes a little madness to create a work of art, including a movie as good as this one.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Emily%27+imagines+Bront%C3%AB+before+%27Wuthering+Heights%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given that there are few activities less inherently cinematic than writing, I’m surprised and heartened by how many good movies I’ve seen in recent years that have convincingly entered the lives and minds of authors. I’m thinking of \u003ca href=\"https://www.npr.org/2017/04/13/523799211/new-film-celebrates-emily-dickinsons-poetry-and-quiet-passion\">\u003cem>A Quiet Passion\u003c/em>\u003c/a>, the Emily Dickinson biopic, and \u003ca href=\"https://www.npr.org/2020/06/05/869474413/elisabeth-moss-shines-as-writer-shirley-jackson-in-this-smart-surprising-film\">\u003cem>Shirley\u003c/em>\u003c/a>, about \u003cem>The Haunting of Hill House\u003c/em> author Shirley Jackson. You don’t spend a lot of time watching these women scribbling with their quills or banging away at their typewriters, but you do get a rich sense of how their artistic sensibilities came into being.\u003c/p>\n\u003cp>The latest fine addition to this group is \u003cem>Emily\u003c/em>, which freely speculates about the life of the 19th-century English writer Emily Jane Brontë in the years before she would write her one and only novel, \u003cem>Wuthering Heights\u003c/em>. The movie takes significant liberties with what is known about Emily and her famous sisters, Charlotte and Anne, but as a non-stickler for biopic accuracy, I didn’t mind. True or false or somewhere in between, this is an engagingly detailed and emotionally truthful portrait of a family of artists. Every character and actor leaves a vivid impression.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Emily is strikingly played by Emma Mackey, the French-British actor known for her work on the series \u003cem>Sex Education\u003c/em>; she was also the best thing in the recent remake of \u003cem>Death on the Nile\u003c/em>. Mackey has the kind of searing gaze that cuts right through any period-piece decorum, and that makes her perfect for the sardonic, self-amused Emily. She’s neither as sweet as her younger sister, Anne, nor as well behaved as her older sister, Charlotte, who’s memorably played by Alexandra Dowling. Charlotte is studying to be a teacher and wants Emily to do the same, mainly to please their strict clergyman father.\u003c/p>\n\u003cp>But Emily’s natural talent is for inventing stories and writing poetry, and also for speaking her mind with a boldness that leaves others unsettled. There’s a dark side to Emily, and it emerges whenever she mentions her mother’s long-ago death, something the others don’t like to talk about.\u003c/p>\n\u003cp>Of all her siblings, Emily is probably closest to her fellow-misfit brother, Branwell, an aspiring painter played by Fionn Whitehead. Their bond becomes even stronger after Branwell drops out of art school and sinks into alcoholism and opium addiction. One day, while they’re walking the Yorkshire moors, she notices three words inked on his arm: “Freedom in thought” — a creed that also becomes her own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That idea might sound overly simplistic, especially if, like me, you chafe at the notion that great art can only emerge from direct autobiographical experience. But even if the movie plays hard and loose with the facts — some have speculated that there was a romantic connection between Anne Brontë and William Weightman — Mackey and Jackson-Cohen bring so much heat and conviction that their love story sweeps you up in its wake.\u003c/p>\n\u003cp>But as magnetic as Emily and William are together, their bond isn’t the only one of note here. I’ve rarely seen a movie this attuned to the emotional complexity of sibling relationships, especially between Charlotte and Emily, whose mutual exasperation never obscures the depths of their sisterly love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily\u003c/em> marks an excellent writing and directing debut for the actor Frances O’Connor, who’s appeared in her own share of English literary adaptations like \u003cem>Mansfield Park\u003c/em> and \u003cem>The Importance of Being Earnest\u003c/em>. Her witty but unfussy script is rife with echoes of \u003cem>Wuthering Heights\u003c/em>, which means it often plays like a ghost story. Much of the movie is set in dim, candlelit interiors, including one terrifying scene in which an innocent game among the Brontë siblings becomes a disturbing kind of séance. O’Connor keeps her camera tightly fixed on Emily even at her most anguished moments, when she seems to be teetering on the brink of madness. Maybe she is. But maybe it takes a little madness to create a work of art, including a movie as good as this one.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Emily%27+imagines+Bront%C3%AB+before+%27Wuthering+Heights%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Raquel Welch, a veteran actress who rose to fame as a sex symbol in the 1960s and 70s, \u003ca href=\"https://www.npr.org/2023/02/15/1157263420/raquel-welch-actress-and-hollywood-sex-symbol-dead-at-82\">died Wednesday in Los Angeles at the age of 82\u003c/a> after a brief illness. The news was confirmed to NPR by her son, Damon.\u003c/p>\n\u003cp>[aside postid='arts_10870518']In a career spanning nearly six decades, Welch started in the 1960s with appearances on TV shows such as \u003cem>The Virginian\u003c/em>, \u003cem>McHale’s Navy\u003c/em> and \u003cem>Bewitched.\u003c/em> These appearances paved the way for back-to-back roles in \u003cem>Fantastic Voyage\u003c/em> and \u003cem>One Million Years B.C.\u003c/em> in 1966.\u003c/p>\n\u003cp>Throughout her career, Welch was a two-time Golden Globe nominee, winning Best Actress in a Motion Picture, Musical or Comedy, for her role in the 1973’s \u003cem>The Three Musketeers\u003c/em> as Constance de Bonacieux, and a star on the Hollywood Walk of Fame.\u003c/p>\n\u003cp>Here’s a look at some of her most notable roles:\u003c/p>\n\u003ch3>\u003cem>1. One Million Years B.C. (1966)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=gSYmJur0Npw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 1966 film, set during a fictional prehistoric age where cavemen and dinosaurs co-exist in the world, tells the story of prehistoric man Tumak as he is banished from his savage tribe. Welch only had a few lines, but her animal skin two-piece became part of pop culture history.\u003c/p>\n\u003ch3>\u003cem>2. The Three Musketeers (1973)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ssLVKLJ8ojU&t=1s\u003c/p>\n\u003cp>An adaptation of the 1844 Alexandre Dumas novel, the 1973 film tells the story of swordsman D’Artagnan (played by Michael York), after he travels to Paris with the hope of joining the royal guard.\u003c/p>\n\u003cp>Welch plays the role of Constance Bonacieux, who is a dressmaker to the Queen, Anne of Austria.\u003c/p>\n\u003ch3>\u003cem>3. Fantastic Voyage (1966)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=dO5E4wkg0hA&t=1s\u003c/p>\n\u003cp>This 1960s film follows scientist Jan Benes (Jean Del Val) as he develops a way to shrink humans and other objects for brief periods. Benes is transported by the CIA to America but is unfortunately attacked en route.\u003c/p>\n\u003cp>To save Benes, a submarine is shrunken to microscopic size and injected into his bloodstream with a small crew; as they have a limited time to get out before the miniaturization wears off.\u003c/p>\n\u003ch3>\u003cem>4. 100 Rifles (1969)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=lmIeod8jk4k\u003c/p>\n\u003cp>Welch made film history in this 1969 Western, starring alongside African American actor and former professional football player Jim Brown. The movie, set in 1912 in Sonora, Mexico, follows native revolutionary Yaqui Joe (played by Burt Reynolds) as he robs a bank to buy guns for the Yaqui people.\u003c/p>\n\u003cp>However, he finds himself sought by the Mexican Army.\u003c/p>\n\u003cp>Welch — who played the role of Sarita — along with Brown sparked controversy for their sizzling interracial love scenes in the movie.\u003c/p>\n\u003ch3>\u003cem>5. Myra Breckinridge (1970)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ywcr3lYuVo0\u003c/p>\n\u003cp>Based on Gore Vidal’s 1968 satirical novel of the same name, Welch in this film played an aspiring actress who underwent a gender reassignment surgery in Europe, eventually traveling to Hollywood in search of fame and her late wealthy uncle’s estate.\u003c/p>\n\u003ch3>\u003cem>6. How to Be a Latin Lover (2017)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=3IHiUYU4wQ8\u003c/p>\n\u003cp>In her final film, the 2017 comedy features Welch as widowed billionaire Celeste Birch, who tries to fend off romantic advances from a rusty gigolo, Maximo (Eugenio Derbez), who’s made a career of seducing rich older women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After being dumped by his wealthy 80-year-old wife, Maximo plans to seduce Celeste as he hopes to live the high life once again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Six+must-see+films+with+Raquel+Welch%2C+from+%27Fantastic+Voyage%27+to+%27Myra+Breckinridge%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a career spanning nearly six decades, Welch started in the 1960s with appearances on TV shows such as \u003cem>The Virginian\u003c/em>, \u003cem>McHale’s Navy\u003c/em> and \u003cem>Bewitched.\u003c/em> These appearances paved the way for back-to-back roles in \u003cem>Fantastic Voyage\u003c/em> and \u003cem>One Million Years B.C.\u003c/em> in 1966.\u003c/p>\n\u003cp>Throughout her career, Welch was a two-time Golden Globe nominee, winning Best Actress in a Motion Picture, Musical or Comedy, for her role in the 1973’s \u003cem>The Three Musketeers\u003c/em> as Constance de Bonacieux, and a star on the Hollywood Walk of Fame.\u003c/p>\n\u003cp>Here’s a look at some of her most notable roles:\u003c/p>\n\u003ch3>\u003cem>1. One Million Years B.C. (1966)\u003c/em>\u003c/h3>\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/gSYmJur0Npw'\n title='//www.youtube.com/embed/gSYmJur0Npw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 1966 film, set during a fictional prehistoric age where cavemen and dinosaurs co-exist in the world, tells the story of prehistoric man Tumak as he is banished from his savage tribe. Welch only had a few lines, but her animal skin two-piece became part of pop culture history.\u003c/p>\n\u003ch3>\u003cem>2. The Three Musketeers (1973)\u003c/em>\u003c/h3>\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/ssLVKLJ8ojU'\n title='//www.youtube.com/embed/ssLVKLJ8ojU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An adaptation of the 1844 Alexandre Dumas novel, the 1973 film tells the story of swordsman D’Artagnan (played by Michael York), after he travels to Paris with the hope of joining the royal guard.\u003c/p>\n\u003cp>Welch plays the role of Constance Bonacieux, who is a dressmaker to the Queen, Anne of Austria.\u003c/p>\n\u003ch3>\u003cem>3. Fantastic Voyage (1966)\u003c/em>\u003c/h3>\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/dO5E4wkg0hA'\n title='//www.youtube.com/embed/dO5E4wkg0hA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This 1960s film follows scientist Jan Benes (Jean Del Val) as he develops a way to shrink humans and other objects for brief periods. Benes is transported by the CIA to America but is unfortunately attacked en route.\u003c/p>\n\u003cp>To save Benes, a submarine is shrunken to microscopic size and injected into his bloodstream with a small crew; as they have a limited time to get out before the miniaturization wears off.\u003c/p>\n\u003ch3>\u003cem>4. 100 Rifles (1969)\u003c/em>\u003c/h3>\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/lmIeod8jk4k'\n title='//www.youtube.com/embed/lmIeod8jk4k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Welch made film history in this 1969 Western, starring alongside African American actor and former professional football player Jim Brown. The movie, set in 1912 in Sonora, Mexico, follows native revolutionary Yaqui Joe (played by Burt Reynolds) as he robs a bank to buy guns for the Yaqui people.\u003c/p>\n\u003cp>However, he finds himself sought by the Mexican Army.\u003c/p>\n\u003cp>Welch — who played the role of Sarita — along with Brown sparked controversy for their sizzling interracial love scenes in the movie.\u003c/p>\n\u003ch3>\u003cem>5. Myra Breckinridge (1970)\u003c/em>\u003c/h3>\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/ywcr3lYuVo0'\n title='//www.youtube.com/embed/ywcr3lYuVo0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Based on Gore Vidal’s 1968 satirical novel of the same name, Welch in this film played an aspiring actress who underwent a gender reassignment surgery in Europe, eventually traveling to Hollywood in search of fame and her late wealthy uncle’s estate.\u003c/p>\n\u003ch3>\u003cem>6. How to Be a Latin Lover (2017)\u003c/em>\u003c/h3>\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/3IHiUYU4wQ8'\n title='//www.youtube.com/embed/3IHiUYU4wQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In her final film, the 2017 comedy features Welch as widowed billionaire Celeste Birch, who tries to fend off romantic advances from a rusty gigolo, Maximo (Eugenio Derbez), who’s made a career of seducing rich older women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After being dumped by his wealthy 80-year-old wife, Maximo plans to seduce Celeste as he hopes to live the high life once again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Six+must-see+films+with+Raquel+Welch%2C+from+%27Fantastic+Voyage%27+to+%27Myra+Breckinridge%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Valentine’s Day Message From Banksy Comments on Violence Against Women",
"headTitle": "A Valentine’s Day Message From Banksy Comments on Violence Against Women | KQED",
"content": "\u003cp>At first glance, she could be a prototypical 1950s housewife, wearing an apron over a smart gingham dress, complete with yellow cleaning gloves. But this is a Banksy artwork on the side of a building we’re talking about, and the woman is pushing a freezer door closed — and a man’s legs are jutting out the other end.\u003c/p>\n\u003cp>The woman is also hurt. She appears to be missing a tooth, and an eye is swollen shut. And that’s where the title comes in: “Valentine’s Day mascara,” according to a \u003ca href=\"https://www.instagram.com/p/Coom0LDsfJf/?hl=en\">post to Banksy’s Instagram account\u003c/a> on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13898181']The most-liked reply to Banksy’s post reads: “Fighting violence used against women. Even on Valentines Day. Always!”\u003c/p>\n\u003cp>The artwork appeared in Margate, a city in southeastern England, becoming the latest locale for a graffiti installation by one of the world’s most famous living artists. It reportedly appeared on Monday; one day later, the local government removed the freezer that was a key part of the tableau, citing safety concerns.\u003c/p>\n\u003cp>But now the appliance “has been returned to its original position,” the \u003ca href=\"https://www.thanet.gov.uk/update-on-the-banksy-freezer/\">Thanet District Council said\u003c/a> on Wednesday, stating that the appliance “has now been made safe.” It did not provide details, saying only that work was done on the freezer “for health and safety reasons.”\u003c/p>\n\u003cfigure id=\"attachment_13925196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925196\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers remove a chest freezer that was part of an artwork by street artist Banksy, along the side of a house. \u003ccite>(WILLIAM EDWARDS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Banksy raises the important issue of domestic abuse in this artwork,” the council said. “We are in touch with the owner of the property to understand their intentions around the preservation of the piece and to secure the best possible outcome for the local community and victims of domestic abuse.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The work incorporates an actual freezer and a toppled chair, following Banksy’s tradition of mixing everyday items with paint and other media. As word of the artwork spread, people flocked to snap photos of themselves posing alongside the woman — resilient, triumphant and injured.\u003c/p>\n\u003cp>Then the freezer was taken away, leaving a void.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.thanet.gov.uk/council-confirms-situation-regarding-banksy-artwork-in-margate/\">Thanet District Council said\u003c/a> on Tuesday that while the graffiti art is a genuine Banksy, and it was on the wall of a privately owned property, the chest freezer was “removed by council operatives on the grounds of safety as it was on public land.”\u003c/p>\n\u003cp>The council said it had placed the freezer in storage, adding that it would be returned “once it has been made safe to the public.”\u003c/p>\n\u003cp>[aside postid='arts_13883386']Some local residents mocked the council for invoking the need to keep public spaces tidy as a rationale for taking the art work apart.\u003c/p>\n\u003cp>“The council saying it was removed for safety reason is a bit short sided, considering that there is a side road next to the Banksy with a pile of rubbish and wood full of nails,” resident Davide Restifo \u003ca href=\"https://theisleofthanetnews.com/2023/02/14/thanet-council-says-freezer-will-be-returned-to-site-of-banksy-art-work-in-margate/\">told \u003cem>The Isle of Thanet News\u003c/em>\u003c/a>, submitting a photo of unsightly debris to prove his point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know is experiencing domestic abuse, use a safe computer and \u003c/em>\u003ca href=\"https://www.thehotline.org/help/\">\u003cem>contact help\u003c/em>\u003c/a>\u003cem>. You can also visit a local shelter, or call 911 or the National Domestic Violence Hotline at 1-800-799-7233.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Valentine%27s+Day+message+from+Banksy+comments+on+violence+against+women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"headline": "A Valentine’s Day Message From Banksy Comments on Violence Against Women",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance, she could be a prototypical 1950s housewife, wearing an apron over a smart gingham dress, complete with yellow cleaning gloves. But this is a Banksy artwork on the side of a building we’re talking about, and the woman is pushing a freezer door closed — and a man’s legs are jutting out the other end.\u003c/p>\n\u003cp>The woman is also hurt. She appears to be missing a tooth, and an eye is swollen shut. And that’s where the title comes in: “Valentine’s Day mascara,” according to a \u003ca href=\"https://www.instagram.com/p/Coom0LDsfJf/?hl=en\">post to Banksy’s Instagram account\u003c/a> on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The most-liked reply to Banksy’s post reads: “Fighting violence used against women. Even on Valentines Day. Always!”\u003c/p>\n\u003cp>The artwork appeared in Margate, a city in southeastern England, becoming the latest locale for a graffiti installation by one of the world’s most famous living artists. It reportedly appeared on Monday; one day later, the local government removed the freezer that was a key part of the tableau, citing safety concerns.\u003c/p>\n\u003cp>But now the appliance “has been returned to its original position,” the \u003ca href=\"https://www.thanet.gov.uk/update-on-the-banksy-freezer/\">Thanet District Council said\u003c/a> on Wednesday, stating that the appliance “has now been made safe.” It did not provide details, saying only that work was done on the freezer “for health and safety reasons.”\u003c/p>\n\u003cfigure id=\"attachment_13925196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925196\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1247129667-3d2eff82887afb6ac0165bcc62a9e48bbf0ace78-scaled-e1676496507880.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers remove a chest freezer that was part of an artwork by street artist Banksy, along the side of a house. \u003ccite>(WILLIAM EDWARDS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Banksy raises the important issue of domestic abuse in this artwork,” the council said. “We are in touch with the owner of the property to understand their intentions around the preservation of the piece and to secure the best possible outcome for the local community and victims of domestic abuse.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The work incorporates an actual freezer and a toppled chair, following Banksy’s tradition of mixing everyday items with paint and other media. As word of the artwork spread, people flocked to snap photos of themselves posing alongside the woman — resilient, triumphant and injured.\u003c/p>\n\u003cp>Then the freezer was taken away, leaving a void.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.thanet.gov.uk/council-confirms-situation-regarding-banksy-artwork-in-margate/\">Thanet District Council said\u003c/a> on Tuesday that while the graffiti art is a genuine Banksy, and it was on the wall of a privately owned property, the chest freezer was “removed by council operatives on the grounds of safety as it was on public land.”\u003c/p>\n\u003cp>The council said it had placed the freezer in storage, adding that it would be returned “once it has been made safe to the public.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some local residents mocked the council for invoking the need to keep public spaces tidy as a rationale for taking the art work apart.\u003c/p>\n\u003cp>“The council saying it was removed for safety reason is a bit short sided, considering that there is a side road next to the Banksy with a pile of rubbish and wood full of nails,” resident Davide Restifo \u003ca href=\"https://theisleofthanetnews.com/2023/02/14/thanet-council-says-freezer-will-be-returned-to-site-of-banksy-art-work-in-margate/\">told \u003cem>The Isle of Thanet News\u003c/em>\u003c/a>, submitting a photo of unsightly debris to prove his point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know is experiencing domestic abuse, use a safe computer and \u003c/em>\u003ca href=\"https://www.thehotline.org/help/\">\u003cem>contact help\u003c/em>\u003c/a>\u003cem>. You can also visit a local shelter, or call 911 or the National Domestic Violence Hotline at 1-800-799-7233.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Valentine%27s+Day+message+from+Banksy+comments+on+violence+against+women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Rihanna’s Maternity Style Isn’t Just Fashionable. It’s Revolutionary, Experts Say",
"headTitle": "Rihanna’s Maternity Style Isn’t Just Fashionable. It’s Revolutionary, Experts Say | KQED",
"content": "\u003cp>Rihanna has already been praised for redefining maternity fashion, having rocked crop tops, low-rise pants and \u003ca href=\"https://www.glamour.com/story/rihanna-pregnancy-style-lingerie-dior\">lingerie\u003c/a> during her first pregnancy last year.\u003c/p>\n\u003cp>So after the singer-slash-business-mogul-slash-fashion-icon revealed her baby bump at Sunday’s Super Bowl halftime show, fans were quick to share their excitement — not just for her growing family, but about her future outfits.\u003c/p>\n\u003cp>https://twitter.com/allurequinn/status/1624960758911213568\u003c/p>\n\u003cp>Rihanna has described her maternity style as “rebellious,” \u003ca href=\"https://www.bustle.com/style/rihanna-pregnancy-style\">telling \u003cem>Bustle \u003c/em>\u003c/a>last year that she had challenged herself to be creative and didn’t want to buy maternity clothes or do “whatever society told me to do before.”\u003c/p>\n\u003cp>“I’m hoping that we were able to redefine what’s considered ‘decent’ for pregnant women,” \u003ca href=\"https://www.vogue.com/article/rihanna-cover-may-2022\">Rihanna told \u003cem>Vogue\u003c/em>\u003c/a> in April. “My body is doing incredible things right now, and I’m not going to be ashamed of that. This time should feel celebratory. Because why should you be hiding your pregnancy?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And pregnancy No. 2 appears to be off to a similar start, given that she announced it in an all-red flight suit/breastplate/puffer coat ensemble while suspended on a glass platform high in the air.\u003c/p>\n\u003cp>[aside postid='arts_13847561']Rihanna’s influence as an “executive and visual mastermind” makes her pregnancy style “impactful and worth discussing,” Solange Franklin, a stylist and consultant, told NPR via email.\u003c/p>\n\u003cp>“Her unabashed style is a flair to the world that says ‘look at me, look at us’ and to be seen on your own terms is powerful and thrilling,” Franklin added.\u003c/p>\n\u003cp>Rihanna isn’t the first celebrity to show off her pregnancy, or the only pregnant person to have worn a mesh top.\u003c/p>\n\u003cp>But she has a massive platform, and design experts and historians tell NPR that what she’s doing is significant: By challenging society’s long-held notion that pregnant people should dress or look a certain way, she’s sparking a conversation about their role and rights — and one that advocates hope will lead to substantive change.\u003c/p>\n\u003ch3>A brief history of maternity fashion\u003c/h3>\n\u003cp>Maternity wear as we know it has only been around since the 19th century, explains Serena Dyer, \u003ca href=\"https://www.dmu.ac.uk/about-dmu/academic-staff/art-design-humanities/serena-dyer/serena-dyer.aspx\">a historian of design\u003c/a> and material culture at De Montfort University in England.\u003c/p>\n\u003cp>Before that, there wasn’t a clear distinction between maternity and regular fashion, in part because it was the norm for women to be married and spend a lot of their lives pregnant.\u003c/p>\n\u003cp>Clothes were made to be adaptable, with waistlines and other elements that could be added or removed as women’s sizes changed. (Dyer notes that stays, the precursor to corsets, weren’t actually as rigid as we tend to think nowadays.)\u003c/p>\n\u003cp>[aside postid='arts_13874517']The 19th century saw the commercialization of fashion and the emergence of distinct maternity clothes — as well as more “moralizing” around pregnancy as something to be concealed rather than celebrated, Dyer explains.\u003c/p>\n\u003cp>“And then as we go into the 20th century, it becomes even more commercialized,” she adds. “And the invention of things like lycra, spandex, elastane allow for these more specifically kind of stretchy maternity garments that are separate from the more kind of figure-revealing garments of a normal everyday fashion.”\u003c/p>\n\u003cfigure id=\"attachment_13925121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925121\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-800x600.jpg\" alt=\"A Black man wearing an all black outfit of jeans, t-shirt and denim jacket sits next to a heavily pregnant Black woman. She is wearing black pants, a black lace fitted crop top and a lilac fake fur stole.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rihanna and her partner A$AP Rocky pictured at Milan Fashion Week in February 2022. \u003ccite>(Victor Boyko/Getty Images for Gucci)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While there has been a recent push towards more “fashion-centered” lines, most modern maternity wear caters to comfort, Dyer says. Of course, there’s absolutely nothing wrong with sticking to stretchy, lose clothes during pregnancy.\u003c/p>\n\u003cp>But, she says, there should be more options for pregnant people who want to show their identity through fashion — and that goes hand-in-hand with cultural acceptance. Dyer says we’re not quite there yet, but getting closer as stars \u003ca href=\"https://www.nme.com/news/music/beyonces-pregnancy-photo-named-instagrams-liked-2017-2166729\">like Beyoncé\u003c/a> and Rihanna have challenged the assumption that pregnant women need to dress modestly.\u003c/p>\n\u003cp>“We’re seeing more of a resistance to that and more women wanting to celebrate that changing body, show off that changing body and not necessarily feel like they have to cover themselves up or change who they are as women because they’re going through this process,” she adds.\u003c/p>\n\u003ch3>Rihanna isn’t the first or only person to challenge the norm\u003c/h3>\n\u003cp>Rihanna stands on the shoulders of other women who have fought to make their pregnancies more visible, says \u003ca href=\"https://michellemillarfisher.com/\">Michelle Millar Fisher\u003c/a>, a curator at the Museum of Fine Arts in Boston and co-author of \u003cem>Designing Motherhood: Things That Make and Break Our Births\u003c/em> (she also leads an art and education program by the same name).\u003c/p>\n\u003cp>The 20th century saw several pivotal moments in maternity fashion, she explains.\u003c/p>\n\u003cp>One of them came in 1952, when Lucille Ball convinced her producers to let her keep acting on \u003cem>I Love Lucy \u003c/em>during her pregnancy. She used maternity fashion — most notably, \u003ca href=\"https://slate.com/news-and-politics/2021/10/invention-tie-waist-skirt-history-maternity-wear.html\">the tie-waist skirt\u003c/a> — to keep doing her job, and became the first pregnant person to be seen by a major TV audience.\u003c/p>\n\u003cfigure id=\"attachment_13925122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-800x600.jpg\" alt=\"A black and white image of a suave man in 1950s-era suit, holding the hand of a pregnant woman sitting on a couch. She is wearing a billowing pregnancy shirt. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 1953, Lucille Ball became the first pregnant person to be seen by a major TV audience, on the ‘I Love Lucy’ show. \u003ccite>(CBS Photo Archive/CBS via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1988, Afro-Swedish singer Neneh Cherry performed on the BBC series \u003cem>Top of The Pops \u003c/em>\u003ca href=\"https://ig.ft.com/life-of-a-song/buffalo-stance.html\">while eight months pregnant\u003c/a>.\u003c/p>\n\u003cp>“And she was asked then, ‘Are you going to hurt the baby? Is this a worry for you?’ And she very bluntly and shortly said, ‘I’m not sick. I’m just pregnant. Get over it, basically,’ ” Fisher says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gVVTTXGQNJo&t=1s\u003c/p>\n\u003cp>Several years later, a pregnant Demi Moore posed nude for the August 1991 \u003ca href=\"https://www.yahoo.com/video/demi-moore-pregnant-vanity-fair-cover-223924088.html\">cover of \u003cem>Vanity Fair\u003c/em>\u003c/a> magazine, which is considered one of photographer Annie Leibovitz’s most iconic and (at least at the time) controversial shoots.\u003c/p>\n\u003cp>It helped change cultural perceptions around pregnancy, with Moore reflecting decades later on the impact it had on “on our permission to embrace ourselves in a pregnant state.” It also popularized the pregnancy photoshoot — though Dyer, the historian, says posing for “pregnancy portraits” was a trend back in the 16th and 17th centuries, before pregnancy became something to hide.\u003c/p>\n\u003cp>More recently, Beyoncé broke the internet in 2017 with her Instagram pregnancy announcement — and Rihanna broke her news with a photoshoot in \u003ca href=\"https://www.npr.org/2022/01/31/1077002465/rihanna-pregnant\">Jan. 2022 too\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/BP-rXUGBPJa/?hl=en\u003c/p>\n\u003cp>What Rihanna is doing with her wardrobe isn’t new, but it’s on a level that many non-celebrities can’t access, says Gabriella Nelson, a member of the Designing Motherhood collective who works in maternal health policy.\u003c/p>\n\u003cp>She says throughout her life she’s seen women of color wearing mesh or crop tops while pregnant, but getting shamed instead of praised for it. Black women have been at the forefront of style and innovation for a long time, she adds.\u003c/p>\n\u003cp>“Imma stan Rihanna because I can,” Nelson says. “But I’m going to also stan the girls … that maybe will never see a Super Bowl stage or a runway fashion show or be in \u003cem>Vogue \u003c/em>or have their names mentioned in an article, because I know that they are also the vanguards of all of this.”\u003c/p>\n\u003ch3>How clothes could lead to change\u003c/h3>\n\u003cp>All of the experts interviewed for this story say the point isn’t that pregnant people should all be donning red bodysuits or striving to dress like Rihanna (who happens to be \u003ca href=\"https://www.forbes.com/sites/maddieberg/2021/08/04/fentys-fortune-rihanna-is-now-officially-a-billionaire/\">one of the richest women\u003c/a> in the world).\u003c/p>\n\u003cp>[aside postid='pop_88718']It’s that pregnant people — and all people, really — should feel comfortable doing whatever is right for their own bodies.\u003c/p>\n\u003cp>“Whether we’re pregnant or not, whether we gained weight or lost weight or had surgery or whatever it is — however, our bodies change — we have the opportunity to express ourselves through what we adorn our bodies with,” Nelson says. “And so I want folks to get that from what Rihanna has done: Just be yourself. Do what you want to do, make your own lane and just have fun with it.”\u003c/p>\n\u003cp>And part of the conversation should be about more than just fashion, Fisher says.\u003c/p>\n\u003cp>She would like to see the celebration of Rihanna’s pregnancy spark more discussion of Black maternal mortality in the U.S. — which spends more money per capita on healthcare than any developed country in the world but has worse maternal and infant health outcomes.\u003c/p>\n\u003cp>The U.S. maternal mortality rate for Black women is \u003ca href=\"https://www.commonwealthfund.org/blog/2022/us-maternal-mortality-crisis-continues-worsen-international-comparison\">nearly three times higher\u003c/a> than the rate for white women. A recent \u003ca href=\"https://www.nytimes.com/interactive/2023/02/12/upshot/child-maternal-mortality-rich-poor.html\">\u003cem>New York Times \u003c/em>investigation\u003c/a> found that the risk remains disproportionately higher regardless of socioeconomic status: Even the richest Black mothers and their babies are twice as likely to die as the richest white mothers and babies.\u003c/p>\n\u003cp>“It’s very easy for us to celebrate these moments when we have a ‘win’ for being able to see pregnancy in public,” Fisher says. “But they are often at the expense of real substantive policy change and real understanding of the ways in which it’s incredibly not just difficult, but dangerous, to be a birthing person — but specifically a birthing person of color — in the United States today.”\u003c/p>\n\u003cp>Substantial changes could include making medicine accessible to more Black doctors, investing more in doulas and passing a nationwide family leave policy. Fisher says she’d love it if every time someone reposted the picture of Rihanna’s Super Bowl outfit, they’d include some of those statistics and solutions too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“That’s what I would like to see people really get a handle on,” she says. “Because otherwise it’s really just dressing up the issue in some very fancy clothes and not really getting to the heart of it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rihanna%27s+maternity+style+isn%27t+just+fashionable.+It%27s+revolutionary%2C+experts+say&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rihanna has already been praised for redefining maternity fashion, having rocked crop tops, low-rise pants and \u003ca href=\"https://www.glamour.com/story/rihanna-pregnancy-style-lingerie-dior\">lingerie\u003c/a> during her first pregnancy last year.\u003c/p>\n\u003cp>So after the singer-slash-business-mogul-slash-fashion-icon revealed her baby bump at Sunday’s Super Bowl halftime show, fans were quick to share their excitement — not just for her growing family, but about her future outfits.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Rihanna has described her maternity style as “rebellious,” \u003ca href=\"https://www.bustle.com/style/rihanna-pregnancy-style\">telling \u003cem>Bustle \u003c/em>\u003c/a>last year that she had challenged herself to be creative and didn’t want to buy maternity clothes or do “whatever society told me to do before.”\u003c/p>\n\u003cp>“I’m hoping that we were able to redefine what’s considered ‘decent’ for pregnant women,” \u003ca href=\"https://www.vogue.com/article/rihanna-cover-may-2022\">Rihanna told \u003cem>Vogue\u003c/em>\u003c/a> in April. “My body is doing incredible things right now, and I’m not going to be ashamed of that. This time should feel celebratory. Because why should you be hiding your pregnancy?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And pregnancy No. 2 appears to be off to a similar start, given that she announced it in an all-red flight suit/breastplate/puffer coat ensemble while suspended on a glass platform high in the air.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rihanna’s influence as an “executive and visual mastermind” makes her pregnancy style “impactful and worth discussing,” Solange Franklin, a stylist and consultant, told NPR via email.\u003c/p>\n\u003cp>“Her unabashed style is a flair to the world that says ‘look at me, look at us’ and to be seen on your own terms is powerful and thrilling,” Franklin added.\u003c/p>\n\u003cp>Rihanna isn’t the first celebrity to show off her pregnancy, or the only pregnant person to have worn a mesh top.\u003c/p>\n\u003cp>But she has a massive platform, and design experts and historians tell NPR that what she’s doing is significant: By challenging society’s long-held notion that pregnant people should dress or look a certain way, she’s sparking a conversation about their role and rights — and one that advocates hope will lead to substantive change.\u003c/p>\n\u003ch3>A brief history of maternity fashion\u003c/h3>\n\u003cp>Maternity wear as we know it has only been around since the 19th century, explains Serena Dyer, \u003ca href=\"https://www.dmu.ac.uk/about-dmu/academic-staff/art-design-humanities/serena-dyer/serena-dyer.aspx\">a historian of design\u003c/a> and material culture at De Montfort University in England.\u003c/p>\n\u003cp>Before that, there wasn’t a clear distinction between maternity and regular fashion, in part because it was the norm for women to be married and spend a lot of their lives pregnant.\u003c/p>\n\u003cp>Clothes were made to be adaptable, with waistlines and other elements that could be added or removed as women’s sizes changed. (Dyer notes that stays, the precursor to corsets, weren’t actually as rigid as we tend to think nowadays.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 19th century saw the commercialization of fashion and the emergence of distinct maternity clothes — as well as more “moralizing” around pregnancy as something to be concealed rather than celebrated, Dyer explains.\u003c/p>\n\u003cp>“And then as we go into the 20th century, it becomes even more commercialized,” she adds. “And the invention of things like lycra, spandex, elastane allow for these more specifically kind of stretchy maternity garments that are separate from the more kind of figure-revealing garments of a normal everyday fashion.”\u003c/p>\n\u003cfigure id=\"attachment_13925121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925121\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-800x600.jpg\" alt=\"A Black man wearing an all black outfit of jeans, t-shirt and denim jacket sits next to a heavily pregnant Black woman. She is wearing black pants, a black lace fitted crop top and a lilac fake fur stole.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rihanna and her partner A$AP Rocky pictured at Milan Fashion Week in February 2022. \u003ccite>(Victor Boyko/Getty Images for Gucci)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While there has been a recent push towards more “fashion-centered” lines, most modern maternity wear caters to comfort, Dyer says. Of course, there’s absolutely nothing wrong with sticking to stretchy, lose clothes during pregnancy.\u003c/p>\n\u003cp>But, she says, there should be more options for pregnant people who want to show their identity through fashion — and that goes hand-in-hand with cultural acceptance. Dyer says we’re not quite there yet, but getting closer as stars \u003ca href=\"https://www.nme.com/news/music/beyonces-pregnancy-photo-named-instagrams-liked-2017-2166729\">like Beyoncé\u003c/a> and Rihanna have challenged the assumption that pregnant women need to dress modestly.\u003c/p>\n\u003cp>“We’re seeing more of a resistance to that and more women wanting to celebrate that changing body, show off that changing body and not necessarily feel like they have to cover themselves up or change who they are as women because they’re going through this process,” she adds.\u003c/p>\n\u003ch3>Rihanna isn’t the first or only person to challenge the norm\u003c/h3>\n\u003cp>Rihanna stands on the shoulders of other women who have fought to make their pregnancies more visible, says \u003ca href=\"https://michellemillarfisher.com/\">Michelle Millar Fisher\u003c/a>, a curator at the Museum of Fine Arts in Boston and co-author of \u003cem>Designing Motherhood: Things That Make and Break Our Births\u003c/em> (she also leads an art and education program by the same name).\u003c/p>\n\u003cp>The 20th century saw several pivotal moments in maternity fashion, she explains.\u003c/p>\n\u003cp>One of them came in 1952, when Lucille Ball convinced her producers to let her keep acting on \u003cem>I Love Lucy \u003c/em>during her pregnancy. She used maternity fashion — most notably, \u003ca href=\"https://slate.com/news-and-politics/2021/10/invention-tie-waist-skirt-history-maternity-wear.html\">the tie-waist skirt\u003c/a> — to keep doing her job, and became the first pregnant person to be seen by a major TV audience.\u003c/p>\n\u003cfigure id=\"attachment_13925122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-800x600.jpg\" alt=\"A black and white image of a suave man in 1950s-era suit, holding the hand of a pregnant woman sitting on a couch. She is wearing a billowing pregnancy shirt. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 1953, Lucille Ball became the first pregnant person to be seen by a major TV audience, on the ‘I Love Lucy’ show. \u003ccite>(CBS Photo Archive/CBS via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1988, Afro-Swedish singer Neneh Cherry performed on the BBC series \u003cem>Top of The Pops \u003c/em>\u003ca href=\"https://ig.ft.com/life-of-a-song/buffalo-stance.html\">while eight months pregnant\u003c/a>.\u003c/p>\n\u003cp>“And she was asked then, ‘Are you going to hurt the baby? Is this a worry for you?’ And she very bluntly and shortly said, ‘I’m not sick. I’m just pregnant. Get over it, basically,’ ” Fisher says.\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/gVVTTXGQNJo'\n title='//www.youtube.com/embed/gVVTTXGQNJo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Several years later, a pregnant Demi Moore posed nude for the August 1991 \u003ca href=\"https://www.yahoo.com/video/demi-moore-pregnant-vanity-fair-cover-223924088.html\">cover of \u003cem>Vanity Fair\u003c/em>\u003c/a> magazine, which is considered one of photographer Annie Leibovitz’s most iconic and (at least at the time) controversial shoots.\u003c/p>\n\u003cp>It helped change cultural perceptions around pregnancy, with Moore reflecting decades later on the impact it had on “on our permission to embrace ourselves in a pregnant state.” It also popularized the pregnancy photoshoot — though Dyer, the historian, says posing for “pregnancy portraits” was a trend back in the 16th and 17th centuries, before pregnancy became something to hide.\u003c/p>\n\u003cp>More recently, Beyoncé broke the internet in 2017 with her Instagram pregnancy announcement — and Rihanna broke her news with a photoshoot in \u003ca href=\"https://www.npr.org/2022/01/31/1077002465/rihanna-pregnant\">Jan. 2022 too\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What Rihanna is doing with her wardrobe isn’t new, but it’s on a level that many non-celebrities can’t access, says Gabriella Nelson, a member of the Designing Motherhood collective who works in maternal health policy.\u003c/p>\n\u003cp>She says throughout her life she’s seen women of color wearing mesh or crop tops while pregnant, but getting shamed instead of praised for it. Black women have been at the forefront of style and innovation for a long time, she adds.\u003c/p>\n\u003cp>“Imma stan Rihanna because I can,” Nelson says. “But I’m going to also stan the girls … that maybe will never see a Super Bowl stage or a runway fashion show or be in \u003cem>Vogue \u003c/em>or have their names mentioned in an article, because I know that they are also the vanguards of all of this.”\u003c/p>\n\u003ch3>How clothes could lead to change\u003c/h3>\n\u003cp>All of the experts interviewed for this story say the point isn’t that pregnant people should all be donning red bodysuits or striving to dress like Rihanna (who happens to be \u003ca href=\"https://www.forbes.com/sites/maddieberg/2021/08/04/fentys-fortune-rihanna-is-now-officially-a-billionaire/\">one of the richest women\u003c/a> in the world).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s that pregnant people — and all people, really — should feel comfortable doing whatever is right for their own bodies.\u003c/p>\n\u003cp>“Whether we’re pregnant or not, whether we gained weight or lost weight or had surgery or whatever it is — however, our bodies change — we have the opportunity to express ourselves through what we adorn our bodies with,” Nelson says. “And so I want folks to get that from what Rihanna has done: Just be yourself. Do what you want to do, make your own lane and just have fun with it.”\u003c/p>\n\u003cp>And part of the conversation should be about more than just fashion, Fisher says.\u003c/p>\n\u003cp>She would like to see the celebration of Rihanna’s pregnancy spark more discussion of Black maternal mortality in the U.S. — which spends more money per capita on healthcare than any developed country in the world but has worse maternal and infant health outcomes.\u003c/p>\n\u003cp>The U.S. maternal mortality rate for Black women is \u003ca href=\"https://www.commonwealthfund.org/blog/2022/us-maternal-mortality-crisis-continues-worsen-international-comparison\">nearly three times higher\u003c/a> than the rate for white women. A recent \u003ca href=\"https://www.nytimes.com/interactive/2023/02/12/upshot/child-maternal-mortality-rich-poor.html\">\u003cem>New York Times \u003c/em>investigation\u003c/a> found that the risk remains disproportionately higher regardless of socioeconomic status: Even the richest Black mothers and their babies are twice as likely to die as the richest white mothers and babies.\u003c/p>\n\u003cp>“It’s very easy for us to celebrate these moments when we have a ‘win’ for being able to see pregnancy in public,” Fisher says. “But they are often at the expense of real substantive policy change and real understanding of the ways in which it’s incredibly not just difficult, but dangerous, to be a birthing person — but specifically a birthing person of color — in the United States today.”\u003c/p>\n\u003cp>Substantial changes could include making medicine accessible to more Black doctors, investing more in doulas and passing a nationwide family leave policy. Fisher says she’d love it if every time someone reposted the picture of Rihanna’s Super Bowl outfit, they’d include some of those statistics and solutions too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s what I would like to see people really get a handle on,” she says. “Because otherwise it’s really just dressing up the issue in some very fancy clothes and not really getting to the heart of it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rihanna%27s+maternity+style+isn%27t+just+fashionable.+It%27s+revolutionary%2C+experts+say&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Super Bowl Commercials, From Adam Driver(s) to M&M Candies; the Hits and the Misses",
"headTitle": "Super Bowl Commercials, From Adam Driver(s) to M&M Candies; the Hits and the Misses | KQED",
"content": "\u003cp>Hefty as the fees were for advertising time on this year’s Super Bowl — up to $7 million per 30 seconds — there weren’t that many commercials whose concepts and execution seemed worthy of the price tag.\u003c/p>\n\u003cp>Instead, viewers were stuck watching commercials that stranded some big name celebrities in thoughtless concepts (Jon Hamm and Brie Larson \u003ca href=\"https://www.youtube.com/watch?v=r_xfLBvk-AA\">inside a giant refrigerator\u003c/a> for Hellmann’s mayonnaise?) or spots which made the products they were advertising look bad (Jennifer Coolidge \u003ca href=\"https://www.youtube.com/watch?v=jzE68RiXbT8\">getting her face stuck\u003c/a> to a glass door by e.l.f. Cosmetics).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jzE68RiXbT8\u003c/p>\n\u003cp>And, after cryptocurrency exchange Coinbase made waves with a QR code \u003ca href=\"https://indianexpress.com/article/technology/crypto/coinbase-spent-millions-on-super-bowl-ad-with-qr-code-then-their-website-crashed-7773142/\">embedded in a Super Bowl ad\u003c/a> in 2022, it felt like every other advertiser this year found a way to stick them inside their commercials.\u003c/p>\n\u003cp>Ironically, this year saw almost no crypto ads — perhaps the only good outcome from the spectacular collapse of FTX (seems \u003ca href=\"https://www.youtube.com/watch?v=_-FQqo46CJQ\">their Super Bowl ad last year\u003c/a> with Larry David expressing a comical level of skepticism about the company was right after all). We also saw lots of nostalgia and more partnerships, including Netflix passing up ads of its own to partner with GM and Anheuser-Busch’s Michelob Ultra.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another trend also stuck out: a rise in ads for products normally considered adult vices, including liquor (via the Foo Fighters’ Dave Grohl for Crown Royal), sports betting and a wider variety of beers (since Anheuser-Busch gave up its exclusivity, allowing Molson-Coors to come play).\u003c/p>\n\u003cp>Here’s a sampling of what worked — and didn’t — in the most expensive advertising showcase on American television.\u003c/p>\n\u003ch3>Best culture war head fake: M&M’s “They’re Back for Good”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=tePiyF0Jzow\u003c/p>\n\u003cp>M&M’s cultivated a controversy announcing they would pause use of their animated “spokescandies” — pundits like Tucker Carlson had criticized changes in the characters as being too “woke.” New pitchwoman Maya Rudolph was selected to take over, but her ad during the game changed the name of the candies and \u003ca href=\"https://www.youtube.com/watch?v=tePiyF0Jzow\">put clams in the center\u003c/a> of every pellet. After the game, M&M’s aired their spot with the punchline: The candies were coming back for good, with the purple M&M, which Carlson had specifically criticized, saying, “\u003ca href=\"https://www.youtube.com/watch?v=bv0vPHWIX8U\">I’m glad to be back, because this is what I was made for\u003c/a>.” Well played, candies.\u003c/p>\n\u003ch3>Best “I’m not crying, you’re crying” ad: The Farmer’s Dog’s “Forever”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=IAIo-pUDl0s\u003c/p>\n\u003cp>The company, which specializes in fresh dog food, didn’t create the Super Bowl’s most moving ad by hiring a famous pitchperson or filling their spot with fancy effects. They traced the story of a woman who promised to love her dog forever, starting when she was a little girl and the dog was a puppy and ending when the owner has a baby of her own and her trusty pet is still there — but with a little gray in his coat. Viewers on social media said the ad brought them to tears. (I just got a speck of dirt in my eye while watching it. Honest.) The buzz proved that strong storytelling and a cute puppy trumps most other advertising gimmicks come Super Bowl time.\u003c/p>\n\u003ch3>Best team up: GM and Netflix’s “Why Not an EV?”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=jfYdypGqbOs\u003c/p>\n\u003cp>There may be no surer sign of tightening belts in showbusiness than Netflix teaming with GM to share the cost of a Super Bowl ad. But this one’s a winner, with \u003cem>Saturday Night Live\u003c/em> alum Will Ferrell inserted into Netflix shows like \u003cem>Squid Game\u003c/em> and \u003cem>Army of the Dead\u003c/em>, promising that the streamer will feature more electric vehicles in their shows (okay, probably not a period piece like \u003cem>Bridgerton\u003c/em>, though seeing Ferrell trying to pronounce “shan’t” in a frilly shirt and fancy coat was still kind of funny.)\u003c/p>\n\u003ch3>Best use of nostalgia, Part I: PopCorners’ “Breaking Good”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ZMlemd6U24Y\u003c/p>\n\u003cp>It may be a little odd to call an ad centered on characters from a show that ended barely 10 years ago “nostalgic.” Still, this hoary TV fan couldn’t help feeling a thrill, watching Bryan Cranston’s Walter White, Aaron Paul’s Jesse Pinkman and Raymond Cruz’s Tuco Salamanca revive the spirit of \u003cem>Breaking Bad\u003c/em> while pretending air popped crisps are some kind of controlled substance. And it’s a pleasure to see a Super Bowl ad used to remind viewers of one of the best TV series ever to hit the small screen.\u003c/p>\n\u003ch3>Best ad that probably came from a hallucinogenic experience: Squarespace’s “The Singularity”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=lIf27sHt2QA\u003c/p>\n\u003cp>Having Adam Driver in your Super Bowl ad is cool. So I don’t blame Squarespace for deciding even more Drivers would be even cooler. But the ad that resulted, featuring multiple copies of the actor standing in a desert field muttering about the wonder of a “website that makes websites” before getting sucked into a giant glowing ball called The Singularity….? It’s an ad that tells you almost nothing about the product, with a storyline that looks like it was hatched during a peyote bender. (I liked \u003ca href=\"https://youtu.be/XnLTBCSgGpQ\">the “teaser” ad\u003c/a> featuring multiple Drivers hanging out backstage much better.)\u003c/p>\n\u003ch3>Best use of a superhero catchphrase: Warner Bros. Pictures’ “The Flash”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=M0zdJOM_5Vg&t=1s\u003c/p>\n\u003cp>This film has been plagued with problems, including the public meltdown of star Ezra Miller. But the Super Bowl ad for \u003cem>The Flash\u003c/em> is so packed with compelling revelations — from the return of Zod to a new Supergirl — that it seems more understandable why Warner Bros. is committed to getting this movie in theaters. And after I saw Michael Keaton utter the words he first made famous back in 1989 — “I’m Batman” — I decided they can have all my money.\u003c/p>\n\u003ch3>Best use of nostalgia, Part II: Michelob Ultra’s “New Members Day”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=iDGwwVki13Q&t=1s\u003c/p>\n\u003cp>If someone had told me Michelob was planning a homage to \u003cem>Caddyshack\u003c/em> with Serena Williams as Chevy Chase’s character, Brian Cox as Ted Knight’s character and Tony Romo doing a passable Bill Murray impression, I would have told them to save their $7 million. And I would have been wrong. Because somehow this ad — with an added cameo from original co-star Michael O’Keefe — references just enough of \u003cem>Caddyshack’\u003c/em>s absurdly fun spirit to be entertaining, while stacking the cast with faces the Netflix generation might actually know.\u003c/p>\n\u003ch3>Weirdest use of a Travolta: T-Mobile’s “New Year, New Neighbor”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=jSO-Whn2sCQ&t=1s\u003c/p>\n\u003cp>Much as I love me some John Travolta, the bald, bearded guy who keeps making uncomfortable appearances in Super Bowl ads — he did the \u003cem>Grease\u003c/em> dance with grown daughter Ella in a spot \u003ca href=\"https://www.youtube.com/watch?v=_IQL9vETJVw\">two years ago\u003c/a> — is not my favorite. This year, he recreated the classic number from \u003cem>Grease\u003c/em>, “Summer Nights,” with \u003cem>Scrubs\u003c/em> co-stars Zach Braff and Donald Faison. Viewers got a multi-generational shot of nostalgia and celebrity, but it mostly just reminded me of how strange Travolta seems these days.\u003c/p>\n\u003ch3>Worst use of nostalgia (tie): Rakuten’s “Not-so-Clueless” and Uber One’s “One Hit for Uber One”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=o_yGq_4xCKQ\u003c/p>\n\u003cp>Points to Rakuten for realizing Alicia Silverstone could easily slip right back into the red beret of her \u003cem>Clueless\u003c/em> character, Cher. But those points fade once you realize they don’t have much idea what to do with her, once she’s used Rakuten to rack up purchases at a few big retailers. As if… that would fly in a Super Bowl ad.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mnySyKAoLpI\u003c/p>\n\u003cp>Uber One suffers from the same problem; snagging a cool celebrity — in this case, Sean “P.Diddy” Combs — and then trapping that Big Name in a terribly unfunny commercial. In this case, Diddy is asked to write one hit for Uber One, so he turns to a bunch of artists considered one hit wonders for terrible, Uber-centric versions of their old hits. Unfortunately, I don’t think most viewers are going to recognize the current look of artists like Montell Jordan — and the cheesy jingle they make out of Haddaway’s dance classic “What Is Love” just makes Diddy look like the derivative hack his critics have always said he was.\u003c/p>\n\u003ch3>Ad where the teasers were better than the commercial: Pepsi’s “Great Acting or Great Taste?”\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=adtWc_MvyzI\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This is another problem which often crops up in Super Bowl ads; in this case, the “teaser” spots — short blips of content, usually dropped early to preview the Big Game ad — are more entertaining than the actual commercial. Steve Martin and Ben Stiller are the stars here, and the teaser \u003ca href=\"https://www.youtube.com/watch?v=4wPyZpCeJ6c\">featuring them bickering\u003c/a> over who is the better actor is way funnier than Martin’s spot, where he’s in various locations daring the audience to guess if he’s acting. Stiller’s \u003ca href=\"https://www.youtube.com/watch?v=ok38Xuc5UTE\">Super Bowl spot\u003c/a> is more entertaining, in part because he calls back to his Derek Zoolander character — more nostalgia! — and he’s in funnier situations overall.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Super+Bowl+commercials%2C+from+Adam+Driver%28s%29+to+M%26M+candies%3B+the+hits+and+the+misses&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Advertisers spent up to $7 million for every 30 seconds of airtime during Super Bowl LVII. Here’s what they came up with.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hefty as the fees were for advertising time on this year’s Super Bowl — up to $7 million per 30 seconds — there weren’t that many commercials whose concepts and execution seemed worthy of the price tag.\u003c/p>\n\u003cp>Instead, viewers were stuck watching commercials that stranded some big name celebrities in thoughtless concepts (Jon Hamm and Brie Larson \u003ca href=\"https://www.youtube.com/watch?v=r_xfLBvk-AA\">inside a giant refrigerator\u003c/a> for Hellmann’s mayonnaise?) or spots which made the products they were advertising look bad (Jennifer Coolidge \u003ca href=\"https://www.youtube.com/watch?v=jzE68RiXbT8\">getting her face stuck\u003c/a> to a glass door by e.l.f. Cosmetics).\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/jzE68RiXbT8'\n title='//www.youtube.com/embed/jzE68RiXbT8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And, after cryptocurrency exchange Coinbase made waves with a QR code \u003ca href=\"https://indianexpress.com/article/technology/crypto/coinbase-spent-millions-on-super-bowl-ad-with-qr-code-then-their-website-crashed-7773142/\">embedded in a Super Bowl ad\u003c/a> in 2022, it felt like every other advertiser this year found a way to stick them inside their commercials.\u003c/p>\n\u003cp>Ironically, this year saw almost no crypto ads — perhaps the only good outcome from the spectacular collapse of FTX (seems \u003ca href=\"https://www.youtube.com/watch?v=_-FQqo46CJQ\">their Super Bowl ad last year\u003c/a> with Larry David expressing a comical level of skepticism about the company was right after all). We also saw lots of nostalgia and more partnerships, including Netflix passing up ads of its own to partner with GM and Anheuser-Busch’s Michelob Ultra.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another trend also stuck out: a rise in ads for products normally considered adult vices, including liquor (via the Foo Fighters’ Dave Grohl for Crown Royal), sports betting and a wider variety of beers (since Anheuser-Busch gave up its exclusivity, allowing Molson-Coors to come play).\u003c/p>\n\u003cp>Here’s a sampling of what worked — and didn’t — in the most expensive advertising showcase on American television.\u003c/p>\n\u003ch3>Best culture war head fake: M&M’s “They’re Back for Good”\u003c/h3>\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/tePiyF0Jzow'\n title='//www.youtube.com/embed/tePiyF0Jzow'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>M&M’s cultivated a controversy announcing they would pause use of their animated “spokescandies” — pundits like Tucker Carlson had criticized changes in the characters as being too “woke.” New pitchwoman Maya Rudolph was selected to take over, but her ad during the game changed the name of the candies and \u003ca href=\"https://www.youtube.com/watch?v=tePiyF0Jzow\">put clams in the center\u003c/a> of every pellet. After the game, M&M’s aired their spot with the punchline: The candies were coming back for good, with the purple M&M, which Carlson had specifically criticized, saying, “\u003ca href=\"https://www.youtube.com/watch?v=bv0vPHWIX8U\">I’m glad to be back, because this is what I was made for\u003c/a>.” Well played, candies.\u003c/p>\n\u003ch3>Best “I’m not crying, you’re crying” ad: The Farmer’s Dog’s “Forever”\u003c/h3>\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/IAIo-pUDl0s'\n title='//www.youtube.com/embed/IAIo-pUDl0s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The company, which specializes in fresh dog food, didn’t create the Super Bowl’s most moving ad by hiring a famous pitchperson or filling their spot with fancy effects. They traced the story of a woman who promised to love her dog forever, starting when she was a little girl and the dog was a puppy and ending when the owner has a baby of her own and her trusty pet is still there — but with a little gray in his coat. Viewers on social media said the ad brought them to tears. (I just got a speck of dirt in my eye while watching it. Honest.) The buzz proved that strong storytelling and a cute puppy trumps most other advertising gimmicks come Super Bowl time.\u003c/p>\n\u003ch3>Best team up: GM and Netflix’s “Why Not an EV?”\u003c/h3>\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/jfYdypGqbOs'\n title='//www.youtube.com/embed/jfYdypGqbOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There may be no surer sign of tightening belts in showbusiness than Netflix teaming with GM to share the cost of a Super Bowl ad. But this one’s a winner, with \u003cem>Saturday Night Live\u003c/em> alum Will Ferrell inserted into Netflix shows like \u003cem>Squid Game\u003c/em> and \u003cem>Army of the Dead\u003c/em>, promising that the streamer will feature more electric vehicles in their shows (okay, probably not a period piece like \u003cem>Bridgerton\u003c/em>, though seeing Ferrell trying to pronounce “shan’t” in a frilly shirt and fancy coat was still kind of funny.)\u003c/p>\n\u003ch3>Best use of nostalgia, Part I: PopCorners’ “Breaking Good”\u003c/h3>\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/ZMlemd6U24Y'\n title='//www.youtube.com/embed/ZMlemd6U24Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It may be a little odd to call an ad centered on characters from a show that ended barely 10 years ago “nostalgic.” Still, this hoary TV fan couldn’t help feeling a thrill, watching Bryan Cranston’s Walter White, Aaron Paul’s Jesse Pinkman and Raymond Cruz’s Tuco Salamanca revive the spirit of \u003cem>Breaking Bad\u003c/em> while pretending air popped crisps are some kind of controlled substance. And it’s a pleasure to see a Super Bowl ad used to remind viewers of one of the best TV series ever to hit the small screen.\u003c/p>\n\u003ch3>Best ad that probably came from a hallucinogenic experience: Squarespace’s “The Singularity”\u003c/h3>\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/lIf27sHt2QA'\n title='//www.youtube.com/embed/lIf27sHt2QA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Having Adam Driver in your Super Bowl ad is cool. So I don’t blame Squarespace for deciding even more Drivers would be even cooler. But the ad that resulted, featuring multiple copies of the actor standing in a desert field muttering about the wonder of a “website that makes websites” before getting sucked into a giant glowing ball called The Singularity….? It’s an ad that tells you almost nothing about the product, with a storyline that looks like it was hatched during a peyote bender. (I liked \u003ca href=\"https://youtu.be/XnLTBCSgGpQ\">the “teaser” ad\u003c/a> featuring multiple Drivers hanging out backstage much better.)\u003c/p>\n\u003ch3>Best use of a superhero catchphrase: Warner Bros. Pictures’ “The Flash”\u003c/h3>\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/M0zdJOM_5Vg'\n title='//www.youtube.com/embed/M0zdJOM_5Vg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This film has been plagued with problems, including the public meltdown of star Ezra Miller. But the Super Bowl ad for \u003cem>The Flash\u003c/em> is so packed with compelling revelations — from the return of Zod to a new Supergirl — that it seems more understandable why Warner Bros. is committed to getting this movie in theaters. And after I saw Michael Keaton utter the words he first made famous back in 1989 — “I’m Batman” — I decided they can have all my money.\u003c/p>\n\u003ch3>Best use of nostalgia, Part II: Michelob Ultra’s “New Members Day”\u003c/h3>\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/iDGwwVki13Q'\n title='//www.youtube.com/embed/iDGwwVki13Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If someone had told me Michelob was planning a homage to \u003cem>Caddyshack\u003c/em> with Serena Williams as Chevy Chase’s character, Brian Cox as Ted Knight’s character and Tony Romo doing a passable Bill Murray impression, I would have told them to save their $7 million. And I would have been wrong. Because somehow this ad — with an added cameo from original co-star Michael O’Keefe — references just enough of \u003cem>Caddyshack’\u003c/em>s absurdly fun spirit to be entertaining, while stacking the cast with faces the Netflix generation might actually know.\u003c/p>\n\u003ch3>Weirdest use of a Travolta: T-Mobile’s “New Year, New Neighbor”\u003c/h3>\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/jSO-Whn2sCQ'\n title='//www.youtube.com/embed/jSO-Whn2sCQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Much as I love me some John Travolta, the bald, bearded guy who keeps making uncomfortable appearances in Super Bowl ads — he did the \u003cem>Grease\u003c/em> dance with grown daughter Ella in a spot \u003ca href=\"https://www.youtube.com/watch?v=_IQL9vETJVw\">two years ago\u003c/a> — is not my favorite. This year, he recreated the classic number from \u003cem>Grease\u003c/em>, “Summer Nights,” with \u003cem>Scrubs\u003c/em> co-stars Zach Braff and Donald Faison. Viewers got a multi-generational shot of nostalgia and celebrity, but it mostly just reminded me of how strange Travolta seems these days.\u003c/p>\n\u003ch3>Worst use of nostalgia (tie): Rakuten’s “Not-so-Clueless” and Uber One’s “One Hit for Uber One”\u003c/h3>\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/o_yGq_4xCKQ'\n title='//www.youtube.com/embed/o_yGq_4xCKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Points to Rakuten for realizing Alicia Silverstone could easily slip right back into the red beret of her \u003cem>Clueless\u003c/em> character, Cher. But those points fade once you realize they don’t have much idea what to do with her, once she’s used Rakuten to rack up purchases at a few big retailers. As if… that would fly in a Super Bowl ad.\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/mnySyKAoLpI'\n title='//www.youtube.com/embed/mnySyKAoLpI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Uber One suffers from the same problem; snagging a cool celebrity — in this case, Sean “P.Diddy” Combs — and then trapping that Big Name in a terribly unfunny commercial. In this case, Diddy is asked to write one hit for Uber One, so he turns to a bunch of artists considered one hit wonders for terrible, Uber-centric versions of their old hits. Unfortunately, I don’t think most viewers are going to recognize the current look of artists like Montell Jordan — and the cheesy jingle they make out of Haddaway’s dance classic “What Is Love” just makes Diddy look like the derivative hack his critics have always said he was.\u003c/p>\n\u003ch3>Ad where the teasers were better than the commercial: Pepsi’s “Great Acting or Great Taste?”\u003c/h3>\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/adtWc_MvyzI'\n title='//www.youtube.com/embed/adtWc_MvyzI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is another problem which often crops up in Super Bowl ads; in this case, the “teaser” spots — short blips of content, usually dropped early to preview the Big Game ad — are more entertaining than the actual commercial. Steve Martin and Ben Stiller are the stars here, and the teaser \u003ca href=\"https://www.youtube.com/watch?v=4wPyZpCeJ6c\">featuring them bickering\u003c/a> over who is the better actor is way funnier than Martin’s spot, where he’s in various locations daring the audience to guess if he’s acting. Stiller’s \u003ca href=\"https://www.youtube.com/watch?v=ok38Xuc5UTE\">Super Bowl spot\u003c/a> is more entertaining, in part because he calls back to his Derek Zoolander character — more nostalgia! — and he’s in funnier situations overall.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Super+Bowl+commercials%2C+from+Adam+Driver%28s%29+to+M%26M+candies%3B+the+hits+and+the+misses&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The most formative musical memory of my youth occurred 30,000 feet over central California in the summer of 1989. I was almost 17, flying on a school trip from LA to the Bay Area, and popped into my Walkman was an album I had just picked up from my local record store, Moby Disc: De La Soul’s \u003cem>3 Feet High and Rising.\u003c/em> When the cassette reached “Eye Know,” about midway through Side A, I sat transfixed in my seat. I had never heard anything like this before: an earnest rap song about love that wasn’t a sappy radio ballad (no offense, \u003ca href=\"https://www.youtube.com/watch?v=NEUX-HYRtUA\">LL Cool J\u003c/a>), set to a delicious groove that merged \u003ca href=\"https://www.youtube.com/watch?v=DX4cB_WhBB4\">’60s soul\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=u_pt3khMRFs\">’70s art pop\u003c/a>. Part of me wanted to take my headphones off and share the song with one of my classmates but the part that was selfish won out. When the track ended, I rewound and played it again. And again. And again. “Eye Know” wasn’t the first rap song I ever heard but it was the first that sparked an interest to explore the music and culture behind it. As with many others who discovered hip-hop in that same era, that private epiphany changed my life’s trajectory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q9jCsOCfUUg\u003c/p>\n\u003cp>We learned yesterday that one of the group’s core members — David Jolicoeur, aka Trugoy the Dove, aka Plug Two — has come to the end of his own journey at the age of 54. As of this time, \u003ca href=\"https://apnews.com/article/trugoy-the-dove-dies-obituary-de-la-soul-music-86ebc0545ff2111c7b0fc6e6f491ef78\">no cause of death has been announced\u003c/a>, but in 2017, Jolicoeur revealed that he was\u003ca href=\"https://thesource.com/2017/11/13/de-la-souls-trugoy-reveals-congestive-heart-failure-latest-visual-royalty-capes/\"> suffering from congestive heart problems.\u003c/a> On Feb. 5, when De La Soul was feted as part of \u003ca href=\"https://www.npr.org/2023/02/05/1152837932/2023-grammy-awards-winners-beyonce\">this year’s Grammy Awards’\u003c/a> celebration of hip-hop’s 50th anniversary, Trugoy was conspicuously absent from the proceedings. \u003c/p>\n\u003cp>Like the rest of the group, including Kelvin “Posdnuos” Mercer, Vincent “P.A. Mase” Mason and their mentor “Prince Paul” Houston, Jolicoeur grew up in the Long Island village of Amityville; all four men met while attending Amityville Memorial High School. Their middle-class, suburban roots were an important part of their difference from most of the hip-hop landscape of the mid- and late-1980s when rap music was still associated with gritty, urban ‘hoods like Compton in Los Angeles or New York’s South Bronx and Queensbridge Projects. \u003c/p>\n\u003cp>The leading MCs who hailed from those areas were mostly brash braggarts with super-sized personalities: Think Big Daddy Kane, Run DMC, LL Cool J or Ice Cube. By comparison, Trugoy and his group-mates looked downright bookish, wearing “\u003ca href=\"https://genius.com/De-la-soul-buddy-lyrics#:~:text=Black%20medallions,%20no%20gold\">black medallions, no gold\u003c/a>,” and possessed of irreverent wit and cutting humor that became the group’s calling card. Dante Ross, who helped manage them after they signed to Tommy Boy Records in 1987, told \u003ca href=\"https://www.penguinrandomhouse.com/books/29811/check-the-technique-by-brian-coleman-introduction-by-ahmir-uestlove-thompson/\">\u003cem>Check the Technique\u003c/em>\u003c/a>\u003cem> \u003c/em>author Brian Coleman in 2007, “when De La Soul came in the game, there was just a changing of the guard. The gold chains and the macho s*** just wasn’t all that anymore.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_10144907']Trugoy, in particular, felt like the group’s irrepressible id, the embodiment of De La’s D.A.I.S.Y. (Da Inner Soul Ya’ll) Age ethos of the time with his floppy dreads and gap-tooth smile. Both he and Posdnuos were skillful MCs, but while his rhyming partner possessed a sharp, precise flow and more topical songwriting, there was a care-free charisma to how Trugoy carried himself on mic. Chris “Thes One” Portugal, of the LA rap duo People Under the Stairs, grew up on De La’s music too, and he described Trugoy to me as possessing a “leader of the outsiders vibe,” observing that the “effortless cool of his verses magnified our assumptions of [the group’s] character: laid back and loose.”\u003c/p>\n\u003cp>Over the course of their early albums, beginning with \u003cem>Three Feet High and Rising\u003c/em> and continuing with \u003cem>De La Soul Is Dead\u003c/em> in 1991, \u003cem>Buhloone Mindstate\u003c/em> in 1993 and \u003cem>Stakes Is High \u003c/em>in 1996, De La became avatars for future generations of hip-hop nerds and geeks inspired by the group’s commitment to creativity and cleverness. Brooklyn’s Yasiin Bey (formerly known as Mos Def), who also idolized De La Soul as a teenager, explained to me in 1999: “They weren’t just arbitrarily creative. They were really intense with mad thought and focus. [No one] thought hip hop could be like that.”\u003c/p>\n\u003cp>The group recorded steadily from 1989 through 2001, when they released \u003cem>AOI: Bionix,\u003c/em> the last of their six albums for Tommy Boy. They shifted to an independent model after that and their output slowed considerably, releasing just two albums after 2004, most recently the crowd-funded \u003cem>and the Anonymous Nobody…\u003c/em> in 2016. For all their humor, the group spent decades waging serious battles with the music industry, partly around their\u003ca href=\"https://www.latimes.com/archives/la-xpm-1989-07-23-ca-392-story.html\"> sampling practices\u003c/a>, and mostly with Tommy Boy. One\u003ca href=\"https://variety.com/2019/music/news/de-la-souls-digital-album-releases-postponed-by-tommy-boy-records-exclusive-1203152398/\"> legacy of those disagreements with the label\u003c/a> has been the absence of most of their albums from legal streaming services, an unfathomable void in the age of the infinite jukebox. This travesty is\u003ca href=\"https://pitchfork.com/news/de-la-soul-finally-bringing-classic-albums-to-streaming-services-group-confirms/#:~:text=De%20La%20Soul's%20classic,the%20distribution%20wing%20of%20Chrysalis.\"> finally being rectified\u003c/a> on March 3, but it’s a sad, cruel irony that Trugoy should pass away mere days before the indefensibly delayed return of his and De La’s music to the masses. Normally, the death of a beloved musical artist leads people to dive back into their catalogs, sharing favorite songs with others. The basic gestures we normally take for granted are impossible right now because of De La’s absence from common of streaming sites. \u003c/p>\n\u003cp>On the other hand, it also means that the next couple of weeks can serve as a celebration of Trugoy’s life and legacy, culminating on March 3 when so much of De La’s best work will finally be available again. I’ve had the benefit of having their old tapes, CDs and vinyl recordings on hand to revisit all these years but it’s the potential new fans who will benefit the most from De La’s long-delayed digital debut. It’s hard to imagine a more fitting tribute to Trugoy than for a next generation of listeners to sit with his music and potentially have their own life’s trajectories set anew. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Oliver Wang is a Los Angeles-based culture writer and professor of sociology at CSU Long Beach. \u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Jolicoeur%2C+De+La+Soul%27s+Trugoy+the+Dove%2C+dies+at+54&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most formative musical memory of my youth occurred 30,000 feet over central California in the summer of 1989. I was almost 17, flying on a school trip from LA to the Bay Area, and popped into my Walkman was an album I had just picked up from my local record store, Moby Disc: De La Soul’s \u003cem>3 Feet High and Rising.\u003c/em> When the cassette reached “Eye Know,” about midway through Side A, I sat transfixed in my seat. I had never heard anything like this before: an earnest rap song about love that wasn’t a sappy radio ballad (no offense, \u003ca href=\"https://www.youtube.com/watch?v=NEUX-HYRtUA\">LL Cool J\u003c/a>), set to a delicious groove that merged \u003ca href=\"https://www.youtube.com/watch?v=DX4cB_WhBB4\">’60s soul\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=u_pt3khMRFs\">’70s art pop\u003c/a>. Part of me wanted to take my headphones off and share the song with one of my classmates but the part that was selfish won out. When the track ended, I rewound and played it again. And again. And again. “Eye Know” wasn’t the first rap song I ever heard but it was the first that sparked an interest to explore the music and culture behind it. As with many others who discovered hip-hop in that same era, that private epiphany changed my life’s trajectory.\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/q9jCsOCfUUg'\n title='//www.youtube.com/embed/q9jCsOCfUUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We learned yesterday that one of the group’s core members — David Jolicoeur, aka Trugoy the Dove, aka Plug Two — has come to the end of his own journey at the age of 54. As of this time, \u003ca href=\"https://apnews.com/article/trugoy-the-dove-dies-obituary-de-la-soul-music-86ebc0545ff2111c7b0fc6e6f491ef78\">no cause of death has been announced\u003c/a>, but in 2017, Jolicoeur revealed that he was\u003ca href=\"https://thesource.com/2017/11/13/de-la-souls-trugoy-reveals-congestive-heart-failure-latest-visual-royalty-capes/\"> suffering from congestive heart problems.\u003c/a> On Feb. 5, when De La Soul was feted as part of \u003ca href=\"https://www.npr.org/2023/02/05/1152837932/2023-grammy-awards-winners-beyonce\">this year’s Grammy Awards’\u003c/a> celebration of hip-hop’s 50th anniversary, Trugoy was conspicuously absent from the proceedings. \u003c/p>\n\u003cp>Like the rest of the group, including Kelvin “Posdnuos” Mercer, Vincent “P.A. Mase” Mason and their mentor “Prince Paul” Houston, Jolicoeur grew up in the Long Island village of Amityville; all four men met while attending Amityville Memorial High School. Their middle-class, suburban roots were an important part of their difference from most of the hip-hop landscape of the mid- and late-1980s when rap music was still associated with gritty, urban ‘hoods like Compton in Los Angeles or New York’s South Bronx and Queensbridge Projects. \u003c/p>\n\u003cp>The leading MCs who hailed from those areas were mostly brash braggarts with super-sized personalities: Think Big Daddy Kane, Run DMC, LL Cool J or Ice Cube. By comparison, Trugoy and his group-mates looked downright bookish, wearing “\u003ca href=\"https://genius.com/De-la-soul-buddy-lyrics#:~:text=Black%20medallions,%20no%20gold\">black medallions, no gold\u003c/a>,” and possessed of irreverent wit and cutting humor that became the group’s calling card. Dante Ross, who helped manage them after they signed to Tommy Boy Records in 1987, told \u003ca href=\"https://www.penguinrandomhouse.com/books/29811/check-the-technique-by-brian-coleman-introduction-by-ahmir-uestlove-thompson/\">\u003cem>Check the Technique\u003c/em>\u003c/a>\u003cem> \u003c/em>author Brian Coleman in 2007, “when De La Soul came in the game, there was just a changing of the guard. The gold chains and the macho s*** just wasn’t all that anymore.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Trugoy, in particular, felt like the group’s irrepressible id, the embodiment of De La’s D.A.I.S.Y. (Da Inner Soul Ya’ll) Age ethos of the time with his floppy dreads and gap-tooth smile. Both he and Posdnuos were skillful MCs, but while his rhyming partner possessed a sharp, precise flow and more topical songwriting, there was a care-free charisma to how Trugoy carried himself on mic. Chris “Thes One” Portugal, of the LA rap duo People Under the Stairs, grew up on De La’s music too, and he described Trugoy to me as possessing a “leader of the outsiders vibe,” observing that the “effortless cool of his verses magnified our assumptions of [the group’s] character: laid back and loose.”\u003c/p>\n\u003cp>Over the course of their early albums, beginning with \u003cem>Three Feet High and Rising\u003c/em> and continuing with \u003cem>De La Soul Is Dead\u003c/em> in 1991, \u003cem>Buhloone Mindstate\u003c/em> in 1993 and \u003cem>Stakes Is High \u003c/em>in 1996, De La became avatars for future generations of hip-hop nerds and geeks inspired by the group’s commitment to creativity and cleverness. Brooklyn’s Yasiin Bey (formerly known as Mos Def), who also idolized De La Soul as a teenager, explained to me in 1999: “They weren’t just arbitrarily creative. They were really intense with mad thought and focus. [No one] thought hip hop could be like that.”\u003c/p>\n\u003cp>The group recorded steadily from 1989 through 2001, when they released \u003cem>AOI: Bionix,\u003c/em> the last of their six albums for Tommy Boy. They shifted to an independent model after that and their output slowed considerably, releasing just two albums after 2004, most recently the crowd-funded \u003cem>and the Anonymous Nobody…\u003c/em> in 2016. For all their humor, the group spent decades waging serious battles with the music industry, partly around their\u003ca href=\"https://www.latimes.com/archives/la-xpm-1989-07-23-ca-392-story.html\"> sampling practices\u003c/a>, and mostly with Tommy Boy. One\u003ca href=\"https://variety.com/2019/music/news/de-la-souls-digital-album-releases-postponed-by-tommy-boy-records-exclusive-1203152398/\"> legacy of those disagreements with the label\u003c/a> has been the absence of most of their albums from legal streaming services, an unfathomable void in the age of the infinite jukebox. This travesty is\u003ca href=\"https://pitchfork.com/news/de-la-soul-finally-bringing-classic-albums-to-streaming-services-group-confirms/#:~:text=De%20La%20Soul's%20classic,the%20distribution%20wing%20of%20Chrysalis.\"> finally being rectified\u003c/a> on March 3, but it’s a sad, cruel irony that Trugoy should pass away mere days before the indefensibly delayed return of his and De La’s music to the masses. Normally, the death of a beloved musical artist leads people to dive back into their catalogs, sharing favorite songs with others. The basic gestures we normally take for granted are impossible right now because of De La’s absence from common of streaming sites. \u003c/p>\n\u003cp>On the other hand, it also means that the next couple of weeks can serve as a celebration of Trugoy’s life and legacy, culminating on March 3 when so much of De La’s best work will finally be available again. I’ve had the benefit of having their old tapes, CDs and vinyl recordings on hand to revisit all these years but it’s the potential new fans who will benefit the most from De La’s long-delayed digital debut. It’s hard to imagine a more fitting tribute to Trugoy than for a next generation of listeners to sit with his music and potentially have their own life’s trajectories set anew. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Oliver Wang is a Los Angeles-based culture writer and professor of sociology at CSU Long Beach. \u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Jolicoeur%2C+De+La+Soul%27s+Trugoy+the+Dove%2C+dies+at+54&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a multidisciplinary artist who is so remarkable that although he is just 31 years old, he’s just been awarded a rare $1 million grant from the Andrew W. Mellon Foundation to fund his work: \u003ca href=\"https://www.samorapinderhughes.com/\">Samora Pinderhughes.\u003c/a>\u003c/p>\n\u003cp>Pinderhughes does many things. He’s a vocalist, pianist, composer and filmmaker. He’s also very much an activist against mass incarceration. For the past eight years, he’s been working on something called \u003ca href=\"https://www.samorapinderhughes.com/healingproject/\">The Healing Project\u003c/a>. As the name suggests, it’s about healing and leaving yourself emotionally open — to your own feelings, to the experiences of others, to generosity. That openness to vulnerability is also clear in Pinderhughes’ sweet, warm voice and in his wide vision for his work.\u003c/p>\n\u003cp>[aside postid='arts_13924661']He was inspired by the plays of one of his mentors, the playwright and actress \u003ca href=\"https://www.npr.org/2015/12/07/458742076/anna-deavere-smith-wants-playgoers-to-do-what-they-can-to-counter-violence\">Anna Deavere Smith\u003c/a>, who often bases her work on documentary interviews she’s conducted; she asked him if he was interested in exploring something similar. It led Pinderhughes — originally from the Bay Area, and now based in New York City — on a journey to conduct conversations with people across the U.S. about incarceration and structural violence.\u003c/p>\n\u003cp>Pinderhughes has always been involved in activism: his parents are professors and community activists. “It was very natural for me to start creating things that had a message,” he observes.\u003c/p>\n\u003cp>He later attended Juilliard as a jazz student. “I was there for piano performance,” he says. “I think off the top it was probably not the right place for me — but I just didn’t know that at the time that composing was a job! I wasn’t like, ‘Oh, OK, I could be like my own artist and make my own work.’ I found amazing teachers there — Frank Kimbrough, Kendall Briggs and \u003ca href=\"https://www.npr.org/2023/01/16/1149021094/nea-jazz-master-kenny-barron-shines-playing-solo-on-the-source\">Kenny Barron\u003c/a> in particular — who allowed me to be myself.” At the same time, he says, he felt he was surrounded by fellow students who were more interested in being the strongest possible technical players.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ICUoG54pIW0\u003c/p>\n\u003cp>“Meanwhile,” he adds, “I was very concerned with what was happening in the world, and how to say something about that through the music, and how to collaborate with different disciplines. I wanted to make things with the actors and make things with the string players. I was a little bit lost in the sauce there.”\u003c/p>\n\u003cp>One particular inflection point sparked Pinderhughes into using his music to address racial violence directly. “I think what really happened was \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/08/11/489494015/the-butterfly-effects-of-ferguson\">the Ferguson uprising\u003c/a> and Mike Brown’s murder, it just really charged something,” he observes. Ultimately, that led to the creation of Pinderhughes’ ambitious 2016 work \u003ca href=\"https://www.npr.org/2017/01/19/510578539/radical-imagination-jazz-and-social-justice\">\u003cem>The Transformations Suite\u003c/em>\u003c/a>, which melded jazz, spoken-word poetry and visuals into a plea for social justice.\u003c/p>\n\u003cp>In its current form, The Healing Project is also made up of many elements, including music, films and visual art. It’s meant to be performed and experienced in many different ways and in different places. Pinderhughes, who is of mixed-race and Black ancestry, says that there is one central question at its core.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iFppyjwHcd4\u003c/p>\n\u003cp>“That ended up being the question of healing from structural violence,” he says. “By structural violence, I mean just basically any type of trauma that could come from violences that are created by the society. So that could be imprisonment, that could be police brutality. It could even just be something like poverty and just like the circumstances of one’s upbringing and environment. It brought me on a journey of talking to hundreds of people around the country about their experiences and their ideas, most importantly, about healing and what they’ve been through, how they’ve come through it.”\u003c/p>\n\u003cp>Those hundreds of conversations included people who are currently incarcerated; many of them contributed their own art to the project. Pinderhughes worked with a constellation of professional artists and musicians to make meditations on those conversations, including the album \u003cem>Grief\u003c/em>. Other parts of the project include live performances and a visual art exhibition on display last year at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13911226/samora-pinderhughes-ybca-the-healing-project\">Yerba Buena Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WFIjSW8HqMI\u003c/p>\n\u003cp>“I didn’t really want to limit it,” Pinderhughes says. “So I basically did everything that each person asked me to do. If they wanted to send me pieces that they had drawn through the mail if they were incarcerated, those go up in the exhibition. If they wanted to talk about the realities and experiences of loss and grieving, we would make a film about that. If they wanted to talk about the process of healing from long periods of incarceration, we’re going to make a composition about that.”\u003c/p>\n\u003cp>[aside postid='arts_13924934']The expansiveness of The Healing Project — part creative vessel, part catalyst for activism and part new collaborative model — is so dynamic that it attracted the attention of the Mellon Foundation. \u003ca href=\"https://mellon.org/about/staff/emil-kang/\">Emil Kang\u003c/a> directs its arts and culture program. He was blown away by Pinderhughes’ vision.\u003c/p>\n\u003cp>“I started asking him about his own artistic practice and he started to in some ways bifurcate his work: to talk about his music over here, his lived experience over here and his commitment to abolition work over there. And how he longed for the day of a time when he could actually bring all of this together.”\u003c/p>\n\u003cp>“To be frank,” Kang continues, “I was saddened by what he was saying to me, but yet I understood exactly what he was saying — that the ecosystem that we have now, especially in the performing arts, still exists in a transactional way, where an artist just puts out their work and hopes people get it somehow. At the Mellon Foundation, as we are trying to push forward our own work and what the future of the performing arts looks like, we really do believe it’s in the guise of contemporary performance — in a way that allows artists to be able to show the totality of their humanity in their work, and not just the virtuosity of their skill.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aa9FmZN3NLg\u003c/p>\n\u003cp>It is extremely rare for a single performer to get a million dollars from a grant; that’s about the same sum as a Nobel Prize. That money is going to allow The Healing Project to be manifested into even more forms, Pinderhughes says. He also avers that this is very much a collaborative effort: “Everybody that was a part of the project had a stake in the project, so everybody that has ever been a part of this project co-owns this project with me. Everybody that has been a part of the project has just as much say over what is in it as I do.”\u003c/p>\n\u003cp>“I’m really honored and humbled to receive this opportunity to just take this project into the stratosphere,” Pinderhughes continues. “It’s only the beginning, really, of what we have planned. I am an artist and I believe deeply in the power of art, but I also want to materially create change in the lives of the people that are a part of it and also in the communities that it wants to serve.”\u003c/p>\n\u003cp>[aside postid='arts_13924571']For example, Pinderhughes plans to make a printed book version of The Healing Project, because so many participants are incarcerated. They’re not able to access the collaboration otherwise.\u003c/p>\n\u003cp>When he asked participants what they would need to create a space for their healing, spiritually or materially, some interviewees said that they needed things as basic as access to healthy food and jobs — which, for those formerly incarcerated, can be very hard to secure.\u003c/p>\n\u003cp>“We’re also starting an initiative called The Healing Project Transformative Impact Fund,” Pinderhughes notes, “where we’re going to be using the project as a container to actually start to support the dreams and hopes and projects of the actual people who participated in the project — folks particularly who are formerly and currently incarcerated.”\u003c/p>\n\u003cp>At the same time, he says, “We’re going to continue to do that art, that narrative work, we’re going to make the book, we’re going to make more albums, we’re going to make more exhibitions, we’re going to make more films.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=agCTXovPYp8\u003c/p>\n\u003cp>In the meantime, he hopes that the music of The Healing Project, and the power of its art, helps both creators and audiences chart their own paths to healing. He recalls a man coming up to him after a recent performance.\u003c/p>\n\u003cp>“He was like, I feel like you should make a shirt that says, ‘I make grown men cry,’ ” Pinderhughes recounts. “And I was like, ‘That’s not a bad idea.’ So now, just kind of jokingly, that’s the tagline of what the energy is.”\u003c/p>\n\u003cp>Friday evening, Pinderhughes and some of his musical collaborators will be performing \u003ca href=\"https://www.carnegiehall.org/calendar/2023/02/10/samora-pinderhughes-and-friends-0900pm\">a concert version\u003c/a> of The Healing Project at New York’s Zankel Hall at Carnegie Hall. Almost inevitably, people will cry. And that’s a big part of healing.\u003c/p>\n\u003cp>\u003cem>Edited by: \u003c/em>\u003ca href=\"https://www.npr.org/people/3850482/neda-ulaby\">\u003cem>Neda Ulaby\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Produced by: \u003c/em>\u003ca href=\"https://www.npr.org/people/182335974/anastasia-tsioulcas\">\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Audio story produced by: \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento\u003c/em>\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Audio story edited by: Neda Ulaby\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+artist%27s+%27Healing+Project%2C%27+focused+on+incarceration+and+violence%2C+wins+%241+million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a multidisciplinary artist who is so remarkable that although he is just 31 years old, he’s just been awarded a rare $1 million grant from the Andrew W. Mellon Foundation to fund his work: \u003ca href=\"https://www.samorapinderhughes.com/\">Samora Pinderhughes.\u003c/a>\u003c/p>\n\u003cp>Pinderhughes does many things. He’s a vocalist, pianist, composer and filmmaker. He’s also very much an activist against mass incarceration. For the past eight years, he’s been working on something called \u003ca href=\"https://www.samorapinderhughes.com/healingproject/\">The Healing Project\u003c/a>. As the name suggests, it’s about healing and leaving yourself emotionally open — to your own feelings, to the experiences of others, to generosity. That openness to vulnerability is also clear in Pinderhughes’ sweet, warm voice and in his wide vision for his work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He was inspired by the plays of one of his mentors, the playwright and actress \u003ca href=\"https://www.npr.org/2015/12/07/458742076/anna-deavere-smith-wants-playgoers-to-do-what-they-can-to-counter-violence\">Anna Deavere Smith\u003c/a>, who often bases her work on documentary interviews she’s conducted; she asked him if he was interested in exploring something similar. It led Pinderhughes — originally from the Bay Area, and now based in New York City — on a journey to conduct conversations with people across the U.S. about incarceration and structural violence.\u003c/p>\n\u003cp>Pinderhughes has always been involved in activism: his parents are professors and community activists. “It was very natural for me to start creating things that had a message,” he observes.\u003c/p>\n\u003cp>He later attended Juilliard as a jazz student. “I was there for piano performance,” he says. “I think off the top it was probably not the right place for me — but I just didn’t know that at the time that composing was a job! I wasn’t like, ‘Oh, OK, I could be like my own artist and make my own work.’ I found amazing teachers there — Frank Kimbrough, Kendall Briggs and \u003ca href=\"https://www.npr.org/2023/01/16/1149021094/nea-jazz-master-kenny-barron-shines-playing-solo-on-the-source\">Kenny Barron\u003c/a> in particular — who allowed me to be myself.” At the same time, he says, he felt he was surrounded by fellow students who were more interested in being the strongest possible technical players.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ICUoG54pIW0'\n title='//www.youtube.com/embed/ICUoG54pIW0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Meanwhile,” he adds, “I was very concerned with what was happening in the world, and how to say something about that through the music, and how to collaborate with different disciplines. I wanted to make things with the actors and make things with the string players. I was a little bit lost in the sauce there.”\u003c/p>\n\u003cp>One particular inflection point sparked Pinderhughes into using his music to address racial violence directly. “I think what really happened was \u003ca href=\"https://www.npr.org/sections/codeswitch/2016/08/11/489494015/the-butterfly-effects-of-ferguson\">the Ferguson uprising\u003c/a> and Mike Brown’s murder, it just really charged something,” he observes. Ultimately, that led to the creation of Pinderhughes’ ambitious 2016 work \u003ca href=\"https://www.npr.org/2017/01/19/510578539/radical-imagination-jazz-and-social-justice\">\u003cem>The Transformations Suite\u003c/em>\u003c/a>, which melded jazz, spoken-word poetry and visuals into a plea for social justice.\u003c/p>\n\u003cp>In its current form, The Healing Project is also made up of many elements, including music, films and visual art. It’s meant to be performed and experienced in many different ways and in different places. Pinderhughes, who is of mixed-race and Black ancestry, says that there is one central question at its core.\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/iFppyjwHcd4'\n title='//www.youtube.com/embed/iFppyjwHcd4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“That ended up being the question of healing from structural violence,” he says. “By structural violence, I mean just basically any type of trauma that could come from violences that are created by the society. So that could be imprisonment, that could be police brutality. It could even just be something like poverty and just like the circumstances of one’s upbringing and environment. It brought me on a journey of talking to hundreds of people around the country about their experiences and their ideas, most importantly, about healing and what they’ve been through, how they’ve come through it.”\u003c/p>\n\u003cp>Those hundreds of conversations included people who are currently incarcerated; many of them contributed their own art to the project. Pinderhughes worked with a constellation of professional artists and musicians to make meditations on those conversations, including the album \u003cem>Grief\u003c/em>. Other parts of the project include live performances and a visual art exhibition on display last year at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13911226/samora-pinderhughes-ybca-the-healing-project\">Yerba Buena Center for the Arts\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WFIjSW8HqMI'\n title='//www.youtube.com/embed/WFIjSW8HqMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I didn’t really want to limit it,” Pinderhughes says. “So I basically did everything that each person asked me to do. If they wanted to send me pieces that they had drawn through the mail if they were incarcerated, those go up in the exhibition. If they wanted to talk about the realities and experiences of loss and grieving, we would make a film about that. If they wanted to talk about the process of healing from long periods of incarceration, we’re going to make a composition about that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The expansiveness of The Healing Project — part creative vessel, part catalyst for activism and part new collaborative model — is so dynamic that it attracted the attention of the Mellon Foundation. \u003ca href=\"https://mellon.org/about/staff/emil-kang/\">Emil Kang\u003c/a> directs its arts and culture program. He was blown away by Pinderhughes’ vision.\u003c/p>\n\u003cp>“I started asking him about his own artistic practice and he started to in some ways bifurcate his work: to talk about his music over here, his lived experience over here and his commitment to abolition work over there. And how he longed for the day of a time when he could actually bring all of this together.”\u003c/p>\n\u003cp>“To be frank,” Kang continues, “I was saddened by what he was saying to me, but yet I understood exactly what he was saying — that the ecosystem that we have now, especially in the performing arts, still exists in a transactional way, where an artist just puts out their work and hopes people get it somehow. At the Mellon Foundation, as we are trying to push forward our own work and what the future of the performing arts looks like, we really do believe it’s in the guise of contemporary performance — in a way that allows artists to be able to show the totality of their humanity in their work, and not just the virtuosity of their skill.”\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/aa9FmZN3NLg'\n title='//www.youtube.com/embed/aa9FmZN3NLg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It is extremely rare for a single performer to get a million dollars from a grant; that’s about the same sum as a Nobel Prize. That money is going to allow The Healing Project to be manifested into even more forms, Pinderhughes says. He also avers that this is very much a collaborative effort: “Everybody that was a part of the project had a stake in the project, so everybody that has ever been a part of this project co-owns this project with me. Everybody that has been a part of the project has just as much say over what is in it as I do.”\u003c/p>\n\u003cp>“I’m really honored and humbled to receive this opportunity to just take this project into the stratosphere,” Pinderhughes continues. “It’s only the beginning, really, of what we have planned. I am an artist and I believe deeply in the power of art, but I also want to materially create change in the lives of the people that are a part of it and also in the communities that it wants to serve.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For example, Pinderhughes plans to make a printed book version of The Healing Project, because so many participants are incarcerated. They’re not able to access the collaboration otherwise.\u003c/p>\n\u003cp>When he asked participants what they would need to create a space for their healing, spiritually or materially, some interviewees said that they needed things as basic as access to healthy food and jobs — which, for those formerly incarcerated, can be very hard to secure.\u003c/p>\n\u003cp>“We’re also starting an initiative called The Healing Project Transformative Impact Fund,” Pinderhughes notes, “where we’re going to be using the project as a container to actually start to support the dreams and hopes and projects of the actual people who participated in the project — folks particularly who are formerly and currently incarcerated.”\u003c/p>\n\u003cp>At the same time, he says, “We’re going to continue to do that art, that narrative work, we’re going to make the book, we’re going to make more albums, we’re going to make more exhibitions, we’re going to make more films.”\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/agCTXovPYp8'\n title='//www.youtube.com/embed/agCTXovPYp8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the meantime, he hopes that the music of The Healing Project, and the power of its art, helps both creators and audiences chart their own paths to healing. He recalls a man coming up to him after a recent performance.\u003c/p>\n\u003cp>“He was like, I feel like you should make a shirt that says, ‘I make grown men cry,’ ” Pinderhughes recounts. “And I was like, ‘That’s not a bad idea.’ So now, just kind of jokingly, that’s the tagline of what the energy is.”\u003c/p>\n\u003cp>Friday evening, Pinderhughes and some of his musical collaborators will be performing \u003ca href=\"https://www.carnegiehall.org/calendar/2023/02/10/samora-pinderhughes-and-friends-0900pm\">a concert version\u003c/a> of The Healing Project at New York’s Zankel Hall at Carnegie Hall. Almost inevitably, people will cry. And that’s a big part of healing.\u003c/p>\n\u003cp>\u003cem>Edited by: \u003c/em>\u003ca href=\"https://www.npr.org/people/3850482/neda-ulaby\">\u003cem>Neda Ulaby\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Produced by: \u003c/em>\u003ca href=\"https://www.npr.org/people/182335974/anastasia-tsioulcas\">\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Audio story produced by: \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez Sarmiento\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>\u003cem>The Tiny Desk Contest, NPR Music’s annual search for the next great undiscovered artist, is back!\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>First, let’s meet this year’s esteemed panel. Returning judges \u003ca href=\"https://www.npr.org/people/2100252/bob-boilen\">Bob Boilen\u003c/a> (Tiny Desk series creator and \u003cem>All Songs Considered \u003c/em>host) and \u003ca href=\"https://www.npr.org/people/302983377/bobby-carter\">Bobby Carter\u003c/a> (Tiny Desk series producer) will be joined by five new experts: The inimitable Sharon Van Etten, who performed behind the \u003ca href=\"https://youtu.be/ECVEVDES3Js\">original Tiny Desk\u003c/a> in 2010 and then \u003ca href=\"https://www.npr.org/2019/10/07/766645155/sharon-van-etten-tiny-desk-concert\">played again\u003c/a> at today’s Tiny Desk; Baby Rose, who \u003ca href=\"https://www.npr.org/2020/02/10/803620275/baby-rose-tiny-desk-concert\">graced the Desk\u003c/a> with her incredible voice in early 2020; fellow \u003ca href=\"https://www.npr.org/2020/06/22/880379461/sudan-archives-tiny-desk-concert\">Tiny Desk alum\u003c/a> Sudan Archives, a gifted singer and violinist whose sound pulls from R&B, hip-hop and experimental electronic music and, last but not least, \u003ca href=\"https://www.kexp.org/djs/albina-cabrera/\">Albina Cabrera\u003c/a> of KEXP, a champion of independent musicians and Latin American music. Each of these judges has an ear for exceptional talent, is passionate about up-and-coming artists and knows exactly what it takes to perform behind the Tiny Desk.[aside label=\"Related Stories\" postID=\"arts_10384842,arts_13860137\"]\u003c/p>\n\u003cp>Are you an unsigned artist 18 years or older? Here’s how to enter:\u003c/p>\n\u003col>\n\u003cli>Record a video of you playing one original song behind a desk.\u003c/li>\n\u003cli>Upload your video to YouTube.\u003c/li>\n\u003cli>Submit your video at \u003ca href=\"http://npr.org/tinydeskcontest\">npr.org/tinydeskcontest\u003c/a> before \u003cstrong>the Contest closes on March 13 at 11:59 p.m. ET.\u003c/strong>\u003c/li>\n\u003c/ol>\n\u003cp>The winner will play a Tiny Desk concert, be interviewed on\u003cem> All Things Considered\u003c/em> and headline our Tiny Desk Contest On The Road tour. But even if you don’t win, there are tons of ways you might benefit from entering — first, you join a supportive community of creatives from across the country. You also have a ton of opportunities to be featured by NPR Music over the next few months — we’ll be sharing standout entries on the \u003ca href=\"https://www.npr.org/series/1072544367/tiny-desk-contest\">Contest blog\u003c/a>, on NPR Music’s social channels, on YouTube as part of our annual Top Shelf series and more.\u003c/p>\n\u003cp>We’re also expanding our Tiny Desk Contest On The Road tour this summer. After this year’s winner plays their Tiny Desk concert, they’ll hit the road to play shows alongside other entrants in Los Angeles, Oakland, Houston, Chicago, Seattle, Atlanta, Philadelphia and Brooklyn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Questions?\u003c/em> We recommend first completing this \u003ca href=\"https://tinydeskcontest.npr.org/2023-contest/rules-quiz/\">quick checklist\u003c/a> to make sure your video is eligible to win. You could also check out our \u003ca href=\"https://help.npr.org/contact/s/article?name=tiny-desk-contest-faq\">FAQs\u003c/a>, or if you’re feeling ambitious, the \u003ca href=\"https://tinydeskcontest.npr.org/2023-contest/2023-rules/\">official Contest rules\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One last, important thing to keep in mind: Your video doesn’t need to be fancy. The Tiny Desk was born as a DIY project and is a space where artists perform stripped-down sets. While some of our winners had ambitious entry videos, most filmed theirs while simply sitting at their regular old desks in their bedrooms and basements. Our judges are looking for artists with a story to tell, a new perspective to share and a singular talent. Show us what you’ve got.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Want+to+play+your+own+Tiny+Desk+concert%3F+The+2023+Contest+is+now+open+for+entries&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Questions?\u003c/em> We recommend first completing this \u003ca href=\"https://tinydeskcontest.npr.org/2023-contest/rules-quiz/\">quick checklist\u003c/a> to make sure your video is eligible to win. You could also check out our \u003ca href=\"https://help.npr.org/contact/s/article?name=tiny-desk-contest-faq\">FAQs\u003c/a>, or if you’re feeling ambitious, the \u003ca href=\"https://tinydeskcontest.npr.org/2023-contest/2023-rules/\">official Contest rules\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One last, important thing to keep in mind: Your video doesn’t need to be fancy. The Tiny Desk was born as a DIY project and is a space where artists perform stripped-down sets. While some of our winners had ambitious entry videos, most filmed theirs while simply sitting at their regular old desks in their bedrooms and basements. Our judges are looking for artists with a story to tell, a new perspective to share and a singular talent. Show us what you’ve got.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Want+to+play+your+own+Tiny+Desk+concert%3F+The+2023+Contest+is+now+open+for+entries&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Dear Edward’ Tugs — and Tugs, and Tugs — at Your Heartstrings",
"headTitle": "‘Dear Edward’ Tugs — and Tugs, and Tugs — at Your Heartstrings | KQED",
"content": "\u003cp>Here’s my impression of any person telling me how much they loved any episode of \u003ca href=\"https://www.npr.org/2022/05/25/1101255458/this-is-us-finale-ending\">\u003cem>This Is Us\u003c/em>, \u003c/a>the NBC family drama from producer and writer\u003ca href=\"https://www.npr.org/2017/03/14/519986806/this-is-us-creator-dan-fogelman-says-he-didnt-mean-to-make-you-cry\"> Dan Fogelman \u003c/a>that enjoyed a very successful six-season run that ended in the spring of 2022: “I cried until my eyes were swollen shut and I was swimming in a pool of my own salty tears, then I watched it again, then I watched it while slowly contemplating a dying plant and it was even better; it is the best thing I have ever seen on television and I am devastated.”\u003c/p>\n\u003cp>Don’t get me wrong: This is not a criticism. It is extraordinarily impressive to get people to enjoy their own agony this much, and most people have \u003cem>some \u003c/em>kind of art that does something similar for them. Books, music, movies, TV, games — doesn’t matter. This is a weird thing art does that always seems weirder when it’s somebody else’s art than when it’s yours.\u003c/p>\n\u003cp>[aside postid='arts_13923656']The\u003ca href=\"https://www.wbur.org/hereandnow/2020/01/14/dear-edward-novel-ann-napolitano\"> Ann Napolitano novel\u003c/a> \u003cem>Dear Edward\u003c/em> serves as the inspiration for the new Apple TV drama series of the same name, created by Jason Katims, the producer of \u003ca href=\"https://www.npr.org/2011/07/16/137823040/as-friday-night-lights-ends-its-still-texas-forever\">\u003cem>Friday Night Lights\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2015/01/29/382413021/nbcs-parenthood-ends-as-a-family-drama-built-on-small-moments\">\u003cem>Parenthood\u003c/em>,\u003c/a> which were also big successes for people who cry a lot. And while Katims didn’t make \u003cem>This Is Us\u003c/em>, it’s the recent show by which \u003cem>Dear Edward \u003c/em>feels the most inspired.\u003c/p>\n\u003cp>In the story, a 12-year-old boy named Edward (Colin O’Brien) is the sole survivor of a plane crash that kills, among many others, his entire family. He goes to live with his Aunt Lacey and Uncle John (Taylor Schilling and Carter Hudson), who have long struggled with infertility and find their lives very much disrupted by the fact that they suddenly have a 12-year-old. And not just any 12-year-old — Edward is understandably very deeply traumatized, lonely, disoriented and angry, even if it’s in a quiet, interior kind of way. The only person he really relates to in his new home is an extroverted neighbor girl his age named Shay (Eva Ariel Binder). She practices roller derby in the street, and having lost his older brother, he fastens on her for company.\u003c/p>\n\u003cp>Meanwhile, Lacey is attending a support group for people who lost loved ones in the crash, and that’s where the rest of the stories in this many-threaded ensemble show come in. Dee Dee (Connie Britton) is a wealthy woman who lost her husband, and she’s now forced to both forge some kind of independence and confront some things she learns about him only now that he’s gone. Adriana (Anna Uzele) lost her grandmother, who happened to be a beloved New York Congresswoman. She befriends Kojo (Idris Debrand), who lost his sister and has come from Ghana to care for his young niece, who will eventually return there with him. More characters will eventually emerge over the course of 10 episodes, but these are the most important ones in the early going.\u003c/p>\n\u003cfigure id=\"attachment_13924791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-800x363.jpg\" alt=\"Two people embrace. We see the back of one person's head and the face of the woman giving the hug. Her eyes are closed, facial expression pained.\" width=\"800\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-1020x463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-768x348.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-1536x697.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Connie Britton plays Dee Dee, a wealthy woman who has lost her husband, in ‘Dear Edward.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are a lot of good actors in this cast — nobody does this kind of work like Connie Britton — and to say Katims knows his stuff is an understatement. And his stuff is … well, at least some of it is basically “you crying a lot.” For a producer who loves big feelings, this is not a small move, it is a big move, in terms of sheer audacity — pick up this terribly sad book where a plane full of people die, leaving only one young boy behind, and then surround him with mourners with terrible, agonizing stories of their own. (The book, based on what I know of it, does not do this in the same way, although it does tell the stories of other people who die on the plane). It’s a dark kind of vow from Katims to \u003cem>This Is Us \u003c/em>viewers: If you liked that story where one family dealt with a ton of trauma and loss, you’re going to love a story about a whole \u003cem>lot \u003c/em>of families grieving at the same time, criss-crossing with each other, talking about loss \u003cem>constantly\u003c/em>. You liked the kiddie pool of tears? Dive into the \u003cem>Olympic \u003c/em>pool of tears!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are interesting themes here that are not exclusively about loss: The title of the series (and book) comes from the fact that Edward, as the sole survivor of this tragedy, becomes a figure of great fascination. People write him letters — sometimes because they lost someone in the crash and they want to know whether he saw their loved one at any point, sometimes because they want to give him advice or convert him to their faith, sometimes because they just figure he must have some special knowledge from having this experience. Without spoiling too much, it seems clear that the intent is to explore these letter-writers more in a future season; this theme only begins to emerge in this first set of episodes. I sort of found myself wishing they got more into this part of Edward’s struggle, that they stayed with a little narrower focus.\u003c/p>\n\u003cp>But ultimately, this isn’t that show. This is a rip-your-guts-out show. It’s a show where every moment, even if it’s seemingly small, is conceptually \u003cem>big\u003c/em>, \u003cem>big \u003c/em>with feelings, \u003cem>big \u003c/em>with meaning, \u003cem>big \u003c/em>with a certain kind of coffee-shop indie music that is precisely calculated and entirely expected. It is a show that is, in a word, manipulative. In two words, perhaps \u003cem>proudly \u003c/em>manipulative.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9afVcqqSXVo\u003c/p>\n\u003cp>Because all art manipulates, if by that we only mean provoking a response and doing it intentionally. Breaking your heart, making you mad, keeping you on the edge of your seat, cracking you up — these are all manipulations of the artist, if that term is defined broadly enough. But what we tend to mean in common usage when we refer to sentimentality as manipulative is that it’s too direct, a straight line rather than an interesting path we’ve never walked from provocation to response. We feel shoved along rather than shown the way to where we’re meant to end up.\u003c/p>\n\u003cp>[aside postid='arts_13924687']It’s awfully hard not to feel shoved along by \u003cem>Dear Edward\u003c/em>. It is swimming in death. Everybody is sad all the time. And when they are briefly not sad, even \u003cem>that\u003c/em> is sad, or at least bittersweet, because what in the life of a person deep in grief is not, even at its sweetest, only bittersweet? Grief is worth examining, grief is worth recognizing, and yet at some level, I did feel like the labors of everyone involved were so … well, \u003cem>labored\u003c/em> that it was almost like distorted sound when speakers are overwhelmed. I felt driven to all the intended feelings so hard that they couldn’t quite thrive. If there were any stories \u003cem>not \u003c/em>suffused by grief, as there usually are in ensemble dramas that follow multiple threads at the same time, it might be easier to catch your breath and stay in the story.\u003c/p>\n\u003cp>This show is just so \u003cem>much\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And yet, even as I watched it and felt a bit put off by it, I never doubted that it will have an audience. Sometimes people \u003cem>need \u003c/em>to cry, then cry again. They need to at least cry at something they can put away afterwards because it isn’t their reality. Tear-jerkers — and that has perhaps never been a more apt description — jerk tears from people who are prepared to have their tears jerked, just like a horror movie is there to startle people who showed up to be startled. I’m not sure \u003cem>Dear Edward \u003c/em>is the most nuanced or the most interesting show, but that same directness that can seem like manipulation can also be simple truth in advertising. If you loved crying at \u003cem>This Is Us \u003c/em>or \u003cem>Parenthood\u003c/em>, you will probably also enjoy crying at \u003cem>Dear Edward\u003c/em>. A lot! And that’s fine. Nothing wrong with a few tears, as long as you know what you’re getting into.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Dear+Edward%27+tugs+%E2%80%94+and+tugs%2C+and+tugs+%E2%80%94+at+your+heartstrings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s my impression of any person telling me how much they loved any episode of \u003ca href=\"https://www.npr.org/2022/05/25/1101255458/this-is-us-finale-ending\">\u003cem>This Is Us\u003c/em>, \u003c/a>the NBC family drama from producer and writer\u003ca href=\"https://www.npr.org/2017/03/14/519986806/this-is-us-creator-dan-fogelman-says-he-didnt-mean-to-make-you-cry\"> Dan Fogelman \u003c/a>that enjoyed a very successful six-season run that ended in the spring of 2022: “I cried until my eyes were swollen shut and I was swimming in a pool of my own salty tears, then I watched it again, then I watched it while slowly contemplating a dying plant and it was even better; it is the best thing I have ever seen on television and I am devastated.”\u003c/p>\n\u003cp>Don’t get me wrong: This is not a criticism. It is extraordinarily impressive to get people to enjoy their own agony this much, and most people have \u003cem>some \u003c/em>kind of art that does something similar for them. Books, music, movies, TV, games — doesn’t matter. This is a weird thing art does that always seems weirder when it’s somebody else’s art than when it’s yours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The\u003ca href=\"https://www.wbur.org/hereandnow/2020/01/14/dear-edward-novel-ann-napolitano\"> Ann Napolitano novel\u003c/a> \u003cem>Dear Edward\u003c/em> serves as the inspiration for the new Apple TV drama series of the same name, created by Jason Katims, the producer of \u003ca href=\"https://www.npr.org/2011/07/16/137823040/as-friday-night-lights-ends-its-still-texas-forever\">\u003cem>Friday Night Lights\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2015/01/29/382413021/nbcs-parenthood-ends-as-a-family-drama-built-on-small-moments\">\u003cem>Parenthood\u003c/em>,\u003c/a> which were also big successes for people who cry a lot. And while Katims didn’t make \u003cem>This Is Us\u003c/em>, it’s the recent show by which \u003cem>Dear Edward \u003c/em>feels the most inspired.\u003c/p>\n\u003cp>In the story, a 12-year-old boy named Edward (Colin O’Brien) is the sole survivor of a plane crash that kills, among many others, his entire family. He goes to live with his Aunt Lacey and Uncle John (Taylor Schilling and Carter Hudson), who have long struggled with infertility and find their lives very much disrupted by the fact that they suddenly have a 12-year-old. And not just any 12-year-old — Edward is understandably very deeply traumatized, lonely, disoriented and angry, even if it’s in a quiet, interior kind of way. The only person he really relates to in his new home is an extroverted neighbor girl his age named Shay (Eva Ariel Binder). She practices roller derby in the street, and having lost his older brother, he fastens on her for company.\u003c/p>\n\u003cp>Meanwhile, Lacey is attending a support group for people who lost loved ones in the crash, and that’s where the rest of the stories in this many-threaded ensemble show come in. Dee Dee (Connie Britton) is a wealthy woman who lost her husband, and she’s now forced to both forge some kind of independence and confront some things she learns about him only now that he’s gone. Adriana (Anna Uzele) lost her grandmother, who happened to be a beloved New York Congresswoman. She befriends Kojo (Idris Debrand), who lost his sister and has come from Ghana to care for his young niece, who will eventually return there with him. More characters will eventually emerge over the course of 10 episodes, but these are the most important ones in the early going.\u003c/p>\n\u003cfigure id=\"attachment_13924791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-800x363.jpg\" alt=\"Two people embrace. We see the back of one person's head and the face of the woman giving the hug. Her eyes are closed, facial expression pained.\" width=\"800\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-1020x463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-768x348.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-1536x697.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Connie Britton plays Dee Dee, a wealthy woman who has lost her husband, in ‘Dear Edward.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are a lot of good actors in this cast — nobody does this kind of work like Connie Britton — and to say Katims knows his stuff is an understatement. And his stuff is … well, at least some of it is basically “you crying a lot.” For a producer who loves big feelings, this is not a small move, it is a big move, in terms of sheer audacity — pick up this terribly sad book where a plane full of people die, leaving only one young boy behind, and then surround him with mourners with terrible, agonizing stories of their own. (The book, based on what I know of it, does not do this in the same way, although it does tell the stories of other people who die on the plane). It’s a dark kind of vow from Katims to \u003cem>This Is Us \u003c/em>viewers: If you liked that story where one family dealt with a ton of trauma and loss, you’re going to love a story about a whole \u003cem>lot \u003c/em>of families grieving at the same time, criss-crossing with each other, talking about loss \u003cem>constantly\u003c/em>. You liked the kiddie pool of tears? Dive into the \u003cem>Olympic \u003c/em>pool of tears!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are interesting themes here that are not exclusively about loss: The title of the series (and book) comes from the fact that Edward, as the sole survivor of this tragedy, becomes a figure of great fascination. People write him letters — sometimes because they lost someone in the crash and they want to know whether he saw their loved one at any point, sometimes because they want to give him advice or convert him to their faith, sometimes because they just figure he must have some special knowledge from having this experience. Without spoiling too much, it seems clear that the intent is to explore these letter-writers more in a future season; this theme only begins to emerge in this first set of episodes. I sort of found myself wishing they got more into this part of Edward’s struggle, that they stayed with a little narrower focus.\u003c/p>\n\u003cp>But ultimately, this isn’t that show. This is a rip-your-guts-out show. It’s a show where every moment, even if it’s seemingly small, is conceptually \u003cem>big\u003c/em>, \u003cem>big \u003c/em>with feelings, \u003cem>big \u003c/em>with meaning, \u003cem>big \u003c/em>with a certain kind of coffee-shop indie music that is precisely calculated and entirely expected. It is a show that is, in a word, manipulative. In two words, perhaps \u003cem>proudly \u003c/em>manipulative.\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/9afVcqqSXVo'\n title='//www.youtube.com/embed/9afVcqqSXVo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Because all art manipulates, if by that we only mean provoking a response and doing it intentionally. Breaking your heart, making you mad, keeping you on the edge of your seat, cracking you up — these are all manipulations of the artist, if that term is defined broadly enough. But what we tend to mean in common usage when we refer to sentimentality as manipulative is that it’s too direct, a straight line rather than an interesting path we’ve never walked from provocation to response. We feel shoved along rather than shown the way to where we’re meant to end up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s awfully hard not to feel shoved along by \u003cem>Dear Edward\u003c/em>. It is swimming in death. Everybody is sad all the time. And when they are briefly not sad, even \u003cem>that\u003c/em> is sad, or at least bittersweet, because what in the life of a person deep in grief is not, even at its sweetest, only bittersweet? Grief is worth examining, grief is worth recognizing, and yet at some level, I did feel like the labors of everyone involved were so … well, \u003cem>labored\u003c/em> that it was almost like distorted sound when speakers are overwhelmed. I felt driven to all the intended feelings so hard that they couldn’t quite thrive. If there were any stories \u003cem>not \u003c/em>suffused by grief, as there usually are in ensemble dramas that follow multiple threads at the same time, it might be easier to catch your breath and stay in the story.\u003c/p>\n\u003cp>This show is just so \u003cem>much\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And yet, even as I watched it and felt a bit put off by it, I never doubted that it will have an audience. Sometimes people \u003cem>need \u003c/em>to cry, then cry again. They need to at least cry at something they can put away afterwards because it isn’t their reality. Tear-jerkers — and that has perhaps never been a more apt description — jerk tears from people who are prepared to have their tears jerked, just like a horror movie is there to startle people who showed up to be startled. I’m not sure \u003cem>Dear Edward \u003c/em>is the most nuanced or the most interesting show, but that same directness that can seem like manipulation can also be simple truth in advertising. If you loved crying at \u003cem>This Is Us \u003c/em>or \u003cem>Parenthood\u003c/em>, you will probably also enjoy crying at \u003cem>Dear Edward\u003c/em>. A lot! And that’s fine. Nothing wrong with a few tears, as long as you know what you’re getting into.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Dear+Edward%27+tugs+%E2%80%94+and+tugs%2C+and+tugs+%E2%80%94+at+your+heartstrings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé Sets a New Grammy Record, While Harry Styles Wins Album of the Year",
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"content": "\u003cdiv class=\"storyMajorUpdateDate\"> \u003cstrong>Updated February 6, 2023 at 12:53 AM ET\u003c/strong>\u003c/div>\n\u003cp>Beyoncé has now captured more Grammy awards than any other artist, thanks to a quartet of trophies for her album \u003cem>RENAISSANCE\u003c/em>. Two-thirds of the way into the evening’s live telecast, she won her fourth award of the year for a total of 32 in her career, shattering the record for the most Grammys of any artist in the prize’s 65-year history.\u003c/p>\n\u003cp>However, she failed to collect any of the evening’s biggest prizes. Instead, the Grammys divided the general categories in a typical voting split. Bonnie Raitt won the song of the year prize for “Just Like That.” Lizzo took record of the year for “About Damn Time.” Album of the year went to \u003ca href=\"https://www.npr.org/artists/531040090/harry-styles\">Harry Styles\u003c/a> for his album \u003cem>Harry’s House\u003c/em>. He also won best pop vocal album. “This is so kind,” Styles said of the album of the year award, as Beyoncé gave him a standing ovation.\u003c/p>\n\u003cp>Coming into this year’s awards, Beyoncé already owned 28 Grammys as a lead artist, though only one in the one of the awards’ general categories. She had nine nominations this year, and hit the new record just after 7 p.m. PT, when she won best electronic/dance music album. She cried upon taking the stage, saying, “I’m just trying to receive this night.” Later, she gave credit to her forebears and inspiration, adding: “I would like to thank the queer community for your love, and for inventing the genre,” referring to the house music that grounded \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Faced with \u003ca href=\"https://www.npr.org/2022/01/06/1070849471/the-omicron-surge-forces-the-grammys-to-be-postponed-sundance-to-move-online\">years\u003c/a> of \u003ca href=\"https://variety.com/2022/tv/news/grammy-awards-ratings-2022-grammys-1235221012/\">declining and middling \u003c/a>viewership, the Grammys hoped to amp up the dazzle this year via this bit of history-making. What the Record Academy had clearly hoped would be an earlier, big live television moment was foiled by urban sprawl. Half an hour into the show, Beyoncé — who was reportedly late to the awards thanks to LA traffic — tied the all-time record for most Grammys won when she and a team of co-writers won best R&B song for “Cuff It.” The iconic musician and composer Nile Rogers, one of the co-writers on “Cuff It,” accepted the award for best R&B song on the team’s behalf along with another of its co-writers, The-Dream. The previous Grammy record of 31 wins was a feat set by the late Hungarian-born classical conductor Georg Solti.\u003c/p>\n\u003cp>Several of the other nine contenders for album of the year had to be satisfied with other awards. At the beginning of her acceptance speech for her win for record of the year for “About Damn Time,” Lizzo said, “Let me tell you something, Adele and I are just having a great time here.” (Adele took home took home best pop solo performance for her song “Easy on Me.”) Lizzo also paid tribute to Beyoncé, noting that she had skipped school in fifth grade to go hear the megastar perform.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a> took home the Grammy for best rap album for his \u003cem>Mr. Morale & The Big Steppers\u003c/em>; during the afternoon ceremony, Lamar also picked up Grammys for best rap performance and best rap song, both for “The Heart Part 5.” “I would like to thank the culture for allowing me to evolve,” he said in an acceptance speech in which he also thanked his family and fans. “I finally found imperfection with this album.” \u003c/p>\n\u003cp>Another artist up for album of the year, Puerto Rican rapper \u003ca href=\"https://www.npr.org/artists/656561349/bad-bunny\">Bad Bunny\u003c/a>, opened the show with a colorful performance of songs from his album \u003cem>Un Verano Sin Ti\u003c/em>, weaving in and out of the seated audience alongside brass band members before making his way to a dance party on stage for a medley that captured the vibrant, infectious energy of the hit album. \u003cem>Un Verano Sin Ti\u003c/em> dominated streaming services last year and won the rapper the prize for best música urbana album. “I made this album with love and passion and when you do things with love and passion, everything is easier — life is easier,” he said in English while accepting his award.\u003c/p>\n\u003cp>In a throwback to a very particular kind of Grammy-voter favorite, the gifted young jazz vocalist \u003ca href=\"https://www.npr.org/artists/1120541975/samara-joy\">Samara Joy\u003c/a> won the award for best new artist. The 23-year-old cried through her whole acceptance speech, marveling that she won one of the Grammy’s biggest prizes “just by being myself.”\u003c/p>\n\u003cp>One of the strongest performances of the night came in the form of a star-studded, comprehensive tribute to the history of hip-hop that followed a new “Dr. Dre Global Impact award,” given to the namesake artist himself by rapper LL Cool J. Organized by Questlove, the performance brought together some of the greatest names in hip-hop to honor the genre’s 50th anniversary this year. The set chronicled the entire history of rap, featuring early pioneers like Run-DMC, Rakim, Public Enemy and Salt-N-Pepa, all the way up to current viral stars like GloRilla. \u003c/p>\n\u003cp>“We wish we could have included every single hip-hop artist from 1973 to 2023,” LL Cool J said.\u003c/p>\n\u003cp>The show’s “In Memoriam” segment, honoring musicians and industry professionals who died in the last year, featured performances by Kacey Musgraves, Migos’ Quavo and Mick Fleetwood. The night featured multiple tributes, including Stevie Wonder honoring Berry Gordy and Smokey Robinson by playing Motown hits including The Temptations’ “The Way You Do The Things You Do” and “Tears of a Clown” alongside Robinson. \u003c/p>\n\u003cp>The night was filled with a number of excellent live performances, from longtime Grammy favorites to newcomers to the stage. Brandi Carlile, who took home three awards for best Americana album, best rock performance and best rock song, returned to the Academy’s stage for a stirring rendition of “Broken Horses,” introduced to viewers by her wife and two daughters. \u003c/p>\n\u003cp>Steve Lacy, who took home his first Grammy award earlier in the evening for best progressive R&B album for \u003cem>Gemini Rights\u003c/em>, proved his TikTok hit “Bad Habit” as magnetic a live performance as it has become in viral videos, performing the funky hit in heels alongside Thundercat on bass. \u003c/p>\n\u003cp>A brand-new honor called best song for social change was given to Iranian musician Shervin Hajipour for his protest song “Baraye,” which was written in solidarity with Iran’s \u003ca href=\"https://www.npr.org/2022/10/27/1131436766/kurdish-roots-iran-protest-slogan\">“Woman, life, freedom”\u003c/a> movement, and gained worldwide fans on social media. Hajipour was unable to attend the ceremony, as \u003ca href=\"https://variety.com/2023/global/news/iran-protest-song-baraye-grammy-amnesty-jailed-activists-1235514072/\">he has been banned from leaving Iran\u003c/a> while he awaits trial; the award was presented by First Lady Jill Biden.\u003c/p>\n\u003cp>Biden also presented the award for song of the year to Bonnie Raitt, who looked shellshocked to win this year’s prize for songwriting; she had been up against other writers such as Beyoncé, Lizzo, \u003ca href=\"https://www.npr.org/artists/728755923/steve-lacy\">Steve Lacy\u003c/a>, Kendrick Lamar and Adele. “I don’t write a lot of songs,” said Raitt.\u003c/p>\n\u003cp>In another history-making moment, 2023 marked the first time that either an openly non-binary person or an openly transgender woman won a Grammy. Both glass ceilings were smashed when Sam Smith and Kim Petras were awarded best pop duo/group performance for their song “Unholy.” (Musician Wendy Carlos won three Grammys in 1970 for her album \u003cem>Switched-On Bach\u003c/em>, but she was not yet living publicly as a woman at that point.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>“Sam graciously wanted me to accept this award because I’m the first transgender woman to win this award,” Petras said in her speech. “I want to thank all the incredible transgender legends before me so I could be here tonight,” she added, shouting out the late trans pop artist SOPHIE in her speech, as well as Madonna and her mother for inspiration. After winning the award, the pair put on a fiery, provocative performance with Smith dressed up as a horned devil, playing off of the sinful imagery of their hit single.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At the so-called Grammy “premiere” show, or pre-telecast ceremony, the Recording Academy handed out nearly 80 awards. Among that sprawling array of prizes, actress Viola Davis \u003ca href=\"https://www.npr.org/2023/02/05/1154671624/viola-davis-egot-grammys\">became an EGOT\u003c/a> — the proud possessor of Emmy, Grammy, Oscar and Tony awards — Sunday afternoon when she won a Grammy for the audiobook version of her memoir, \u003cem>Finding Me\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+sets+a+new+Grammy+record%2C+while+Harry+Styles+wins+album+of+the+year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"storyMajorUpdateDate\"> \u003cstrong>Updated February 6, 2023 at 12:53 AM ET\u003c/strong>\u003c/div>\n\u003cp>Beyoncé has now captured more Grammy awards than any other artist, thanks to a quartet of trophies for her album \u003cem>RENAISSANCE\u003c/em>. Two-thirds of the way into the evening’s live telecast, she won her fourth award of the year for a total of 32 in her career, shattering the record for the most Grammys of any artist in the prize’s 65-year history.\u003c/p>\n\u003cp>However, she failed to collect any of the evening’s biggest prizes. Instead, the Grammys divided the general categories in a typical voting split. Bonnie Raitt won the song of the year prize for “Just Like That.” Lizzo took record of the year for “About Damn Time.” Album of the year went to \u003ca href=\"https://www.npr.org/artists/531040090/harry-styles\">Harry Styles\u003c/a> for his album \u003cem>Harry’s House\u003c/em>. He also won best pop vocal album. “This is so kind,” Styles said of the album of the year award, as Beyoncé gave him a standing ovation.\u003c/p>\n\u003cp>Coming into this year’s awards, Beyoncé already owned 28 Grammys as a lead artist, though only one in the one of the awards’ general categories. She had nine nominations this year, and hit the new record just after 7 p.m. PT, when she won best electronic/dance music album. She cried upon taking the stage, saying, “I’m just trying to receive this night.” Later, she gave credit to her forebears and inspiration, adding: “I would like to thank the queer community for your love, and for inventing the genre,” referring to the house music that grounded \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Faced with \u003ca href=\"https://www.npr.org/2022/01/06/1070849471/the-omicron-surge-forces-the-grammys-to-be-postponed-sundance-to-move-online\">years\u003c/a> of \u003ca href=\"https://variety.com/2022/tv/news/grammy-awards-ratings-2022-grammys-1235221012/\">declining and middling \u003c/a>viewership, the Grammys hoped to amp up the dazzle this year via this bit of history-making. What the Record Academy had clearly hoped would be an earlier, big live television moment was foiled by urban sprawl. Half an hour into the show, Beyoncé — who was reportedly late to the awards thanks to LA traffic — tied the all-time record for most Grammys won when she and a team of co-writers won best R&B song for “Cuff It.” The iconic musician and composer Nile Rogers, one of the co-writers on “Cuff It,” accepted the award for best R&B song on the team’s behalf along with another of its co-writers, The-Dream. The previous Grammy record of 31 wins was a feat set by the late Hungarian-born classical conductor Georg Solti.\u003c/p>\n\u003cp>Several of the other nine contenders for album of the year had to be satisfied with other awards. At the beginning of her acceptance speech for her win for record of the year for “About Damn Time,” Lizzo said, “Let me tell you something, Adele and I are just having a great time here.” (Adele took home took home best pop solo performance for her song “Easy on Me.”) Lizzo also paid tribute to Beyoncé, noting that she had skipped school in fifth grade to go hear the megastar perform.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a> took home the Grammy for best rap album for his \u003cem>Mr. Morale & The Big Steppers\u003c/em>; during the afternoon ceremony, Lamar also picked up Grammys for best rap performance and best rap song, both for “The Heart Part 5.” “I would like to thank the culture for allowing me to evolve,” he said in an acceptance speech in which he also thanked his family and fans. “I finally found imperfection with this album.” \u003c/p>\n\u003cp>Another artist up for album of the year, Puerto Rican rapper \u003ca href=\"https://www.npr.org/artists/656561349/bad-bunny\">Bad Bunny\u003c/a>, opened the show with a colorful performance of songs from his album \u003cem>Un Verano Sin Ti\u003c/em>, weaving in and out of the seated audience alongside brass band members before making his way to a dance party on stage for a medley that captured the vibrant, infectious energy of the hit album. \u003cem>Un Verano Sin Ti\u003c/em> dominated streaming services last year and won the rapper the prize for best música urbana album. “I made this album with love and passion and when you do things with love and passion, everything is easier — life is easier,” he said in English while accepting his award.\u003c/p>\n\u003cp>In a throwback to a very particular kind of Grammy-voter favorite, the gifted young jazz vocalist \u003ca href=\"https://www.npr.org/artists/1120541975/samara-joy\">Samara Joy\u003c/a> won the award for best new artist. The 23-year-old cried through her whole acceptance speech, marveling that she won one of the Grammy’s biggest prizes “just by being myself.”\u003c/p>\n\u003cp>One of the strongest performances of the night came in the form of a star-studded, comprehensive tribute to the history of hip-hop that followed a new “Dr. Dre Global Impact award,” given to the namesake artist himself by rapper LL Cool J. Organized by Questlove, the performance brought together some of the greatest names in hip-hop to honor the genre’s 50th anniversary this year. The set chronicled the entire history of rap, featuring early pioneers like Run-DMC, Rakim, Public Enemy and Salt-N-Pepa, all the way up to current viral stars like GloRilla. \u003c/p>\n\u003cp>“We wish we could have included every single hip-hop artist from 1973 to 2023,” LL Cool J said.\u003c/p>\n\u003cp>The show’s “In Memoriam” segment, honoring musicians and industry professionals who died in the last year, featured performances by Kacey Musgraves, Migos’ Quavo and Mick Fleetwood. The night featured multiple tributes, including Stevie Wonder honoring Berry Gordy and Smokey Robinson by playing Motown hits including The Temptations’ “The Way You Do The Things You Do” and “Tears of a Clown” alongside Robinson. \u003c/p>\n\u003cp>The night was filled with a number of excellent live performances, from longtime Grammy favorites to newcomers to the stage. Brandi Carlile, who took home three awards for best Americana album, best rock performance and best rock song, returned to the Academy’s stage for a stirring rendition of “Broken Horses,” introduced to viewers by her wife and two daughters. \u003c/p>\n\u003cp>Steve Lacy, who took home his first Grammy award earlier in the evening for best progressive R&B album for \u003cem>Gemini Rights\u003c/em>, proved his TikTok hit “Bad Habit” as magnetic a live performance as it has become in viral videos, performing the funky hit in heels alongside Thundercat on bass. \u003c/p>\n\u003cp>A brand-new honor called best song for social change was given to Iranian musician Shervin Hajipour for his protest song “Baraye,” which was written in solidarity with Iran’s \u003ca href=\"https://www.npr.org/2022/10/27/1131436766/kurdish-roots-iran-protest-slogan\">“Woman, life, freedom”\u003c/a> movement, and gained worldwide fans on social media. 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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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