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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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"title": "David Jolicoeur, De La Soul's Trugoy the Dove, Dies at 54",
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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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"title": "Artist From Berkeley Wins $1 Million for ‘Healing Project,’ Focused on Incarceration",
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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>\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.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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. 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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>These lines appear on the first page of Daniel Black’s \u003cem>Black on Black: On Our Resilience and Brilliance in America:\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>I write because we hurt. I write because some pain can’t be described. It can only be felt in the marrow of a story or the lyrics of a song.\u003c/p>\u003c/blockquote>\n\u003cp>Black’s new collection of essays digs deep into Blackness, history and racial tension in this country, while simultaneously serving as a powerful call to action and a celebration of Black culture.\u003c/p>\n\u003cp>[aside postid='arts_13924580']\u003cem>Black on Black\u003c/em> is not an easy read. Black’s voice is strong, informed, angry, and relentless — and that infuses his essays with the power to affect readers. Whether Black is discussing racism, the crooked justice system that leads to things like the Central Park Five case (also known as the Central Park jogger case), the public education system and its impact on HBCUS (Historically Black Colleges and Universities), or how different generations of gay Black men learned to navigate AIDS, Black’s writing carries the kind of righteous anger — and more than enough facts — to elicit a response in most readers with a pulse. Hopefully, that response leads to change.\u003c/p>\n\u003cp>There are no throwaway essays here and they all fit together in ways that give the collection a great sense of cohesion, but there are some standouts that merit a moment in the spotlight. “When I Was a Boy” is a heartfelt essay about growing up feeling like a “freak” that eventually morphs into a narrative about acceptance and a critique of the way young Black men are expected to perform a special brand of masculinity. Black always knew he was different, and different wasn’t good. He thought he was worse than everyone else even when he became obsessed with words — with reading and writing — and people told him he was “too smart” for his own good. The emotional and psychological scars that came from Black’s youth permeate the collection, and this essay, the second one in the book, is a perfect introduction that helps to contextualize what follows.\u003c/p>\n\u003cp>[aside postid='arts_13899186']“The Trial and Massacre of the Black Body” is a brilliant essay about George Floyd that asks the same question we still have to ask regularly: “…not whether a black person is dead, but whether the police we see committing the act will be held responsible.” Black, a keen observer as well as a scholar, exposes, time and again, the shield of cultural protection that surrounds white male patriarchy and power and the way this often leads to the murder of Black individuals going unpunished. Perhaps the most painful essay to read, this one is packed with examples that show the perpetuation of racial abuse and unfettered discrimination against Black people despite the outcome of the Floyd case. From the bodies of those aboard the \u003cem>Amistad\u003c/em> to Emmett Till to Rodney King to Trayvon Martin to Breonna Taylor, Black leads readers on a painful tour of the deadly consequences of unfettered racism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And those aren’t the only essays I was thinking about long after finishing the book. “Black, But Not Beautiful: An Aesthetic Dilemma” shows how “whiteness is inherently supreme, and blackness is, by definition, unruly, undesirable, and unholy.” Black looks at popular culture to explore the idea that it’s hard for Black people to see themselves as attractive in a society in which beauty standards are “diametrically opposed” to their features. “When WE See Us,” which is a perfect companion piece to “The Trial and Massacre of the Black Body,” Black examines the justice system through the lens of Ava DuVernay’s documentary “When They See Us.” Lastly, “The Beauty and Struggles of HBCUS” explores how HBCUS and those who work and teach in them tackle the monumental, and incredibly necessary, task of convincing students of their intellectual prowess, which is something that, in most cases, no one has done up to that point.\u003c/p>\n\u003cp>[aside postid='arts_13883630']\u003cem>Black on Black\u003c/em> calls for an overhaul of the American criminal justice system, an overhaul of the Black church, an overhaul of the way Black people see themselves, and an overhaul of the country itself, and it does so with authority. From invitations to kiss God in the mouth to declarations about the need to “ignite conversation” about difficult topics, \u003cem>Black on Black\u003c/em> never waivers, never backs down, never pulls its hard punches full of painful truths.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an essay that presents a celebration/critique of Black churches and they way they follow the same set of believes that enslavers followed, Black mentions outstanding contemporary African American writers Kiese Laymon, Jesmyn Ward, and Jericho Brown and then states: “The black pen never fails to produce spirit-filled work that, if black people read and heed, would set them free.” \u003cem>Black on Black\u003c/em> adds Black’s name to that list, and that makes it an important, relevant work of nonfiction that should be required reading in these troubled times.\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=%27Black+on+Black%27+celebrates+Black+culture+while+exploring+history+and+racial+tension&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>And those aren’t the only essays I was thinking about long after finishing the book. “Black, But Not Beautiful: An Aesthetic Dilemma” shows how “whiteness is inherently supreme, and blackness is, by definition, unruly, undesirable, and unholy.” Black looks at popular culture to explore the idea that it’s hard for Black people to see themselves as attractive in a society in which beauty standards are “diametrically opposed” to their features. “When WE See Us,” which is a perfect companion piece to “The Trial and Massacre of the Black Body,” Black examines the justice system through the lens of Ava DuVernay’s documentary “When They See Us.” Lastly, “The Beauty and Struggles of HBCUS” explores how HBCUS and those who work and teach in them tackle the monumental, and incredibly necessary, task of convincing students of their intellectual prowess, which is something that, in most cases, no one has done up to that point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Black on Black\u003c/em> calls for an overhaul of the American criminal justice system, an overhaul of the Black church, an overhaul of the way Black people see themselves, and an overhaul of the country itself, and it does so with authority. From invitations to kiss God in the mouth to declarations about the need to “ignite conversation” about difficult topics, \u003cem>Black on Black\u003c/em> never waivers, never backs down, never pulls its hard punches full of painful truths.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an essay that presents a celebration/critique of Black churches and they way they follow the same set of believes that enslavers followed, Black mentions outstanding contemporary African American writers Kiese Laymon, Jesmyn Ward, and Jericho Brown and then states: “The black pen never fails to produce spirit-filled work that, if black people read and heed, would set them free.” \u003cem>Black on Black\u003c/em> adds Black’s name to that list, and that makes it an important, relevant work of nonfiction that should be required reading in these troubled times.\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=%27Black+on+Black%27+celebrates+Black+culture+while+exploring+history+and+racial+tension&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Clunky Title Aside, ‘Cunk on Earth’ is a Mockumentary With Cult Classic Potential",
"headTitle": "Clunky Title Aside, ‘Cunk on Earth’ is a Mockumentary With Cult Classic Potential | KQED",
"content": "\u003cp>Diane Morgan stars in the new five-part Netflix mockumentary series \u003cem>Cunk on Earth\u003c/em>, but viewers in the U.S. might not recognize her — unless they saw her as one of the supporting players in the \u003ca href=\"https://www.npr.org/2016/05/01/476078487/ricky-gervais-on-controversial-jokes-celebrities-and-special-correspondents\">Ricky Gervais\u003c/a> comedy series \u003cem>After Life\u003c/em>. But in Great Britain, Morgan’s been on TV for years, especially playing one recurring character.\u003c/p>\n\u003cp>Ten years ago, \u003ca href=\"https://www.npr.org/2019/06/05/729701805/originality-and-uncertainty-still-reign-as-black-mirror-enters-its-5th-season\">\u003cem>Black Mirror\u003c/em>\u003c/a> co-creator \u003ca href=\"https://www.npr.org/2016/10/20/498683379/black-mirror-creator-dramatizes-our-worst-nightmares-about-technology\">Charlie Brooker\u003c/a> wrote and hosted a British comedy series, \u003cem>Charlie Brooker’s Weekly Wipe. \u003c/em>It was a satirical review of the week’s news — part \u003ca href=\"https://www.npr.org/2022/09/30/1126207614/trevor-noah-daily-show-late-night-tv-comedy-central\">\u003cem>The Daily Show\u003c/em>\u003c/a>\u003cem>, \u003c/em>and part, if you want to go way, way back,\u003cem> That Was the Week That Was\u003c/em>. Morgan was one of the featured players on\u003cem> Weekly Wipe, \u003c/em>playing a TV correspondent named Philomena Cunk. Cunk isn’t very well-informed, and she’s prone to mispronunciations and malapropisms, but she says what she thinks — and what she thinks is often very, very funny.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ia0ztwqCt4c\u003c/p>\n\u003cp>In the U.K., the character was then spun off into several sequels, either limited series or one-shot specials: \u003ca href=\"https://www.youtube.com/watch?v=9YeCpHoy9EQ\">\u003cem>Cunk on Shakespeare\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=MUM89s4N2BQ\">\u003cem>Cunk on Britain\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=OYQwGWYAXwM\">\u003cem>Cunk and Other Humans\u003c/em>\u003c/a>. They all have the same winning formula: Philomena is sent to real exotic locations around the world, to offer her observations and interview actual experts — all of whom are polite and befuddled in equal measure.\u003c/p>\n\u003cp>[aside postid='arts_13924494']\u003cem>Cunk on Earth\u003c/em> is in the same sweeping, visually stunning tradition of such historical documentaries as \u003cem>Civilisation\u003c/em> or \u003cem>Connections\u003c/em> — except the correspondent and interviewer is less Kenneth Clark or James Burke, and more \u003ca href=\"https://www.npr.org/2021/02/22/970115927/sacha-baron-cohen-on-borat-ethics-and-why-his-disguise-days-are-over\">Borat \u003c/a>or Jiminy Glick. That’s the setup — and you don’t have to have any prior exposure to Philomena Cunk to get up to speed instantly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The opening of \u003cem>Cunk on Earth\u003c/em> cuts between scenes of Philomena standing amid quiet nature and loud city streets, establishing the premise of her newest TV show. Over the show’s five episodes, she travels from Pompeii to Russia to the Pyramids in Egypt. Philomena shoots one segment in front of the \u003cem>Mona Lisa\u003c/em>, and, for another, descends into a cave to look at ancient cave paintings, just as \u003ca href=\"https://www.npr.org/2014/08/22/342471828/werner-herzog-talks-about-madmen-and-caves-in-interviews-from-fresh-air-archives\">Werner Herzog\u003c/a> did in one of his documentaries. But he was in awe. Philomena, shining her flashlight onto the crude drawings of animals and people, is so unimpressed, she turns her flashlight off.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5zabCBnUHLA\u003c/p>\n\u003cp>Despite her lack of enthusiasm and perspective, \u003cem>Cunk on Earth\u003c/em> does contain a lot of actual information — thanks to the endlessly patient experts, who gently correct her misconceptions. Morgan’s delivery is deliciously dry, and her improv skills, reacting to what historians say in their interviews with her, are formidable. She gets a writing credit for additional material, and absolutely deserves it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Black Mirror\u003c/em> came over from England as an oddball series and an acquired taste, and quickly grew into a cult hit. This new, wider Netflix platform for \u003cem>Cunk on Earth \u003c/em>may accomplish the same thing. It’s a terrible title — but it’s a really funny show.\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=Clunky+title+aside%2C+%27Cunk+on+Earth%27+is+a+mockumentary+with+cult+classic+potential&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Diane Morgan stars in the new five-part Netflix mockumentary series \u003cem>Cunk on Earth\u003c/em>, but viewers in the U.S. might not recognize her — unless they saw her as one of the supporting players in the \u003ca href=\"https://www.npr.org/2016/05/01/476078487/ricky-gervais-on-controversial-jokes-celebrities-and-special-correspondents\">Ricky Gervais\u003c/a> comedy series \u003cem>After Life\u003c/em>. But in Great Britain, Morgan’s been on TV for years, especially playing one recurring character.\u003c/p>\n\u003cp>Ten years ago, \u003ca href=\"https://www.npr.org/2019/06/05/729701805/originality-and-uncertainty-still-reign-as-black-mirror-enters-its-5th-season\">\u003cem>Black Mirror\u003c/em>\u003c/a> co-creator \u003ca href=\"https://www.npr.org/2016/10/20/498683379/black-mirror-creator-dramatizes-our-worst-nightmares-about-technology\">Charlie Brooker\u003c/a> wrote and hosted a British comedy series, \u003cem>Charlie Brooker’s Weekly Wipe. \u003c/em>It was a satirical review of the week’s news — part \u003ca href=\"https://www.npr.org/2022/09/30/1126207614/trevor-noah-daily-show-late-night-tv-comedy-central\">\u003cem>The Daily Show\u003c/em>\u003c/a>\u003cem>, \u003c/em>and part, if you want to go way, way back,\u003cem> That Was the Week That Was\u003c/em>. Morgan was one of the featured players on\u003cem> Weekly Wipe, \u003c/em>playing a TV correspondent named Philomena Cunk. Cunk isn’t very well-informed, and she’s prone to mispronunciations and malapropisms, but she says what she thinks — and what she thinks is often very, very funny.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ia0ztwqCt4c'\n title='//www.youtube.com/embed/ia0ztwqCt4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the U.K., the character was then spun off into several sequels, either limited series or one-shot specials: \u003ca href=\"https://www.youtube.com/watch?v=9YeCpHoy9EQ\">\u003cem>Cunk on Shakespeare\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=MUM89s4N2BQ\">\u003cem>Cunk on Britain\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=OYQwGWYAXwM\">\u003cem>Cunk and Other Humans\u003c/em>\u003c/a>. They all have the same winning formula: Philomena is sent to real exotic locations around the world, to offer her observations and interview actual experts — all of whom are polite and befuddled in equal measure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Cunk on Earth\u003c/em> is in the same sweeping, visually stunning tradition of such historical documentaries as \u003cem>Civilisation\u003c/em> or \u003cem>Connections\u003c/em> — except the correspondent and interviewer is less Kenneth Clark or James Burke, and more \u003ca href=\"https://www.npr.org/2021/02/22/970115927/sacha-baron-cohen-on-borat-ethics-and-why-his-disguise-days-are-over\">Borat \u003c/a>or Jiminy Glick. That’s the setup — and you don’t have to have any prior exposure to Philomena Cunk to get up to speed instantly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The opening of \u003cem>Cunk on Earth\u003c/em> cuts between scenes of Philomena standing amid quiet nature and loud city streets, establishing the premise of her newest TV show. Over the show’s five episodes, she travels from Pompeii to Russia to the Pyramids in Egypt. Philomena shoots one segment in front of the \u003cem>Mona Lisa\u003c/em>, and, for another, descends into a cave to look at ancient cave paintings, just as \u003ca href=\"https://www.npr.org/2014/08/22/342471828/werner-herzog-talks-about-madmen-and-caves-in-interviews-from-fresh-air-archives\">Werner Herzog\u003c/a> did in one of his documentaries. But he was in awe. Philomena, shining her flashlight onto the crude drawings of animals and people, is so unimpressed, she turns her flashlight off.\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/5zabCBnUHLA'\n title='//www.youtube.com/embed/5zabCBnUHLA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite her lack of enthusiasm and perspective, \u003cem>Cunk on Earth\u003c/em> does contain a lot of actual information — thanks to the endlessly patient experts, who gently correct her misconceptions. Morgan’s delivery is deliciously dry, and her improv skills, reacting to what historians say in their interviews with her, are formidable. She gets a writing credit for additional material, and absolutely deserves it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Black Mirror\u003c/em> came over from England as an oddball series and an acquired taste, and quickly grew into a cult hit. This new, wider Netflix platform for \u003cem>Cunk on Earth \u003c/em>may accomplish the same thing. It’s a terrible title — but it’s a really funny show.\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=Clunky+title+aside%2C+%27Cunk+on+Earth%27+is+a+mockumentary+with+cult+classic+potential&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The brutal beating of Tyre Nichols by police officers in Memphis. Shootings in Monterey Park and Half Moon Bay, two of more than 50 mass shootings in the United States in the month of January alone, according to the \u003ca href=\"https://www.gunviolencearchive.org/\">Gun Violence Archive\u003c/a>.\u003c/p>\n\u003cp>But there is help from an unexpected source: \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>In 2017, Sesame Workshop, the non-profit educational organization behind \u003cem>Sesame Street\u003c/em>, started the \u003cem>\u003ca href=\"https://sesamestreetincommunities.org/\">Sesame Street in Communities\u003c/a>\u003c/em> program. Through resources like games, stories and videos featuring children’s favorite muppets, the program aimed to help parents and caregivers tackle difficult issues.\u003c/p>\n\u003cp>In one video, Elmo asks his Black friend Wes and Wes’s dad why they all have different colored skin. In another, a traumatized Big Bird \u003ca href=\"https://youtu.be/-z8UyREHqcg\">seeks comfort with a hug\u003c/a> from his friend, Alan.\u003c/p>\n\u003cp>https://youtu.be/-z8UyREHqcg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tools aren’t just for kids. \u003ca href=\"https://sesamestreetincommunities.org/activities/exploring-kids-circle-care/\">The website also includes guides \u003c/a>for those in the “circle of care.” “So it’s not only parents and caregivers,” says Jeanette Betancourt\u003cstrong>, \u003c/strong>the senior vice president for U.S. Social Impact at Sesame Workshop.\u003c/p>\n\u003cp>[aside postid='news_11764070']“It’s early childhood educators, the pediatric community, child welfare or social workers, health care workers, all the influencers on young children’s well-being.”\u003c/p>\n\u003cp>Betancourt says the program uses what they call the “Sesame Workshop Model” to develop new teaching material. It includes \u003ca href=\"https://www.sesameworkshop.org/what-we-do/research-and-innovation\">research and development in partnership with experts\u003c/a> from national partners such as the American Academy of Pediatrics or the American Psychological Association.\u003c/p>\n\u003cp>\u003cstrong>Talking about traumatic incidents\u003c/strong>\u003c/p>\n\u003cp>Betancourt believes that when talking to children about traumatic incidents, it is crucial to make them feel comfortable and secure.\u003c/p>\n\u003cp>Here are a few ways she recommends:\u003c/p>\n\u003cul>\n\u003cli>Provide safety: Assure the child that they are safe and taken care of. Offer comfort items and physical contact such as hugs or holding hands.\u003c/li>\n\u003cli>Keep routines: It’s important that the child doesn’t feel a big disruption in their life. That can mean having a meal together, reading together or simply walking.\u003c/li>\n\u003cli>Model healthy ways of coping: Children look to their parents for guidance, so adults need to practice self care and cope in a healthy way.\u003c/li>\n\u003cli>Spend time together: Activities such as playing games or reading stories together can make a child feel secure and comfortable.\u003c/li>\n\u003cli>Watch and listen: Pay attention to all signs of anxiety or discomfort. Ultimately, you know your child best and can see the change in behavior.\u003c/li>\n\u003c/ul>\n\u003cp>Although it may be helpful to use these tools to plan important conversations, Betancourt says that these conversations don’t have to be perfectly planned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In fact, the more you make it an everyday explanation, a moment when the little one asks a question or shows a sign of distress, it’s especially important to take advantage of these resources.”\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=Do+you+need+to+talk+to+your+kids+about+traumatic+events%3F+Sesame+Street+has+some+tips&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s early childhood educators, the pediatric community, child welfare or social workers, health care workers, all the influencers on young children’s well-being.”\u003c/p>\n\u003cp>Betancourt says the program uses what they call the “Sesame Workshop Model” to develop new teaching material. It includes \u003ca href=\"https://www.sesameworkshop.org/what-we-do/research-and-innovation\">research and development in partnership with experts\u003c/a> from national partners such as the American Academy of Pediatrics or the American Psychological Association.\u003c/p>\n\u003cp>\u003cstrong>Talking about traumatic incidents\u003c/strong>\u003c/p>\n\u003cp>Betancourt believes that when talking to children about traumatic incidents, it is crucial to make them feel comfortable and secure.\u003c/p>\n\u003cp>Here are a few ways she recommends:\u003c/p>\n\u003cul>\n\u003cli>Provide safety: Assure the child that they are safe and taken care of. Offer comfort items and physical contact such as hugs or holding hands.\u003c/li>\n\u003cli>Keep routines: It’s important that the child doesn’t feel a big disruption in their life. That can mean having a meal together, reading together or simply walking.\u003c/li>\n\u003cli>Model healthy ways of coping: Children look to their parents for guidance, so adults need to practice self care and cope in a healthy way.\u003c/li>\n\u003cli>Spend time together: Activities such as playing games or reading stories together can make a child feel secure and comfortable.\u003c/li>\n\u003cli>Watch and listen: Pay attention to all signs of anxiety or discomfort. Ultimately, you know your child best and can see the change in behavior.\u003c/li>\n\u003c/ul>\n\u003cp>Although it may be helpful to use these tools to plan important conversations, Betancourt says that these conversations don’t have to be perfectly planned.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In fact, the more you make it an everyday explanation, a moment when the little one asks a question or shows a sign of distress, it’s especially important to take advantage of these resources.”\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=Do+you+need+to+talk+to+your+kids+about+traumatic+events%3F+Sesame+Street+has+some+tips&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé’s Renaissance Tour is Ticketmaster’s Next Big Test. Fans Are Already Stressed",
"headTitle": "Beyoncé’s Renaissance Tour is Ticketmaster’s Next Big Test. Fans Are Already Stressed | KQED",
"content": "\u003cp>News of Beyoncé’s first solo tour in more than six years has her many fans celebrating — and stressing out about whether they’ll actually be able to get tickets.\u003c/p>\n\u003cp>The singer \u003ca href=\"https://tour.beyonce.com/\">announced on Wednesday\u003c/a> that she will bring her \u003ca href=\"https://www.npr.org/2023/01/18/1149719027/beyonces-grammy-nominated-renaissance-is-a-thotty-and-ethereal-work-of-art\">Grammy-nominated album\u003c/a> \u003cem>Renaissance\u003c/em> to cities across Europe and North America between May and September, opening in Stockholm and ending in New Orleans.\u003c/p>\n\u003cp>Fans have been eagerly awaiting her return to venues since \u003cem>Renaissance\u003c/em> \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">dropped last summer\u003c/a>, if not earlier.\u003c/p>\n\u003cp>https://www.instagram.com/p/CoHxOQhrTHX/\u003c/p>\n\u003cp>Beyoncé’s last solo tour was \u003cem>Lemonade\u003c/em>, though she performed with her husband Jay-Z on his \u003cem>On the Run Tour II\u003c/em> in 2018. She took to the stage for the first time since at the end of January, when she headlined a private show at the opening of a \u003ca href=\"https://www.bbc.com/news/newsbeat-64371662\">luxury hotel in Dubai\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first round of ticket sales will open to members of Beyoncé’s official fan club on Monday through Ticketmaster, which is already facing heightened scrutiny for its botched Taylor Swift presale in November.\u003c/p>\n\u003cp>[aside postid='arts_13921777']\u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">Fans and lawmakers alike\u003c/a> say Ticketmaster’s problems run much deeper than the one concern, accusing it of being a monopoly (which its executives have denied) and calling for changes in the ticketing industry.\u003c/p>\n\u003cp>The company has apologized for the Swift presale chaos, which it blamed on outsize demand and bot attacks. Live Nation President and Chief Financial Officer Joe Berchtold told lawmakers at last month’s hearing that “we need to do better and we will do better.”\u003c/p>\n\u003cp>Many are wondering (and in some cases, doubting) whether sales will go more smoothly this time around. \u003ca href=\"https://www.npr.org/sections/therecord/2014/03/17/258155902/how-sweet-it-is-to-be-loved-by-you-the-beyhive\">The BeyHive\u003c/a>, as Beyoncé’s fandom is known, is bracing for what could be another frenzy.\u003c/p>\n\u003cp>Fans are flooding social media with their simultaneous excitement and concern about the prospect of snagging tickets to the highly anticipated tour. Some are \u003ca href=\"https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\">jokingly dissing Beyoncé\u003c/a> to discourage potential buyers, others are \u003ca href=\"https://twitter.com/rgay/status/1620849849750155264?s=20&t=XZrmHKAEqUHpWGRwUOw_QQ\">poking fun at the pressure\u003c/a> Ticketmaster is facing from devotees like themselves.\u003c/p>\n\u003cp>https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\u003c/p>\n\u003cp>The stakes are high: Senators slammed Ticketmaster’s market power at the hearing and have expressed interest in pursuing antitrust legislation, while the U.S. Justice Department \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">is reported to be\u003c/a> investigating its parent company, Live Nation — which \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">Swift fans are suing\u003c/a> over allegations of fraud and antitrust violations.\u003c/p>\n\u003cp>“Has Ticketmaster learned who run the world? Girls. Beyoncé. Taylor Swift. Fans. All of us are watching,” tweeted \u003ca href=\"https://twitter.com/SenBlumenthal/status/1620992854142365697?s=20&t=2rHle2XpB4DIrNL_dLcq8g\">Sen. Richard Blumenthal\u003c/a> (D-Conn.), a vocal advocate for antitrust reform and critic of the company’s behavior (and no stranger to \u003ca href=\"https://twitter.com/NBCNews/status/1617974292351778825?s=20&t=FJAOndLIl1mKja4b24XfBw\">referencing song lyrics\u003c/a>).\u003c/p>\n\u003ch3>Ticketmaster doesn’t expect to meet demand\u003c/h3>\n\u003cp>Ticketmaster and Beyoncé also appear to be bracing for overwhelming demand, trying to prioritize her biggest fans and warning that some will inevitably be disappointed.\u003c/p>\n\u003cp>[aside postid='arts_13923059']The North American leg of the Renaissance tour is using Ticketmaster’s \u003ca href=\"https://blog.ticketmaster.com/verifiedfan-faq/\">Verified Fan\u003c/a> system and starts with an exclusive sale to BeyHive members.\u003c/p>\n\u003cp>That’s presumably anyone who signs up for Beyoncé’s mailing list through her official website (though \u003ca href=\"https://www.hitc.com/en-gb/2023/02/02/beyhive-member-sign-up-page-disappears-as-beyonce-fans-seek-out-presale-tickets/\">some tweeted\u003c/a> that the signup page had disappeared from the site after the tour announcement).\u003c/p>\n\u003cp>The Verified Fan system aims to get tickets to real people and away from bots and professional resellers, by having fans register in advance for their preferred shows and vetting them individually.\u003c/p>\n\u003cp>But just because you’re verified doesn’t mean you’ll get a ticket. When demand is high, the company uses a lottery system to determine who gets an access code for the sale and who gets put on a waitlist.\u003c/p>\n\u003cp>“We expect there will be more demand than there are tickets available and a lottery-style process will determine which registered Verified Fans receive a unique access code and which are put on the waitlist,” \u003ca href=\"https://beyonce.livenation.com/\">Ticketmaster says\u003c/a> of Beyoncé’s tour.\u003c/p>\n\u003ch3>Taylor Swift’s Eras Tour wasn’t Ticketmaster’s first controversy\u003c/h3>\n\u003cp>Ticketmaster’s Renaissance tour warning has echoes in the \u003ca href=\"https://business.ticketmaster.com/business-solutions/taylor-swift-the-eras-tour-onsale-explained/\">public apology\u003c/a> its executives issued after Swift’s Eras Tour presale.\u003c/p>\n\u003cp>At the time, it said more than 3.5 million people registered as verified fans, with 1.5 million chosen to buy tickets and the other 2 million placed on the waiting list. It sold a record 2 million tickets on the first day of presale, but ended up experiencing more technical issues on the second day before canceling the general sale altogether.\u003c/p>\n\u003cp>[aside postid='arts_13861791']Swift said in a statement of her own that she had been assured multiple times the company was prepared for the demand.\u003c/p>\n\u003cp>“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” wrote Swift, who has been otherwise quiet about the issue (while her fans have been extremely vocal).\u003c/p>\n\u003cp>While company executives blamed bots, Ticketmaster’s critics say their issues with the company go far beyond what happened in November. Artists like Bad Bunny, BTS, Bruce Springsteen and Harry Styles have had issues with ticketing too, Sen. Amy Klobuchar, D-Minn., \u003ca href=\"https://www.npr.org/2023/01/24/1150942797/senate-panel-hearing-will-look-into-ticketmasters-dominance-in-live-entertainmen\">told \u003cem>Morning Edition\u003c/em>\u003c/a> before the hearing last month.\u003c/p>\n\u003cp>At the hearing, lawmakers from both parties, smaller entertainment company executives and a musician spoke about how the lack of competition in the ticketing industry hurts artists as well as fans. They fear that will be the case as long as Live Nation remains both the dominant concert promoter and ticket platform in the U.S.\u003c/p>\n\u003cp>Beyoncé fans “have reason to be concerned,” says Daniel Avital, chief strategy officer for CHEQ — a cybersecurity company focused on protecting businesses from bots.\u003c/p>\n\u003cp>“If a scalping attack of these proportions occurred once on Ticketmaster, it is likely to occur again,” unless more robust security measures are put in place, he told NPR via email.\u003c/p>\n\u003ch3>What to know if you’re looking for tickets\u003c/h3>\n\u003cp>Ticketmaster seems to be running things a little bit differently this time.\u003c/p>\n\u003cp>It’s divided registration into three groups of cities (though it says people can register for multiple groups). Each has its own deadline to register for presale tickets, starting Thursday night and ending Feb. 16.\u003c/p>\n\u003cp>[aside postid='arts_13841293']There are other steps fans can take to try to up their odds. Citi cardmembers can access presale tickets by registering with their credit or debit card number, and members of the Verizon Up rewards program can participate \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">through its website\u003c/a>.\u003c/p>\n\u003cp>The Points Guy \u003ca href=\"https://thepointsguy.com/news/presale-tickets-beyonce-tour/\">offers tips\u003c/a> for anyone trying to snag presale tickets, including: add your eligible card to your Ticketmaster account ahead of time, sign in early and from a strong Wi-Fi network if possible and only refresh the page in very limited circumstances.\u003c/p>\n\u003cp>If you feel exhausted at the thought of strategizing, you’re not alone. Music writer Corbin Reiff put it this way \u003ca href=\"https://twitter.com/CorbinReiff/status/1620834530889449472?s=20&t=8Ag60jwMthCER99nQeGDnw\">in a tweet\u003c/a>:\u003c/p>\n\u003cp>“Hey, remember when concert tour announcements were exciting news drops instead of harbingers of an impossibly complicated and bewilderingly expensive buying process that ruins the entire experience before it ever kicks off?” he wrote, thanking Ticketmaster sarcastically.\u003c/p>\n\u003cp>https://twitter.com/CorbinReiff/status/1620834530889449472\u003c/p>\n\u003ch3>Dates and prices may change\u003c/h3>\n\u003cp>It’s not yet clear how much North American tour tickets will cost, and it’s worth remembering that Ticketmaster’s controversial “\u003ca href=\"https://www.gobankingrates.com/saving-money/entertainment/what-ticketmasters-dynamic-pricing-means-for-your-wallet/\">dynamic pricing” model\u003c/a> adjusts the price of tickets based on consumer demand.\u003c/p>\n\u003cp>The first tickets for Beyoncé’s five United Kingdom dates went on sale Thursday, and the \u003ca href=\"https://www.bbc.com/news/entertainment-arts-64496382\">BBC reports\u003c/a> that standard prices were roughly the same as the 2018 tour.\u003c/p>\n\u003cp>It said customers of the telecommunications provider O2 were the first to get access, and some reported problems with its app and website. People who did buy tickets reported paying between the equivalent of $68 to $245 for standard tickets and up to nearly $2,940 for VIP “on stage” seats.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The U.S. and Canada are next. Be sure to double check the dates and locations of tour stops, as \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/02/01/beyonce-renaissance-tour-tickets-verified-fan-presale/11162728002/\">\u003cem>USA Today\u003c/em> reports\u003c/a> some have changed (and fans are speculating — and hoping — on Twitter that more may be added).\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=Beyonc%C3%A9%27s+Renaissance+tour+is+Ticketmaster%27s+next+big+test.+Fans+are+already+stressed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>News of Beyoncé’s first solo tour in more than six years has her many fans celebrating — and stressing out about whether they’ll actually be able to get tickets.\u003c/p>\n\u003cp>The singer \u003ca href=\"https://tour.beyonce.com/\">announced on Wednesday\u003c/a> that she will bring her \u003ca href=\"https://www.npr.org/2023/01/18/1149719027/beyonces-grammy-nominated-renaissance-is-a-thotty-and-ethereal-work-of-art\">Grammy-nominated album\u003c/a> \u003cem>Renaissance\u003c/em> to cities across Europe and North America between May and September, opening in Stockholm and ending in New Orleans.\u003c/p>\n\u003cp>Fans have been eagerly awaiting her return to venues since \u003cem>Renaissance\u003c/em> \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">dropped last summer\u003c/a>, if not earlier.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé’s last solo tour was \u003cem>Lemonade\u003c/em>, though she performed with her husband Jay-Z on his \u003cem>On the Run Tour II\u003c/em> in 2018. She took to the stage for the first time since at the end of January, when she headlined a private show at the opening of a \u003ca href=\"https://www.bbc.com/news/newsbeat-64371662\">luxury hotel in Dubai\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first round of ticket sales will open to members of Beyoncé’s official fan club on Monday through Ticketmaster, which is already facing heightened scrutiny for its botched Taylor Swift presale in November.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\">Fans and lawmakers alike\u003c/a> say Ticketmaster’s problems run much deeper than the one concern, accusing it of being a monopoly (which its executives have denied) and calling for changes in the ticketing industry.\u003c/p>\n\u003cp>The company has apologized for the Swift presale chaos, which it blamed on outsize demand and bot attacks. Live Nation President and Chief Financial Officer Joe Berchtold told lawmakers at last month’s hearing that “we need to do better and we will do better.”\u003c/p>\n\u003cp>Many are wondering (and in some cases, doubting) whether sales will go more smoothly this time around. \u003ca href=\"https://www.npr.org/sections/therecord/2014/03/17/258155902/how-sweet-it-is-to-be-loved-by-you-the-beyhive\">The BeyHive\u003c/a>, as Beyoncé’s fandom is known, is bracing for what could be another frenzy.\u003c/p>\n\u003cp>Fans are flooding social media with their simultaneous excitement and concern about the prospect of snagging tickets to the highly anticipated tour. Some are \u003ca href=\"https://twitter.com/TheHilaryBuff/status/1620617690514866179?s=20&t=mbYp1cXIFlF7JpIHQTk9RQ\">jokingly dissing Beyoncé\u003c/a> to discourage potential buyers, others are \u003ca href=\"https://twitter.com/rgay/status/1620849849750155264?s=20&t=XZrmHKAEqUHpWGRwUOw_QQ\">poking fun at the pressure\u003c/a> Ticketmaster is facing from devotees like themselves.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The stakes are high: Senators slammed Ticketmaster’s market power at the hearing and have expressed interest in pursuing antitrust legislation, while the U.S. Justice Department \u003ca href=\"https://www.nytimes.com/2022/11/18/technology/live-nation-ticketmaster-investigation-taylor-swift.html\">is reported to be\u003c/a> investigating its parent company, Live Nation — which \u003ca href=\"https://www.npr.org/2022/12/06/1140968805/taylor-swift-fans-ticketmaster-lawsuit\">Swift fans are suing\u003c/a> over allegations of fraud and antitrust violations.\u003c/p>\n\u003cp>“Has Ticketmaster learned who run the world? Girls. Beyoncé. Taylor Swift. Fans. All of us are watching,” tweeted \u003ca href=\"https://twitter.com/SenBlumenthal/status/1620992854142365697?s=20&t=2rHle2XpB4DIrNL_dLcq8g\">Sen. Richard Blumenthal\u003c/a> (D-Conn.), a vocal advocate for antitrust reform and critic of the company’s behavior (and no stranger to \u003ca href=\"https://twitter.com/NBCNews/status/1617974292351778825?s=20&t=FJAOndLIl1mKja4b24XfBw\">referencing song lyrics\u003c/a>).\u003c/p>\n\u003ch3>Ticketmaster doesn’t expect to meet demand\u003c/h3>\n\u003cp>Ticketmaster and Beyoncé also appear to be bracing for overwhelming demand, trying to prioritize her biggest fans and warning that some will inevitably be disappointed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The North American leg of the Renaissance tour is using Ticketmaster’s \u003ca href=\"https://blog.ticketmaster.com/verifiedfan-faq/\">Verified Fan\u003c/a> system and starts with an exclusive sale to BeyHive members.\u003c/p>\n\u003cp>That’s presumably anyone who signs up for Beyoncé’s mailing list through her official website (though \u003ca href=\"https://www.hitc.com/en-gb/2023/02/02/beyhive-member-sign-up-page-disappears-as-beyonce-fans-seek-out-presale-tickets/\">some tweeted\u003c/a> that the signup page had disappeared from the site after the tour announcement).\u003c/p>\n\u003cp>The Verified Fan system aims to get tickets to real people and away from bots and professional resellers, by having fans register in advance for their preferred shows and vetting them individually.\u003c/p>\n\u003cp>But just because you’re verified doesn’t mean you’ll get a ticket. When demand is high, the company uses a lottery system to determine who gets an access code for the sale and who gets put on a waitlist.\u003c/p>\n\u003cp>“We expect there will be more demand than there are tickets available and a lottery-style process will determine which registered Verified Fans receive a unique access code and which are put on the waitlist,” \u003ca href=\"https://beyonce.livenation.com/\">Ticketmaster says\u003c/a> of Beyoncé’s tour.\u003c/p>\n\u003ch3>Taylor Swift’s Eras Tour wasn’t Ticketmaster’s first controversy\u003c/h3>\n\u003cp>Ticketmaster’s Renaissance tour warning has echoes in the \u003ca href=\"https://business.ticketmaster.com/business-solutions/taylor-swift-the-eras-tour-onsale-explained/\">public apology\u003c/a> its executives issued after Swift’s Eras Tour presale.\u003c/p>\n\u003cp>At the time, it said more than 3.5 million people registered as verified fans, with 1.5 million chosen to buy tickets and the other 2 million placed on the waiting list. It sold a record 2 million tickets on the first day of presale, but ended up experiencing more technical issues on the second day before canceling the general sale altogether.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Swift said in a statement of her own that she had been assured multiple times the company was prepared for the demand.\u003c/p>\n\u003cp>“It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse,” wrote Swift, who has been otherwise quiet about the issue (while her fans have been extremely vocal).\u003c/p>\n\u003cp>While company executives blamed bots, Ticketmaster’s critics say their issues with the company go far beyond what happened in November. Artists like Bad Bunny, BTS, Bruce Springsteen and Harry Styles have had issues with ticketing too, Sen. Amy Klobuchar, D-Minn., \u003ca href=\"https://www.npr.org/2023/01/24/1150942797/senate-panel-hearing-will-look-into-ticketmasters-dominance-in-live-entertainmen\">told \u003cem>Morning Edition\u003c/em>\u003c/a> before the hearing last month.\u003c/p>\n\u003cp>At the hearing, lawmakers from both parties, smaller entertainment company executives and a musician spoke about how the lack of competition in the ticketing industry hurts artists as well as fans. They fear that will be the case as long as Live Nation remains both the dominant concert promoter and ticket platform in the U.S.\u003c/p>\n\u003cp>Beyoncé fans “have reason to be concerned,” says Daniel Avital, chief strategy officer for CHEQ — a cybersecurity company focused on protecting businesses from bots.\u003c/p>\n\u003cp>“If a scalping attack of these proportions occurred once on Ticketmaster, it is likely to occur again,” unless more robust security measures are put in place, he told NPR via email.\u003c/p>\n\u003ch3>What to know if you’re looking for tickets\u003c/h3>\n\u003cp>Ticketmaster seems to be running things a little bit differently this time.\u003c/p>\n\u003cp>It’s divided registration into three groups of cities (though it says people can register for multiple groups). Each has its own deadline to register for presale tickets, starting Thursday night and ending Feb. 16.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are other steps fans can take to try to up their odds. Citi cardmembers can access presale tickets by registering with their credit or debit card number, and members of the Verizon Up rewards program can participate \u003ca href=\"https://www.verizon.com/featured/verizon-up/\">through its website\u003c/a>.\u003c/p>\n\u003cp>The Points Guy \u003ca href=\"https://thepointsguy.com/news/presale-tickets-beyonce-tour/\">offers tips\u003c/a> for anyone trying to snag presale tickets, including: add your eligible card to your Ticketmaster account ahead of time, sign in early and from a strong Wi-Fi network if possible and only refresh the page in very limited circumstances.\u003c/p>\n\u003cp>If you feel exhausted at the thought of strategizing, you’re not alone. Music writer Corbin Reiff put it this way \u003ca href=\"https://twitter.com/CorbinReiff/status/1620834530889449472?s=20&t=8Ag60jwMthCER99nQeGDnw\">in a tweet\u003c/a>:\u003c/p>\n\u003cp>“Hey, remember when concert tour announcements were exciting news drops instead of harbingers of an impossibly complicated and bewilderingly expensive buying process that ruins the entire experience before it ever kicks off?” he wrote, thanking Ticketmaster sarcastically.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Dates and prices may change\u003c/h3>\n\u003cp>It’s not yet clear how much North American tour tickets will cost, and it’s worth remembering that Ticketmaster’s controversial “\u003ca href=\"https://www.gobankingrates.com/saving-money/entertainment/what-ticketmasters-dynamic-pricing-means-for-your-wallet/\">dynamic pricing” model\u003c/a> adjusts the price of tickets based on consumer demand.\u003c/p>\n\u003cp>The first tickets for Beyoncé’s five United Kingdom dates went on sale Thursday, and the \u003ca href=\"https://www.bbc.com/news/entertainment-arts-64496382\">BBC reports\u003c/a> that standard prices were roughly the same as the 2018 tour.\u003c/p>\n\u003cp>It said customers of the telecommunications provider O2 were the first to get access, and some reported problems with its app and website. People who did buy tickets reported paying between the equivalent of $68 to $245 for standard tickets and up to nearly $2,940 for VIP “on stage” seats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The U.S. and Canada are next. Be sure to double check the dates and locations of tour stops, as \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2023/02/01/beyonce-renaissance-tour-tickets-verified-fan-presale/11162728002/\">\u003cem>USA Today\u003c/em> reports\u003c/a> some have changed (and fans are speculating — and hoping — on Twitter that more may be added).\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=Beyonc%C3%A9%27s+Renaissance+tour+is+Ticketmaster%27s+next+big+test.+Fans+are+already+stressed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "It’s Black History Month. Here Are 3 Things to Know About the Annual Celebration",
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"content": "\u003cp>February marks Black History Month, a tradition that got its start in the Jim Crow era and was officially recognized in 1976 as part of the nation’s bicentennial celebrations. It aims to honor the contributions that African Americans have made and to recognize their sacrifices.\u003c/p>\n\u003cp>Here are three things to know about Black History Month:\u003c/p>\n\u003ch3>It was Negro History Week before it was Black History Month\u003c/h3>\n\u003cp>In 1926, \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/carter-g-woodson\">Carter G. Woodson\u003c/a>, the scholar often referred to as the “father of Black history,” established Negro History Week to focus attention on Black contributions to civilization. According to the NAACP, Woodson — at the time only the second Black American after W.E.B. Du Bois to earn a doctorate from Harvard University — “fervently believed that Black people should be proud of their heritage and [that] all Americans should understand the largely overlooked achievements of Black Americans.”\u003c/p>\n\u003cp>Woodson, the son of former enslaved people, famously \u003ca href=\"https://www.williamjames.edu/news/Why-We-Celebrate-Black-History-Month.html\">said\u003c/a>: “If a race has no history, if it has no worthwhile tradition, it becomes a negligible factor in the thought of the world, and it stands in danger of being exterminated.”\u003c/p>\n\u003cp>Woodson chose a week in February because of Abraham Lincoln, whose birthday was Feb. 12, and Frederick Douglass, who was born enslaved and did not know his actual birth date, but chose to celebrate it on Feb. 14.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Those two people were central to helping to afford Black people the experience of freedom that they have now,” says W. Marvin Dulaney, president of the Association for the Study of African American Life and History (\u003ca href=\"https://asalh.org/\">ASALH\u003c/a>), which Woodson founded in 1915 and today is the official promoter of Black History Month.\u003c/p>\n\u003cp>In the decades after the Civil War and through \u003ca href=\"https://www.npr.org/sections/codeswitch/2019/07/27/744130358/red-summer-in-chicago-100-years-after-the-race-riots\">the racial violence that erupted across the country in the years following World War I\u003c/a>, there was a concerted effort to repress the teaching of Black history.\u003c/p>\n\u003cp>[aside postid='arts_13908784']“In the South, they tried to suppress Black history or African American history in the public schools,” Dulaney says, “particularly about things like Reconstruction and slavery, literally distorting the curriculum.”\u003c/p>\n\u003cp>At the university level, Black studies programs were almost nonexistent, he says. “California was the first state to actually mandate Black history in 1951 for the public schools.”\u003c/p>\n\u003cp>Largely as a result of the civil rights and Black consciousness movements of the 1960s, “you saw an uptick in Black history courses,” says LaGarrett King, an associate professor of social studies education at the University at Buffalo.\u003c/p>\n\u003cp>Across the country, public schools “created all these courses and mandates for Black history,” unofficially creating a Black History Month, King says.\u003c/p>\n\u003cfigure id=\"attachment_13924582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924582\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-800x527.jpg\" alt=\"\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-1536x1012.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Civil rights leader Martin Luther King (C) waves to supporters on the Mall in Washington DC (Washington Monument in background) during 1963’s ‘March on Washington.’ \u003ccite>(AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Black press also helped push the idea, says Marcus Hunter, a sociology professor at the University of California, Los Angeles.\u003c/p>\n\u003cp>“\u003cem>The Chicago Defender\u003c/em>, the \u003cem>Philadelphia Tribune\u003c/em>, the \u003cem>Baltimore Afro-American\u003c/em> … they all started to say that this is something we’re celebrating,” Hunter says.\u003c/p>\n\u003cp>[aside postid='arts_13909125']By 1976, it became official, with President Gerald R. Ford \u003ca href=\"https://www.fordlibrarymuseum.gov/library/speeches/760074.htm\">declaring\u003c/a> February as Black History Month and calling on the public to “seize the opportunity to honor the too-often neglected accomplishments of Black Americans in every area of endeavor throughout our history.”\u003c/p>\n\u003cp>Today, Black History Month is also celebrated in \u003ca href=\"https://www.canada.ca/en/canadian-heritage/campaigns/black-history-month/about.html\">Canada\u003c/a> every February and the \u003ca href=\"https://www.creativesupport.co.uk/the-history-of-black-history-month/\">United Kingdom\u003c/a> in October.\u003c/p>\n\u003ch3>There’s a new theme every year\u003c/h3>\n\u003cp>Each year, the ASALH chooses a different theme for Black History Month. This year, the theme is “Black Resistance.”\u003c/p>\n\u003cp>“African Americans have resisted historic and ongoing oppression, in all forms, especially the racial terrorism of lynching, racial pogroms, and police killings since our arrival upon these shores,” the ASALH says of \u003ca href=\"https://asalh.org/black-history-themes/\">this year’s theme\u003c/a>. “These efforts have been to advocate for a dignified self-determined life in a just democratic society in the United States and beyond the United States political jurisdiction.”\u003c/p>\n\u003cp>Dulaney says this year’s theme was chosen, in part, because of the current politically charged environment around race.\u003c/p>\n\u003cp>[aside postid='arts_13892105']He calls efforts in states like \u003ca href=\"https://www.npr.org/2023/01/22/1150259944/florida-rejects-ap-class-african-american-studies\">Florida\u003c/a>, which recently rejected a new Advanced Placement course covering African American studies, and\u003ca href=\"https://apnews.com/article/education-alabama-race-and-ethnicity-5ed4c96f5ed24ece30eac7fc5360ecbd#:~:text=(AP)%20%E2%80%94%20The%20Alabama%20State,about%20race%20in%20the%20classroom.\"> Alabama\u003c/a>, where the State Board of Education has voted to limit how educators can talk about race in the classroom, “a strong retrenchment” against coming to terms with Black history. In light of that, the theme seemed appropriate this year, Dulaney says.\u003c/p>\n\u003cp>King acknowledges that some people might interpret this year’s theme as politically provocative, but it shouldn’t be seen that way. Rather, it’s an effort to reframe the conversation about Black history around a theme of empowerment, he says.\u003c/p>\n\u003cp>“With resistance there is an implied understanding of oppression, and it seems to be a segment of the population who do not want to admit those historical facts,” he says. “Yet, resistance helps us understand the power that Black people have in terms of their historical realities, which counters the concept of victimhood that many say drives Black History education.”\u003c/p>\n\u003ch3>Recent controversies over how race is taught echo a time when Black history was often ignored\u003c/h3>\n\u003cp>For Dulaney, the culture wars playing out across the country over how students learn about race feel like a case of history repeating itself.\u003c/p>\n\u003cp>For many, recent events — the police killings of \u003ca href=\"https://www.npr.org/2021/03/13/973983947/a-year-after-breonna-taylors-killing-family-says-theres-no-accountability\">Breonna Taylor\u003c/a> and George Floyd, for example, and the ongoing controversy surrounding critical race theory, an academic framework stating that people who are white have benefited from ingrained racism in American institutions — look like a recurring pattern, he says.\u003c/p>\n\u003cp>“I grew up in Ohio and we didn’t learn about a single African or African American man or woman who had ever done anything in history,” the 72-year-old Dulaney says.\u003c/p>\n\u003cp>[aside postid='arts_13892820']“Starting in the ‘60s, through the ‘70s, we were very successful in integrating African American history of culture into the curriculum,” he says.\u003c/p>\n\u003cp>However, “now here we are back, having to push that agenda again … [against those] trying to suppress the teaching of African American history and culture.”\u003c/p>\n\u003cp>King thinks the current controversy surrounding critical race theory will die down. “My personal feelings are that they’ll find another politically manufactured outrage and move on to the next thing,” he says.\u003c/p>\n\u003cp>UCLA’s Hunter thinks that debate is indicative of where the country is right now. What it really says is “there’s a lot of work to still be done.”\u003c/p>\n\u003cp>However, Black History Month has been and can continue to be a force for better understanding.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It offers a certain amount of optimism about what is possible if people actually focus on the educational importance of it,” he says.\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=It%27s+Black+History+Month.+Here+are+3+things+to+know+about+the+annual+celebration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>February marks Black History Month, a tradition that got its start in the Jim Crow era and was officially recognized in 1976 as part of the nation’s bicentennial celebrations. It aims to honor the contributions that African Americans have made and to recognize their sacrifices.\u003c/p>\n\u003cp>Here are three things to know about Black History Month:\u003c/p>\n\u003ch3>It was Negro History Week before it was Black History Month\u003c/h3>\n\u003cp>In 1926, \u003ca href=\"https://naacp.org/find-resources/history-explained/civil-rights-leaders/carter-g-woodson\">Carter G. Woodson\u003c/a>, the scholar often referred to as the “father of Black history,” established Negro History Week to focus attention on Black contributions to civilization. According to the NAACP, Woodson — at the time only the second Black American after W.E.B. Du Bois to earn a doctorate from Harvard University — “fervently believed that Black people should be proud of their heritage and [that] all Americans should understand the largely overlooked achievements of Black Americans.”\u003c/p>\n\u003cp>Woodson, the son of former enslaved people, famously \u003ca href=\"https://www.williamjames.edu/news/Why-We-Celebrate-Black-History-Month.html\">said\u003c/a>: “If a race has no history, if it has no worthwhile tradition, it becomes a negligible factor in the thought of the world, and it stands in danger of being exterminated.”\u003c/p>\n\u003cp>Woodson chose a week in February because of Abraham Lincoln, whose birthday was Feb. 12, and Frederick Douglass, who was born enslaved and did not know his actual birth date, but chose to celebrate it on Feb. 14.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“In the South, they tried to suppress Black history or African American history in the public schools,” Dulaney says, “particularly about things like Reconstruction and slavery, literally distorting the curriculum.”\u003c/p>\n\u003cp>At the university level, Black studies programs were almost nonexistent, he says. “California was the first state to actually mandate Black history in 1951 for the public schools.”\u003c/p>\n\u003cp>Largely as a result of the civil rights and Black consciousness movements of the 1960s, “you saw an uptick in Black history courses,” says LaGarrett King, an associate professor of social studies education at the University at Buffalo.\u003c/p>\n\u003cp>Across the country, public schools “created all these courses and mandates for Black history,” unofficially creating a Black History Month, King says.\u003c/p>\n\u003cfigure id=\"attachment_13924582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924582\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-800x527.jpg\" alt=\"\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214-1536x1012.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-176910681_custom-73d60c53d3e0848609a14c4255b4b7db7f9a4dc8-scaled-e1675277909214.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Civil rights leader Martin Luther King (C) waves to supporters on the Mall in Washington DC (Washington Monument in background) during 1963’s ‘March on Washington.’ \u003ccite>(AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Black press also helped push the idea, says Marcus Hunter, a sociology professor at the University of California, Los Angeles.\u003c/p>\n\u003cp>“\u003cem>The Chicago Defender\u003c/em>, the \u003cem>Philadelphia Tribune\u003c/em>, the \u003cem>Baltimore Afro-American\u003c/em> … they all started to say that this is something we’re celebrating,” Hunter says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By 1976, it became official, with President Gerald R. Ford \u003ca href=\"https://www.fordlibrarymuseum.gov/library/speeches/760074.htm\">declaring\u003c/a> February as Black History Month and calling on the public to “seize the opportunity to honor the too-often neglected accomplishments of Black Americans in every area of endeavor throughout our history.”\u003c/p>\n\u003cp>Today, Black History Month is also celebrated in \u003ca href=\"https://www.canada.ca/en/canadian-heritage/campaigns/black-history-month/about.html\">Canada\u003c/a> every February and the \u003ca href=\"https://www.creativesupport.co.uk/the-history-of-black-history-month/\">United Kingdom\u003c/a> in October.\u003c/p>\n\u003ch3>There’s a new theme every year\u003c/h3>\n\u003cp>Each year, the ASALH chooses a different theme for Black History Month. This year, the theme is “Black Resistance.”\u003c/p>\n\u003cp>“African Americans have resisted historic and ongoing oppression, in all forms, especially the racial terrorism of lynching, racial pogroms, and police killings since our arrival upon these shores,” the ASALH says of \u003ca href=\"https://asalh.org/black-history-themes/\">this year’s theme\u003c/a>. “These efforts have been to advocate for a dignified self-determined life in a just democratic society in the United States and beyond the United States political jurisdiction.”\u003c/p>\n\u003cp>Dulaney says this year’s theme was chosen, in part, because of the current politically charged environment around race.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He calls efforts in states like \u003ca href=\"https://www.npr.org/2023/01/22/1150259944/florida-rejects-ap-class-african-american-studies\">Florida\u003c/a>, which recently rejected a new Advanced Placement course covering African American studies, and\u003ca href=\"https://apnews.com/article/education-alabama-race-and-ethnicity-5ed4c96f5ed24ece30eac7fc5360ecbd#:~:text=(AP)%20%E2%80%94%20The%20Alabama%20State,about%20race%20in%20the%20classroom.\"> Alabama\u003c/a>, where the State Board of Education has voted to limit how educators can talk about race in the classroom, “a strong retrenchment” against coming to terms with Black history. In light of that, the theme seemed appropriate this year, Dulaney says.\u003c/p>\n\u003cp>King acknowledges that some people might interpret this year’s theme as politically provocative, but it shouldn’t be seen that way. Rather, it’s an effort to reframe the conversation about Black history around a theme of empowerment, he says.\u003c/p>\n\u003cp>“With resistance there is an implied understanding of oppression, and it seems to be a segment of the population who do not want to admit those historical facts,” he says. “Yet, resistance helps us understand the power that Black people have in terms of their historical realities, which counters the concept of victimhood that many say drives Black History education.”\u003c/p>\n\u003ch3>Recent controversies over how race is taught echo a time when Black history was often ignored\u003c/h3>\n\u003cp>For Dulaney, the culture wars playing out across the country over how students learn about race feel like a case of history repeating itself.\u003c/p>\n\u003cp>For many, recent events — the police killings of \u003ca href=\"https://www.npr.org/2021/03/13/973983947/a-year-after-breonna-taylors-killing-family-says-theres-no-accountability\">Breonna Taylor\u003c/a> and George Floyd, for example, and the ongoing controversy surrounding critical race theory, an academic framework stating that people who are white have benefited from ingrained racism in American institutions — look like a recurring pattern, he says.\u003c/p>\n\u003cp>“I grew up in Ohio and we didn’t learn about a single African or African American man or woman who had ever done anything in history,” the 72-year-old Dulaney says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Starting in the ‘60s, through the ‘70s, we were very successful in integrating African American history of culture into the curriculum,” he says.\u003c/p>\n\u003cp>However, “now here we are back, having to push that agenda again … [against those] trying to suppress the teaching of African American history and culture.”\u003c/p>\n\u003cp>King thinks the current controversy surrounding critical race theory will die down. “My personal feelings are that they’ll find another politically manufactured outrage and move on to the next thing,” he says.\u003c/p>\n\u003cp>UCLA’s Hunter thinks that debate is indicative of where the country is right now. What it really says is “there’s a lot of work to still be done.”\u003c/p>\n\u003cp>However, Black History Month has been and can continue to be a force for better understanding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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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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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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