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"content": "\u003cp>Pop star Britney Spears has been living under a legal conservatorship that has controlled every aspect of her life since 2008. For much of that time, all decisions about her personal, medical and financial situation have been completely controlled by her father, Jamie Spears, who initiated the conservatorship 13 years ago—and whom the singer has accused of exploiting her.\u003c/p>\n\u003cp>At Los Angeles Superior Court Wednesday afternoon, Judge Brenda J. Penny decided to suspend Mr. Spears as the conservator of his daughter’s estate. John Zabel, a certified public accountant, will step into that role for now.\u003c/p>\n\u003cp>With this ruling, Judge Penny granted Britney Spears’ most adamant request: to remove her father immediately. According to AP, the judge said during the hearing, “The current arrangement is untenable. It reflects a toxic environment which requires the suspension of James Spears.”\u003c/p>\n\u003cp>[aside postid='arts_13899317']Since 2019, the conservator of Ms. Spears’ person—that is, the individual looking after her personal decisions and day-to-day life—has been a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a>. (In her own court filings, Montgomery has argued that her decisions are ultimately controlled by Jamie Spears, since he is responsible for paying his daughter’s bills and expenses.)\u003c/p>\n\u003cp>In July, Spears herself spoke to the court by telephone at a hearing, asking for the conservatorship to be terminated without having to undergo any further medical evaluation. In those comments, which went viral instantly, Spears accused her father of abusing her, saying she was being exploited and “bullied” by the conservatorship—and particularly by her father.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Less than a week after Spears gave her emotional statement in court, Judge Penny \u003ca href=\"https://www.npr.org/2021/06/30/1012027100/judge-denies-britney-spears-request-father-removed-conservator\" target=\"_blank\" rel=\"noopener noreferrer\">denied\u003c/a> the singer’s request to have Jamie Spears removed as conservator of her finances. Since 2019, Jamie Spears has retained control of her estate, while a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a> has been responsible for the singer’s “person”—that is, her day-to-day life and personal decisions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13902687/britney-spears-father-has-filed-a-petition-to-end-her-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">Last month\u003c/a>, Spears’ father said in a court filing that he was willing to step down. However, he did not provide a timeline, instead stating only he would do so “when the time is right.”\u003c/p>\n\u003cp>Britney Spears’ current attorney, Mathew Rosengart, has been pushing vociferously for her father to be removed immediately, and for the conservatorship to be \u003ca href=\"https://www.npr.org/2021/09/22/1039850881/britney-spears-jamie-spears-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">terminated completely\u003c/a>. Rosengart has argued in court filings that his position has been bolstered by a raft of investigative reporting in recent months, including in two \u003cem>New York Times\u003c/em> documentaries available on Hulu: \u003cem>Framing Britney Spears\u003c/em> and \u003cem>Controlling Britney Spears\u003c/em>.\u003c/p>\n\u003cp>[aside postID='arts_13903795,pop_111253']The second \u003cem>Times \u003c/em>documentary premiered last Friday, just days before Wednesday’s hearing. It featured a former cybersecurity specialist on Spears’ security team \u003ca href=\"https://www.kqed.org/arts/13903795/britney-spears-conservatorship-documentaries\" target=\"_blank\" rel=\"noopener noreferrer\">alleging\u003c/a> that the security company for which he worked surveilled the pop star at her father’s request by installing listening devices in her bedroom at her California home and mirroring all her text and phone communications. According to the \u003ca href=\"https://www.nytimes.com/2021/09/24/arts/music/britney-spears-conservatorship-documentary.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Times\u003c/em>\u003c/a>, that surveillance captured conversations Spears had with her former attorney as well as with her children, boyfriend and mother.\u003c/p>\n\u003cp>In a court filing Monday, Rosengart wrote: “Mr. Spears has crossed unfathomable lines. While they are not evidence, the allegations warrant serious investigation, certainly by Ms. Spears as, among other things, California is a ‘two-party’ consent state.”\u003c/p>\n\u003cp>In an earlier filing, Rosengart said that over the past 13 years, the elder Spears appears to have “profited handsomely” from being his daughter’s conservator. Rosengart has also asserted that “serious questions abound concerning Mr. Spears’s potential misconduct, including conflicts of interest, conservatorship abuse and the evident dissipation of Ms. Spears’s fortune.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jamie Spears has repeatedly defended his decisions regarding his daughter and her estate. In a filing earlier this month, his lawyer, Vivian L. Thoreen wrote: “As Mr. Spears has said again and again, all he wants is what’s best for his daughter. If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Judge+Suspends+Britney+Spears%27+Dad+From+Her+Conservatorship&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>Less than a week after Spears gave her emotional statement in court, Judge Penny \u003ca href=\"https://www.npr.org/2021/06/30/1012027100/judge-denies-britney-spears-request-father-removed-conservator\" target=\"_blank\" rel=\"noopener noreferrer\">denied\u003c/a> the singer’s request to have Jamie Spears removed as conservator of her finances. Since 2019, Jamie Spears has retained control of her estate, while a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a> has been responsible for the singer’s “person”—that is, her day-to-day life and personal decisions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13902687/britney-spears-father-has-filed-a-petition-to-end-her-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">Last month\u003c/a>, Spears’ father said in a court filing that he was willing to step down. However, he did not provide a timeline, instead stating only he would do so “when the time is right.”\u003c/p>\n\u003cp>Britney Spears’ current attorney, Mathew Rosengart, has been pushing vociferously for her father to be removed immediately, and for the conservatorship to be \u003ca href=\"https://www.npr.org/2021/09/22/1039850881/britney-spears-jamie-spears-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">terminated completely\u003c/a>. Rosengart has argued in court filings that his position has been bolstered by a raft of investigative reporting in recent months, including in two \u003cem>New York Times\u003c/em> documentaries available on Hulu: \u003cem>Framing Britney Spears\u003c/em> and \u003cem>Controlling Britney Spears\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The second \u003cem>Times \u003c/em>documentary premiered last Friday, just days before Wednesday’s hearing. It featured a former cybersecurity specialist on Spears’ security team \u003ca href=\"https://www.kqed.org/arts/13903795/britney-spears-conservatorship-documentaries\" target=\"_blank\" rel=\"noopener noreferrer\">alleging\u003c/a> that the security company for which he worked surveilled the pop star at her father’s request by installing listening devices in her bedroom at her California home and mirroring all her text and phone communications. According to the \u003ca href=\"https://www.nytimes.com/2021/09/24/arts/music/britney-spears-conservatorship-documentary.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Times\u003c/em>\u003c/a>, that surveillance captured conversations Spears had with her former attorney as well as with her children, boyfriend and mother.\u003c/p>\n\u003cp>In a court filing Monday, Rosengart wrote: “Mr. Spears has crossed unfathomable lines. While they are not evidence, the allegations warrant serious investigation, certainly by Ms. Spears as, among other things, California is a ‘two-party’ consent state.”\u003c/p>\n\u003cp>In an earlier filing, Rosengart said that over the past 13 years, the elder Spears appears to have “profited handsomely” from being his daughter’s conservator. Rosengart has also asserted that “serious questions abound concerning Mr. Spears’s potential misconduct, including conflicts of interest, conservatorship abuse and the evident dissipation of Ms. Spears’s fortune.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jamie Spears has repeatedly defended his decisions regarding his daughter and her estate. In a filing earlier this month, his lawyer, Vivian L. Thoreen wrote: “As Mr. Spears has said again and again, all he wants is what’s best for his daughter. If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Judge+Suspends+Britney+Spears%27+Dad+From+Her+Conservatorship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong>\u003c/em> \u003cem>This interview includes a discussion of rape and sexual abuse\u003c/em>\u003c/p>\n\u003cp>In 2017, \u003cem>The New York Times\u003c/em> published \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">a story\u003c/a> chronicling decades of sexual harassment abuse against Hollywood producer Harvey Weinstein. Less than three years later, a Manhattan jury found Weinstein \u003ca href=\"https://www.npr.org/2020/02/24/805258433/harvey-weinstein-found-guilty-of-rape-but-acquitted-of-most-sexual-assault-charg\" target=\"_blank\" rel=\"noopener noreferrer\">guilty\u003c/a> of rape and sexual assault.\u003c/p>\n\u003cfigure id=\"attachment_13903968\" class=\"wp-caption alignright\" style=\"max-width: 431px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274.jpg\" alt=\"\" width=\"431\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274.jpg 431w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274-160x120.jpg 160w\" sizes=\"auto, (max-width: 431px) 100vw, 431px\">\u003cfigcaption class=\"wp-caption-text\">Activist Tarana Burke founded the Me Too movement in 2006 as a way for Black girls to share their stories of sexual trauma. \u003ccite>(Dougal Macarthur/Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist \u003ca href=\"https://www.npr.org/2019/02/01/689483577/tarana-burke-how-can-we-build-a-world-where-people-dont-have-to-say-me-too\" target=\"_blank\" rel=\"noopener noreferrer\">Tarana Burke\u003c/a>, the founder of the “Me Too” movement, sees a stark contrast in the timeline of Weinstein’s case and that of R&B singer R. Kelly, who dodged accusations for more than 25 years before finally being \u003ca href=\"https://www.kqed.org/arts/13903808/r-kelly-found-guilty-of-racketeering-and-sex-trafficking\" target=\"_blank\" rel=\"noopener noreferrer\">convicted\u003c/a> on Sept. 28 of sexual exploitation of a child, bribery, racketeering and sex trafficking.\u003c/p>\n\u003cp>“We are socialized to respond to the vulnerability of white women, and it’s a truth that is hard for some people to look in the face, and they feel uncomfortable when I say things like that,” she says. “But it is true. … [There’s a] stark difference in what it takes to get attention around Black women and girls.”\u003c/p>\n\u003cp>Burke has spent decades listening to Black and minority communities. She originated the phrase and concept of “Me Too” in 2006 as a way for victims of sexual violence to share their stories and connect with others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2017, when the #MeToo hashtag went viral in response to the Weinstein allegations, Burke worried that her work would be erased. She was also concerned that the women telling their stories on the internet were opening themselves up to harm.\u003c/p>\n\u003cp>“I thought, God, these people are going to cut and bleed all over the internet, which is the very worst place to be exposed and vulnerable in this moment,” she says.\u003c/p>\n\u003cp>But as she read the #MeToo stories women were sharing, she was blown away. Burke shifted her perspective to the “30,000 foot view,” and saw something much bigger than she had ever imagined unfolding. She also realized that in order to fully help women heal, she needed to tell her own “Me Too” story. She does that in the new memoir, \u003cem>Unbound: My Story of Liberation and the Birth of the Me Too Movement.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the shame she experienced after being raped at age 7, and the duality of being good or bad \u003c/strong>\u003c/p>\n\u003cp>[The shame comes from] not being able to protect yourself, and then the shame of breaking the rules. When we’re children it’s sort of cut and dry: You’re either good or you’re bad. There’s not really an in between. And when you are given a message over and over and over and over again, it says, “Don’t let anybody touch your private parts. Those are nasty things. Those are fresh things. Those are things that fast girls or bad girls do.” And you find yourself in this situation at a very young age. You’re either one or the other: You’re good or you’re bad. And there’s a lot of shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>On reading \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13875319/watch-maya-angelou-reciting-countee-cullens-poem-heritage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Maya Angelou\u003c/strong>\u003c/a>\u003cstrong>‘s \u003c/strong>\u003cstrong>\u003cem>I Know Why the Caged Bird Sings\u003c/em>\u003c/strong>\u003cstrong> and learning for the first time she wasn’t alone in her experience of sexual assault \u003c/strong>\u003c/p>\n\u003cp>[aside postid='pop_108956']It opened my mind up to the idea that, first of all, that this could happen to other people. I didn’t even think about other girls. When I read it, I thought, even then, it’s just me and Maya Angelou, because this is somebody else that this happened to, and it made me wonder why God would let something like this happen to a good girl. Because in the book, I’m perceiving her as different than me. She was a good girl. She listened to her grandma. She did what she was supposed to do. She did her work. She got her chores. Why did this happen to her? It was such a beautiful thing for me to have that connection. I felt just less alone to have a story in the world that I could even connect to.\u003c/p>\n\u003cp>\u003cstrong>On doing a lot of self work to realize that the reason why she was abused had nothing to do with her \u003c/strong>\u003c/p>\n\u003cp>I often wonder why this person picked me. It could be something that he saw in my personality. It could be any number of things, but it’s all the depravity in his mind, it had nothing to do with who I was as a child or anything that I did as a child. There’s been all kinds of research, and we’ve seen stories, even anecdotal stories of predators telling about how they pick the children that they decide to go after and why. Maybe it’s the quiet child, maybe it’s the loud child. … They all have their reasons, but none of those reasons are connected to me, none of them were connected to me being a particular type of girl this happened to, which is what I put in my mind: “I’m the type of girl this happens to.” I had to work, go through a whole bunch of steps, to take the blame from myself and put it where it rightfully belonged. Take the burden from myself and lay it at the feet of the people who actually should hold that. That took a lot of work.\u003c/p>\n\u003cp>\u003cstrong>On seeing trauma in communities of color and how Black and brown girls are labeled as “angry” \u003c/strong>\u003c/p>\n\u003cp>I think when you couple the messages that we receive from the world about who we are and how we show up and how we should be valued with this kind of abuse, that it creates this really disturbing mixture of emotions and bad thoughts … And so I think a lot of little Black and brown girls internalize it, and then we see it come out in anger and behavior and things like that. But nobody tends to ask us those questions about where that came from. So it’s just a label, “these little Black girls with these attitudes,” “these little angry Black girls.” … We don’t get the questions that say, “Well, where did this come from?” …\u003c/p>\n\u003cp>This is a child, and children aren’t born angry. They aren’t born with attitudes. Something has to happen. Something has to have affected them in order to bring that about. Obviously, it’s not only sexual trauma, but there is trauma. And knowing that there’s so much trauma in communities of color, you would think that the first place that people would go is: “What happened?”\u003c/p>\n\u003cp>\u003cstrong>On how she coped with her own shame and trauma by being an overachiever \u003c/strong>\u003c/p>\n\u003cp>I think generally we’ve gotten so many messages about what sexual violence looks like and how it shows up in young survivors, in particular, and so we look for the sad girls and the girls who might be cutting or harming themselves in some way, or the girls who retreat from society. And those are also markers. But the overachieving perfectionists, melt-down-at-getting-a-B girls are also going through something. And that’s who I was.\u003c/p>\n\u003cp>\u003cstrong>On learning how to be an organizer and an activist at a young age in the “\u003ca href=\"https://www.alabama21cclc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">21st Century\u003c/a>” program in Alabama \u003c/strong>\u003c/p>\n\u003cp>[aside postid='pop_98421']21st Century was life-changing from the moment I walked in the door and saw the young people dancing and singing freely to taking these sessions, going to these training sessions where I was literally learning to be an organizer, how to put together a campaign. … These were the first people to tell me, “You’re a leader now.” And it allowed me to exercise … a different kind of freedom to speak up and use my voice and say that my voice was valuable. And so it really just changed how I thought about myself, but also it gave me my vision of who I would be in the future. I had never seen anything like it, experienced anything like it. And I just wanted to be a part of it.\u003c/p>\n\u003cp>21st Century, the organization, was founded in Selma, Ala., and the founders were veterans of all of the civil rights movement, Black Power movement, labor movement, co-op movement. Like all of these various movements that came out of the ’60s and ’70s, these social justice movements. And so you’re no different than the young leaders in SNCC [the Student Nonviolent Coordinating Committee] in the 1960s—they were teenagers too. And [21st Century] told us stories of children, young people, who made a difference. They gave us leadership development, taught us organizing skills and sent us off into the world. I was like, “I have found my calling. This is it.” That was my tribe.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ann Marie Baldonado and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Me+Too%27+Founder+Tarana+Burke+Says+Black+Girls%27+Trauma+Shouldn%27t+Be+Ignored&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong>\u003c/em> \u003cem>This interview includes a discussion of rape and sexual abuse\u003c/em>\u003c/p>\n\u003cp>In 2017, \u003cem>The New York Times\u003c/em> published \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">a story\u003c/a> chronicling decades of sexual harassment abuse against Hollywood producer Harvey Weinstein. Less than three years later, a Manhattan jury found Weinstein \u003ca href=\"https://www.npr.org/2020/02/24/805258433/harvey-weinstein-found-guilty-of-rape-but-acquitted-of-most-sexual-assault-charg\" target=\"_blank\" rel=\"noopener noreferrer\">guilty\u003c/a> of rape and sexual assault.\u003c/p>\n\u003cfigure id=\"attachment_13903968\" class=\"wp-caption alignright\" style=\"max-width: 431px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274.jpg\" alt=\"\" width=\"431\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274.jpg 431w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/taranaburkecreditdougal-macarthur-ca71c2d95db6227ac1d2112db8262bd0a6f3a274-160x120.jpg 160w\" sizes=\"auto, (max-width: 431px) 100vw, 431px\">\u003cfigcaption class=\"wp-caption-text\">Activist Tarana Burke founded the Me Too movement in 2006 as a way for Black girls to share their stories of sexual trauma. \u003ccite>(Dougal Macarthur/Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist \u003ca href=\"https://www.npr.org/2019/02/01/689483577/tarana-burke-how-can-we-build-a-world-where-people-dont-have-to-say-me-too\" target=\"_blank\" rel=\"noopener noreferrer\">Tarana Burke\u003c/a>, the founder of the “Me Too” movement, sees a stark contrast in the timeline of Weinstein’s case and that of R&B singer R. Kelly, who dodged accusations for more than 25 years before finally being \u003ca href=\"https://www.kqed.org/arts/13903808/r-kelly-found-guilty-of-racketeering-and-sex-trafficking\" target=\"_blank\" rel=\"noopener noreferrer\">convicted\u003c/a> on Sept. 28 of sexual exploitation of a child, bribery, racketeering and sex trafficking.\u003c/p>\n\u003cp>“We are socialized to respond to the vulnerability of white women, and it’s a truth that is hard for some people to look in the face, and they feel uncomfortable when I say things like that,” she says. “But it is true. … [There’s a] stark difference in what it takes to get attention around Black women and girls.”\u003c/p>\n\u003cp>Burke has spent decades listening to Black and minority communities. She originated the phrase and concept of “Me Too” in 2006 as a way for victims of sexual violence to share their stories and connect with others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2017, when the #MeToo hashtag went viral in response to the Weinstein allegations, Burke worried that her work would be erased. She was also concerned that the women telling their stories on the internet were opening themselves up to harm.\u003c/p>\n\u003cp>“I thought, God, these people are going to cut and bleed all over the internet, which is the very worst place to be exposed and vulnerable in this moment,” she says.\u003c/p>\n\u003cp>But as she read the #MeToo stories women were sharing, she was blown away. Burke shifted her perspective to the “30,000 foot view,” and saw something much bigger than she had ever imagined unfolding. She also realized that in order to fully help women heal, she needed to tell her own “Me Too” story. She does that in the new memoir, \u003cem>Unbound: My Story of Liberation and the Birth of the Me Too Movement.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the shame she experienced after being raped at age 7, and the duality of being good or bad \u003c/strong>\u003c/p>\n\u003cp>[The shame comes from] not being able to protect yourself, and then the shame of breaking the rules. When we’re children it’s sort of cut and dry: You’re either good or you’re bad. There’s not really an in between. And when you are given a message over and over and over and over again, it says, “Don’t let anybody touch your private parts. Those are nasty things. Those are fresh things. Those are things that fast girls or bad girls do.” And you find yourself in this situation at a very young age. You’re either one or the other: You’re good or you’re bad. And there’s a lot of shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>On reading \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13875319/watch-maya-angelou-reciting-countee-cullens-poem-heritage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Maya Angelou\u003c/strong>\u003c/a>\u003cstrong>‘s \u003c/strong>\u003cstrong>\u003cem>I Know Why the Caged Bird Sings\u003c/em>\u003c/strong>\u003cstrong> and learning for the first time she wasn’t alone in her experience of sexual assault \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It opened my mind up to the idea that, first of all, that this could happen to other people. I didn’t even think about other girls. When I read it, I thought, even then, it’s just me and Maya Angelou, because this is somebody else that this happened to, and it made me wonder why God would let something like this happen to a good girl. Because in the book, I’m perceiving her as different than me. She was a good girl. She listened to her grandma. She did what she was supposed to do. She did her work. She got her chores. Why did this happen to her? It was such a beautiful thing for me to have that connection. I felt just less alone to have a story in the world that I could even connect to.\u003c/p>\n\u003cp>\u003cstrong>On doing a lot of self work to realize that the reason why she was abused had nothing to do with her \u003c/strong>\u003c/p>\n\u003cp>I often wonder why this person picked me. It could be something that he saw in my personality. It could be any number of things, but it’s all the depravity in his mind, it had nothing to do with who I was as a child or anything that I did as a child. There’s been all kinds of research, and we’ve seen stories, even anecdotal stories of predators telling about how they pick the children that they decide to go after and why. Maybe it’s the quiet child, maybe it’s the loud child. … They all have their reasons, but none of those reasons are connected to me, none of them were connected to me being a particular type of girl this happened to, which is what I put in my mind: “I’m the type of girl this happens to.” I had to work, go through a whole bunch of steps, to take the blame from myself and put it where it rightfully belonged. Take the burden from myself and lay it at the feet of the people who actually should hold that. That took a lot of work.\u003c/p>\n\u003cp>\u003cstrong>On seeing trauma in communities of color and how Black and brown girls are labeled as “angry” \u003c/strong>\u003c/p>\n\u003cp>I think when you couple the messages that we receive from the world about who we are and how we show up and how we should be valued with this kind of abuse, that it creates this really disturbing mixture of emotions and bad thoughts … And so I think a lot of little Black and brown girls internalize it, and then we see it come out in anger and behavior and things like that. But nobody tends to ask us those questions about where that came from. So it’s just a label, “these little Black girls with these attitudes,” “these little angry Black girls.” … We don’t get the questions that say, “Well, where did this come from?” …\u003c/p>\n\u003cp>This is a child, and children aren’t born angry. They aren’t born with attitudes. Something has to happen. Something has to have affected them in order to bring that about. Obviously, it’s not only sexual trauma, but there is trauma. And knowing that there’s so much trauma in communities of color, you would think that the first place that people would go is: “What happened?”\u003c/p>\n\u003cp>\u003cstrong>On how she coped with her own shame and trauma by being an overachiever \u003c/strong>\u003c/p>\n\u003cp>I think generally we’ve gotten so many messages about what sexual violence looks like and how it shows up in young survivors, in particular, and so we look for the sad girls and the girls who might be cutting or harming themselves in some way, or the girls who retreat from society. And those are also markers. But the overachieving perfectionists, melt-down-at-getting-a-B girls are also going through something. And that’s who I was.\u003c/p>\n\u003cp>\u003cstrong>On learning how to be an organizer and an activist at a young age in the “\u003ca href=\"https://www.alabama21cclc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">21st Century\u003c/a>” program in Alabama \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>21st Century was life-changing from the moment I walked in the door and saw the young people dancing and singing freely to taking these sessions, going to these training sessions where I was literally learning to be an organizer, how to put together a campaign. … These were the first people to tell me, “You’re a leader now.” And it allowed me to exercise … a different kind of freedom to speak up and use my voice and say that my voice was valuable. And so it really just changed how I thought about myself, but also it gave me my vision of who I would be in the future. I had never seen anything like it, experienced anything like it. And I just wanted to be a part of it.\u003c/p>\n\u003cp>21st Century, the organization, was founded in Selma, Ala., and the founders were veterans of all of the civil rights movement, Black Power movement, labor movement, co-op movement. Like all of these various movements that came out of the ’60s and ’70s, these social justice movements. And so you’re no different than the young leaders in SNCC [the Student Nonviolent Coordinating Committee] in the 1960s—they were teenagers too. And [21st Century] told us stories of children, young people, who made a difference. They gave us leadership development, taught us organizing skills and sent us off into the world. I was like, “I have found my calling. This is it.” That was my tribe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ann Marie Baldonado and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Me+Too%27+Founder+Tarana+Burke+Says+Black+Girls%27+Trauma+Shouldn%27t+Be+Ignored&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After more than\u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\" target=\"_blank\" rel=\"noopener noreferrer\"> 25 years of accusations\u003c/a> and a New York federal court trial that lasted seven weeks, R&B singer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> has been found guilty of charges including sexual exploitation of a child, bribery, kidnapping, racketeering and sex trafficking involving six victims. Kelly faces a possible sentence of 10 years to life in prison.\u003c/p>\n\u003cp>Kelly sat absolutely still as the foreperson gave the jury’s verdict to Judge Ann Donnelly.\u003c/p>\n\u003cp>[aside postid='arts_13901400']Federal prosecutors in the Eastern District of New York successfully proved to a jury of seven men and five women that Kelly had been the head of a criminal enterprise, whose purpose was to lure girls, boys and women to the R&B singer for his sexual gratification.\u003c/p>\n\u003cp>On top of awaiting sentencing in this New York case, Kelly will face a second federal trial on charges of child pornography and obstruction of justice in Illinois. Some of those accusations are related to a 2008 child pornography trial in Chicago, in which he was \u003ca href=\"https://www.npr.org/transcripts/91480976\" target=\"_blank\" rel=\"noopener noreferrer\">acquitted of all charges\u003c/a>.\u003c/p>\n\u003cp>Additionally, Kelly faces outstanding criminal charges in both Cook County, Ill., where he was indicted by the state attorney in\u003ca href=\"https://www.npr.org/2019/08/05/748370799/r-kelly-charged-with-two-criminal-counts-in-minnesota\" target=\"_blank\" rel=\"noopener noreferrer\"> Feb. 2019\u003c/a> for aggravated criminal sexual abuse involving four victims (three of them minors), and in Minnesota, where Mr. Kelly was charged in Aug. 2019 with engaging in prostitution with a minor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sentencing in New York is scheduled for May 4.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=R.+Kelly+Found+Guilty+Of+Racketeering+And+Sex+Trafficking&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After more than\u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\" target=\"_blank\" rel=\"noopener noreferrer\"> 25 years of accusations\u003c/a> and a New York federal court trial that lasted seven weeks, R&B singer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> has been found guilty of charges including sexual exploitation of a child, bribery, kidnapping, racketeering and sex trafficking involving six victims. Kelly faces a possible sentence of 10 years to life in prison.\u003c/p>\n\u003cp>Kelly sat absolutely still as the foreperson gave the jury’s verdict to Judge Ann Donnelly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Federal prosecutors in the Eastern District of New York successfully proved to a jury of seven men and five women that Kelly had been the head of a criminal enterprise, whose purpose was to lure girls, boys and women to the R&B singer for his sexual gratification.\u003c/p>\n\u003cp>On top of awaiting sentencing in this New York case, Kelly will face a second federal trial on charges of child pornography and obstruction of justice in Illinois. Some of those accusations are related to a 2008 child pornography trial in Chicago, in which he was \u003ca href=\"https://www.npr.org/transcripts/91480976\" target=\"_blank\" rel=\"noopener noreferrer\">acquitted of all charges\u003c/a>.\u003c/p>\n\u003cp>Additionally, Kelly faces outstanding criminal charges in both Cook County, Ill., where he was indicted by the state attorney in\u003ca href=\"https://www.npr.org/2019/08/05/748370799/r-kelly-charged-with-two-criminal-counts-in-minnesota\" target=\"_blank\" rel=\"noopener noreferrer\"> Feb. 2019\u003c/a> for aggravated criminal sexual abuse involving four victims (three of them minors), and in Minnesota, where Mr. Kelly was charged in Aug. 2019 with engaging in prostitution with a minor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Moulin Rouge! The Musical' Sashays Home With 10 Tony Awards",
"headTitle": "‘Moulin Rouge! The Musical’ Sashays Home With 10 Tony Awards | KQED",
"content": "\u003cp>\u003cem>Moulin Rouge! The Musical\u003c/em>, a jukebox adaptation of Baz Luhrmann’s hyperactive 2001 movie, won the best new musical crown at the Tony Awards on a Sunday night when Broadway looked back to honor shows shuttered by COVID-19, mourn its fallen and also look forward to welcoming audiences again.\u003c/p>\n\u003cp>The show about the goings-on in a turn-of-the-century Parisian nightclub, updated with tunes like “Single Ladies” and “Firework” alongside the big hit “Lady Marmalade,” won 10 Tonys. The record is 12, won by “The Producers.”\u003c/p>\n\u003cp>Producer Carmen Pavlovic said after what Broadway has been through the last 18 months it felt strange to be considered the best. She dedicated the award to every show that closed, opened, nearly opened or was fortunate to be reborn.\u003c/p>\n\u003cp>\u003cem>[aside postid='pop_13021']The Inheritance\u003c/em> by Matthew Lopez was named the best new play, and Charles Fuller’s \u003cem>A Soldier’s Play\u003c/em> won best play revival.\u003c/p>\n\u003cp>Lopez’s two-part, seven-hour epic uses \u003cem>Howards End\u003c/em> as a starting point for a play that looks at gay life in the early 21st century. It also yielded wins for Andrew Burnap as best actor in a play, Stephen Daldry as best director, and Lois Smith as best performance by an actress in a featured role in a play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thomas Kirdahy, a producer, dedicated the award to his late husband, the playwright Terrence McNally. Lopez, the first Latin writer to win in the category, urged more plays to be produced from the Latin community. “We have so many stories inside us aching to come out. Let us tell you our stories,” he said.\u003c/p>\n\u003cp>The pandemic-delayed telecast kicked off with an energetic performance of “You Can’t Stop the Beat” from original Broadway cast members of \u003cem>Hairspray!\u003c/em> Jennifer Holliday also took the stage to deliver an unforgettable rendition of “And I’m Telling You I’m Not Going” from the musical \u003cem>Dreamgirls\u003c/em>.\u003c/p>\n\u003cp>The singers performed for a masked and appreciative audience at a packed Winter Garden Theatre. Host Audra McDonald got a standing ovation when she took the stage. “You can’t stop the beat. The heart of New York City!” she said.\u003c/p>\n\u003cp>\u003cem>Moulin Rouge! The Musical\u003c/em> won for scenic design, costume, lighting, sound design, orchestrations and a featured acting Tony for Broadway favorite Danny Burstein. Sonya Tayeh won for choreography on her Broadway debut, and Alex Timbers won the trophy for best direction of a musical.\u003c/p>\n\u003cp>[aside postid='pop_110904']In a surprise to no one, Aaron Tveit won the award for best leading actor in a musical for \u003cem>Moulin Rouge! The Musical\u003c/em>. That’s because he was the only person nominated in the category. He thanked a long list of people, including his parents, brother, agents, manager and the cast and crew. “We are so privileged to get to do this,” he said, tearing up. “Because what we do changes peoples’ lives.”\u003c/p>\n\u003cp>Burstein, who won for featured actor in a musical and had not won six previous times, thanked the Broadway community for supporting him after the death last year of his wife, \u003ca href=\"https://apnews.com/article/rebecca-luker-danny-burstein-laura-benanti-a29cc8a28beea8eaf46b08850853b8b6\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Luker.\u003c/a> “You were there for us, whether you just sent a note or sent your love, sent your prayers—sent bagels—it meant the world to us, and it’s something I’ll never forget.”\u003c/p>\n\u003cp>David Alan Grier won featured actor in a play for his role in \u003cem>A Soldier’s Play\u003c/em>, which dissects entrenched Black-white racism as well as internal divisions in the Black military community during World War II. “To my other nominees: Tough bananas, I won,” he said. On stage, the director Kenny Leon recited the names Breonna Taylor and George Floyd, killed by police. “We will never, ever forget you.”\u003c/p>\n\u003cp>Adrienne Warren won the Tony for best leading actress in a musical for her electric turn as Tina Turner in \u003cem>Tina—The Tina Turner Musical\u003c/em>. Warren was considered the front-runner for the award thanks to becoming a one-woman fireball of energy and exhilaration. She dedicated the win to three family members she lost while playing Turner—and thanked Turner herself.\u003c/p>\n\u003cp>Mary-Louise Parker won her second best lead actress Tony Award, winning for playing a Yale professor who treasures great literature but has made no room in her life for someone to share that love with in \u003cem>The Sound Inside\u003c/em>. She thanked her dog, whom she was walking in the rain when she bumped into Mandy Greenfield from the Williamstown Theatre Festival, who told her about the play.\u003c/p>\n\u003cp>Burnap made his Broadway debut in \u003cem>The Inheritance\u003c/em>. He thanked his mom, and the University of Rhode Island and joked that he felt grateful because “I got to act for seven hours.”\u003c/p>\n\u003cp>[aside postid='arts_11682765']The sobering musical \u003cem>Jagged Little Pill\u003c/em>, which plumbs Alanis Morissette’s 1995 breakthrough album to tell a story of an American family spiraling out of control, came into the night with a leading 15 Tony nominations. It won for best book, and Lauren Patten won the award for best featured actress in a musical.\u003c/p>\n\u003cp>\u003cem>A Christmas Carol\u003c/em> cleaned up with five technical awards: scenic design of a play, costumes, lighting, sound design and score. No one from the production was on hand to accept any of the awards.\u003c/p>\n\u003cp>Members of Broadway’s royalty—Norm Lewis, Kelli O’Hara and Brian Stokes Mitchell—mourned the list of those who have died, which included icons like McNally, Harold Prince and Larry Kramer.\u003c/p>\n\u003cp>\u003cem>Slave Play\u003c/em>, Jeremy O. Harris’ ground-breaking, bracing work that mixes race, sex, taboo desires and class, earned a dozen nominations, making it the most nominated play in Tony history. But it won nothing.\u003c/p>\n\u003cp>Sunday’s show was expanded from its typical three hours to four, with McDonald handing out Tonys for the first two hours and Leslie Odom Jr. hosting a \u003cem>Broadway’s Back!\u003c/em> celebration for the second half with performances from the three top musicals.\u003c/p>\n\u003cp>The live special also included David Byrne and the cast of \u003cem>American Utopia\u003c/em> playing “Burning Down the House” to a standing and clapping crowd. Byrne told them they might not remember how to dance after so long but they were welcome to try.\u003c/p>\n\u003cp>[aside postid='arts_13903496']John Legend and the cast of \u003cem>Ain’t Too Proud\u003c/em> performed “My Girl” and “Ain’t Too Proud to Beg” and Josh Groban and Odom Jr. sang “Beautiful City” from \u003cem>Godspell\u003c/em>, dedicating it to educators. And Ben Platt and Anika Noni Rose sang “Move On” from \u003cem>Sunday in the Park with George.\u003c/em>\u003c/p>\n\u003cp>This season’s nominations were pulled from just 18 eligible plays and musicals from the 2019-2020 season, a fraction of the 34 shows the previous season. During most years, there are 26 competitive categories. This year there are 25 with several depleted ones.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The last Tony Awards ceremony was held in 2019. The virus forced Broadway theaters to abruptly close on March 12, 2020, knocking out all shows and scrambling the spring season. Several have restarted, including the so-called big three of \u003cem>Wicked\u003c/em>, \u003cem>Hamilton\u003c/em> and \u003cem>The Lion King\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit\u003c/em> \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>NPR\u003c/em>\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Moulin+Rouge%21+The+Musical%27+Sashays+Home+With+10+Tony+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Moulin Rouge! The Musical\u003c/em>, a jukebox adaptation of Baz Luhrmann’s hyperactive 2001 movie, won the best new musical crown at the Tony Awards on a Sunday night when Broadway looked back to honor shows shuttered by COVID-19, mourn its fallen and also look forward to welcoming audiences again.\u003c/p>\n\u003cp>The show about the goings-on in a turn-of-the-century Parisian nightclub, updated with tunes like “Single Ladies” and “Firework” alongside the big hit “Lady Marmalade,” won 10 Tonys. The record is 12, won by “The Producers.”\u003c/p>\n\u003cp>Producer Carmen Pavlovic said after what Broadway has been through the last 18 months it felt strange to be considered the best. She dedicated the award to every show that closed, opened, nearly opened or was fortunate to be reborn.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Inheritance\u003c/em> by Matthew Lopez was named the best new play, and Charles Fuller’s \u003cem>A Soldier’s Play\u003c/em> won best play revival.\u003c/p>\n\u003cp>Lopez’s two-part, seven-hour epic uses \u003cem>Howards End\u003c/em> as a starting point for a play that looks at gay life in the early 21st century. It also yielded wins for Andrew Burnap as best actor in a play, Stephen Daldry as best director, and Lois Smith as best performance by an actress in a featured role in a play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thomas Kirdahy, a producer, dedicated the award to his late husband, the playwright Terrence McNally. Lopez, the first Latin writer to win in the category, urged more plays to be produced from the Latin community. “We have so many stories inside us aching to come out. Let us tell you our stories,” he said.\u003c/p>\n\u003cp>The pandemic-delayed telecast kicked off with an energetic performance of “You Can’t Stop the Beat” from original Broadway cast members of \u003cem>Hairspray!\u003c/em> Jennifer Holliday also took the stage to deliver an unforgettable rendition of “And I’m Telling You I’m Not Going” from the musical \u003cem>Dreamgirls\u003c/em>.\u003c/p>\n\u003cp>The singers performed for a masked and appreciative audience at a packed Winter Garden Theatre. Host Audra McDonald got a standing ovation when she took the stage. “You can’t stop the beat. The heart of New York City!” she said.\u003c/p>\n\u003cp>\u003cem>Moulin Rouge! The Musical\u003c/em> won for scenic design, costume, lighting, sound design, orchestrations and a featured acting Tony for Broadway favorite Danny Burstein. Sonya Tayeh won for choreography on her Broadway debut, and Alex Timbers won the trophy for best direction of a musical.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a surprise to no one, Aaron Tveit won the award for best leading actor in a musical for \u003cem>Moulin Rouge! The Musical\u003c/em>. That’s because he was the only person nominated in the category. He thanked a long list of people, including his parents, brother, agents, manager and the cast and crew. “We are so privileged to get to do this,” he said, tearing up. “Because what we do changes peoples’ lives.”\u003c/p>\n\u003cp>Burstein, who won for featured actor in a musical and had not won six previous times, thanked the Broadway community for supporting him after the death last year of his wife, \u003ca href=\"https://apnews.com/article/rebecca-luker-danny-burstein-laura-benanti-a29cc8a28beea8eaf46b08850853b8b6\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Luker.\u003c/a> “You were there for us, whether you just sent a note or sent your love, sent your prayers—sent bagels—it meant the world to us, and it’s something I’ll never forget.”\u003c/p>\n\u003cp>David Alan Grier won featured actor in a play for his role in \u003cem>A Soldier’s Play\u003c/em>, which dissects entrenched Black-white racism as well as internal divisions in the Black military community during World War II. “To my other nominees: Tough bananas, I won,” he said. On stage, the director Kenny Leon recited the names Breonna Taylor and George Floyd, killed by police. “We will never, ever forget you.”\u003c/p>\n\u003cp>Adrienne Warren won the Tony for best leading actress in a musical for her electric turn as Tina Turner in \u003cem>Tina—The Tina Turner Musical\u003c/em>. Warren was considered the front-runner for the award thanks to becoming a one-woman fireball of energy and exhilaration. She dedicated the win to three family members she lost while playing Turner—and thanked Turner herself.\u003c/p>\n\u003cp>Mary-Louise Parker won her second best lead actress Tony Award, winning for playing a Yale professor who treasures great literature but has made no room in her life for someone to share that love with in \u003cem>The Sound Inside\u003c/em>. She thanked her dog, whom she was walking in the rain when she bumped into Mandy Greenfield from the Williamstown Theatre Festival, who told her about the play.\u003c/p>\n\u003cp>Burnap made his Broadway debut in \u003cem>The Inheritance\u003c/em>. He thanked his mom, and the University of Rhode Island and joked that he felt grateful because “I got to act for seven hours.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The sobering musical \u003cem>Jagged Little Pill\u003c/em>, which plumbs Alanis Morissette’s 1995 breakthrough album to tell a story of an American family spiraling out of control, came into the night with a leading 15 Tony nominations. It won for best book, and Lauren Patten won the award for best featured actress in a musical.\u003c/p>\n\u003cp>\u003cem>A Christmas Carol\u003c/em> cleaned up with five technical awards: scenic design of a play, costumes, lighting, sound design and score. No one from the production was on hand to accept any of the awards.\u003c/p>\n\u003cp>Members of Broadway’s royalty—Norm Lewis, Kelli O’Hara and Brian Stokes Mitchell—mourned the list of those who have died, which included icons like McNally, Harold Prince and Larry Kramer.\u003c/p>\n\u003cp>\u003cem>Slave Play\u003c/em>, Jeremy O. Harris’ ground-breaking, bracing work that mixes race, sex, taboo desires and class, earned a dozen nominations, making it the most nominated play in Tony history. But it won nothing.\u003c/p>\n\u003cp>Sunday’s show was expanded from its typical three hours to four, with McDonald handing out Tonys for the first two hours and Leslie Odom Jr. hosting a \u003cem>Broadway’s Back!\u003c/em> celebration for the second half with performances from the three top musicals.\u003c/p>\n\u003cp>The live special also included David Byrne and the cast of \u003cem>American Utopia\u003c/em> playing “Burning Down the House” to a standing and clapping crowd. Byrne told them they might not remember how to dance after so long but they were welcome to try.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>John Legend and the cast of \u003cem>Ain’t Too Proud\u003c/em> performed “My Girl” and “Ain’t Too Proud to Beg” and Josh Groban and Odom Jr. sang “Beautiful City” from \u003cem>Godspell\u003c/em>, dedicating it to educators. And Ben Platt and Anika Noni Rose sang “Move On” from \u003cem>Sunday in the Park with George.\u003c/em>\u003c/p>\n\u003cp>This season’s nominations were pulled from just 18 eligible plays and musicals from the 2019-2020 season, a fraction of the 34 shows the previous season. During most years, there are 26 competitive categories. This year there are 25 with several depleted ones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last Tony Awards ceremony was held in 2019. The virus forced Broadway theaters to abruptly close on March 12, 2020, knocking out all shows and scrambling the spring season. Several have restarted, including the so-called big three of \u003cem>Wicked\u003c/em>, \u003cem>Hamilton\u003c/em> and \u003cem>The Lion King\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit\u003c/em> \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>NPR\u003c/em>\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Moulin+Rouge%21+The+Musical%27+Sashays+Home+With+10+Tony+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "ABC's New 'Wonder Years' Succeeds By Centering a Black Family in 1968",
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"content": "\u003cp>Experienced critics know: sometimes it pays to be skeptical of TV show revivals that try to make an old series feel fresh by changing the race of the main characters.\u003c/p>\n\u003cp>But ABC’s Black-centered reimagining of TV’s classic exercise in nostalgia, \u003ca href=\"https://abc.com/shows/the-wonder-years/episode-guide/season-01/01-pilot\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Wonder Years\u003c/em>\u003c/a>\u003cem>,\u003c/em> avoids that pitfall for a simple reason. The year in which it is set, 1968, was one of the most pivotal times for Black America in recent history.\u003c/p>\n\u003cp>Think about it. Malcom X had already been assassinated. Riots over racial issues convulsed poor Black neighborhoods from New York City to Los Angeles. The Vietnam War was claiming more young brothers every year. And Black artists like Stevie Wonder, Marvin Gaye and Curtis Mayfield were trying to shrug off their buttoned-down images and bring a grittier, street-level energy to their art.\u003c/p>\n\u003cp>That’s why I was so excited to see that, in ABC’s new version of \u003cem>The Wonder Years\u003c/em>, 12-year-old Drew Williams’ father was a too-cool R&B musician who also teaches at a local college in Birmingham, Alabama. Played by \u003cem>The West Wing\u003c/em> and \u003cem>Psych\u003c/em> alum Dulé Hill, Papa Williams has a hit record on the radio and a habit of telling his family to “be cool” whenever a tense moment approaches.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZlDgPSws6Oc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pilot episode set the scene quickly, with charismatic star Don Cheadle serving as Dean’s grown-up voice, narrating the action as if he was looking back through a slender haze of nostalgia.\u003c/p>\n\u003cp>“Growing up, Mom and Dad gave me ‘the police talk,’ about how to handle yourself around cops,” Cheadle says over images of young Dean (Elisha “E.J.” Williams) riding a bike through his neighborhood, a \u003ca href=\"https://memphismusichalloffame.com/inductee/samanddave/\" target=\"_blank\" rel=\"noopener noreferrer\">Sam and Dave\u003c/a> song percolating in the background. “There was a presidential election that created a racial divide, and there was a flu pandemic that they said would kill a million people around the world. But it was 1968… and that’s the state our country was in.”\u003c/p>\n\u003cp>[aside postid='arts_13903607']Surprise! Turns out that 1968 was more like 2021 than you might think.\u003c/p>\n\u003cp>What I love most about this new \u003cem>Wonder Years\u003c/em> is how it balances coming-of-age moments which are universal for middle class Americans—bullies at school, wanting your crush to notice you, struggling not to embarrass yourself at a Little League game—with stuff that was specific to Black families like mine.\u003c/p>\n\u003cp>Dean’s dad cautions him that setting up a Little League game against a white team might not end well. When Dean asks about certain subjects his parents are talking about, he’s reprimanded with a curt command: “Stay out of grown folks’ business.” Dean has to wonder if his white teacher is racist in a way that might actually help him, and gets beat up in school for acting too white.\u003c/p>\n\u003cp>And a twist at the episode’s end brings home how different this era can be for Black folks hoping to reach toward equality in the years to come.\u003c/p>\n\u003cfigure id=\"attachment_13903781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903781\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-4-4c4a7b27573d04b6aa2a7dc57d51e7a213164b7a-800x600.jpe\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Elisha Williams as Dean Williams in ‘The Wonder Years’ reboot. \u003ccite>(Erika Doss/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A recent rewatch of the original \u003cem>Wonder Years\u003c/em> pilot from 1988, starring Fred Savage as 12-year-old Kevin Arnold and soon-to-be \u003cem>Home Alone\u003c/em> costar Daniel Stern as his grown-up voice, reveals a show positioned as a baby boomer’s manifesto. Kevin is heading into middle school struggling to balance his geeky friends, overbearing siblings, a simmering crush on a neighbor and the occasional intrusion of bigger events, including—spoiler alert—the death of a neighborhood boy drafted to serve in the Vietnam War.\u003c/p>\n\u003cp>Filled with needle drops worthy of \u003ca href=\"https://www.imdb.com/title/tt0085244/soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Big Chill\u003c/em> soundtrack\u003c/a>—\u003cem>When a Man Loves a Woman, Turn, Turn, Turn\u003c/em> and \u003cem>With a Little Help From My Friends\u003c/em> were in the pilot episode alone—the show explained the formative years of a generation reared in a suburban paradise and tempered by war in Vietnam, sliding from the Age of the Greasers to the Age of The Hippies.\u003c/p>\n\u003cp>Their world was so white it almost hurts your eyes to look at it now.\u003c/p>\n\u003cp>[aside postid='arts_13903303']One big reason changing the races of characters in a series reboot can make sense is because the adjustment can reclaim a bit of cultural space—allowing people of color to tell their own stories in a fictional world where they had previously been rendered invisible. (Though it is interesting that series star Fred Savage also serves as an executive producer for the reboot and directed the pilot episode.)\u003c/p>\n\u003cp>That’s the real reason I enjoyed the new \u003cem>Wonder Years \u003c/em>reboot so much. Here, I’m not the one trying to imagine how people like me would fit into a narrative set at such an important time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And, just maybe, the rest of America might learn a little more about its history by seeing those pivotal moments from a perspective different than their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=ABC%27s+New+%27Wonder+Years%27+Succeeds+By+Centering+A+Black+Family+In+History&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>The pilot episode set the scene quickly, with charismatic star Don Cheadle serving as Dean’s grown-up voice, narrating the action as if he was looking back through a slender haze of nostalgia.\u003c/p>\n\u003cp>“Growing up, Mom and Dad gave me ‘the police talk,’ about how to handle yourself around cops,” Cheadle says over images of young Dean (Elisha “E.J.” Williams) riding a bike through his neighborhood, a \u003ca href=\"https://memphismusichalloffame.com/inductee/samanddave/\" target=\"_blank\" rel=\"noopener noreferrer\">Sam and Dave\u003c/a> song percolating in the background. “There was a presidential election that created a racial divide, and there was a flu pandemic that they said would kill a million people around the world. But it was 1968… and that’s the state our country was in.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Surprise! Turns out that 1968 was more like 2021 than you might think.\u003c/p>\n\u003cp>What I love most about this new \u003cem>Wonder Years\u003c/em> is how it balances coming-of-age moments which are universal for middle class Americans—bullies at school, wanting your crush to notice you, struggling not to embarrass yourself at a Little League game—with stuff that was specific to Black families like mine.\u003c/p>\n\u003cp>Dean’s dad cautions him that setting up a Little League game against a white team might not end well. When Dean asks about certain subjects his parents are talking about, he’s reprimanded with a curt command: “Stay out of grown folks’ business.” Dean has to wonder if his white teacher is racist in a way that might actually help him, and gets beat up in school for acting too white.\u003c/p>\n\u003cp>And a twist at the episode’s end brings home how different this era can be for Black folks hoping to reach toward equality in the years to come.\u003c/p>\n\u003cfigure id=\"attachment_13903781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903781\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/wonder-years-4-4c4a7b27573d04b6aa2a7dc57d51e7a213164b7a-800x600.jpe\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Elisha Williams as Dean Williams in ‘The Wonder Years’ reboot. \u003ccite>(Erika Doss/ABC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A recent rewatch of the original \u003cem>Wonder Years\u003c/em> pilot from 1988, starring Fred Savage as 12-year-old Kevin Arnold and soon-to-be \u003cem>Home Alone\u003c/em> costar Daniel Stern as his grown-up voice, reveals a show positioned as a baby boomer’s manifesto. Kevin is heading into middle school struggling to balance his geeky friends, overbearing siblings, a simmering crush on a neighbor and the occasional intrusion of bigger events, including—spoiler alert—the death of a neighborhood boy drafted to serve in the Vietnam War.\u003c/p>\n\u003cp>Filled with needle drops worthy of \u003ca href=\"https://www.imdb.com/title/tt0085244/soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Big Chill\u003c/em> soundtrack\u003c/a>—\u003cem>When a Man Loves a Woman, Turn, Turn, Turn\u003c/em> and \u003cem>With a Little Help From My Friends\u003c/em> were in the pilot episode alone—the show explained the formative years of a generation reared in a suburban paradise and tempered by war in Vietnam, sliding from the Age of the Greasers to the Age of The Hippies.\u003c/p>\n\u003cp>Their world was so white it almost hurts your eyes to look at it now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One big reason changing the races of characters in a series reboot can make sense is because the adjustment can reclaim a bit of cultural space—allowing people of color to tell their own stories in a fictional world where they had previously been rendered invisible. (Though it is interesting that series star Fred Savage also serves as an executive producer for the reboot and directed the pilot episode.)\u003c/p>\n\u003cp>That’s the real reason I enjoyed the new \u003cem>Wonder Years \u003c/em>reboot so much. Here, I’m not the one trying to imagine how people like me would fit into a narrative set at such an important time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And, just maybe, the rest of America might learn a little more about its history by seeing those pivotal moments from a perspective different than their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=ABC%27s+New+%27Wonder+Years%27+Succeeds+By+Centering+A+Black+Family+In+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Let’s get this out of the way: It’s uneven.\u003c/p>\n\u003cp>There.\u003c/p>\n\u003cp>Any anthology series has episodes that work better than others. \u003cem>Star Wars: Visions\u003c/em> is an anthology series; some of its episodes work better than others.\u003c/p>\n\u003cp>Which episodes work better for you will depend entirely on what you come to the \u003cem>Star Wars\u003c/em> franchise for.\u003c/p>\n\u003cp>Is it the epic space battles? You won’t find those here. These episodes tend to tell smaller stories set on various planets—including a few that will be all-too-familiar to fans of the franchise—so if you’re a devotee of space-dogfights in space-trenches, look elsewhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Similarly, if you’re a fan of \u003cem>Star Wars\u003c/em>‘ penchant for charming rogues and daring rescues and narrow escapes—the swashbuckling derring-do that has its genesis in George Lucas’ avowed love for movie serials—keep walking.\u003c/p>\n\u003cp>[aside postid='pop_50308']But if you’re here for characters gravely intoning the hokiest of dialogue about “The Force” and “The Dark Side” and “Stretch Out With Your Feeeeeeelings”—aka, the Jedi Stuff—pull up a space-chair. This series is for you. (I count myself among this cohort, so it’s ostensibly for me, too.)\u003c/p>\n\u003cp>There’s a full-circle nature to the series: George Lucas has often talked about the \u003cem>Star Wars\u003c/em> saga’s debt to Akira Kurosowa films like \u003cem>The Seven Samurai \u003c/em>and \u003cem>The Hidden Fortress\u003c/em>.\u003c/p>\n\u003cp>Disney invited leading Japanese anime studios to tell \u003cem>Star Wars\u003c/em> stories, and largely let them go to work without forcing them to adhere to the franchise’s strict canonical timeline. This fact is responsible for the series’ best aspects—its striking visuals, and its lack of references to specific characters and events in the established \u003cem>Star Wars\u003c/em> saga.\u003c/p>\n\u003cp>First the visuals: It’s bracing to see the familiar trappings of the \u003cem>Star Wars \u003c/em>universe inflected through a different cultural aesthetic; each episode feels, appealingly, like it’s merely riffing on Ralph McQuarrie’s original \u003cem>Star Wars \u003c/em>conceptual designs that have for so long been dutifully, endlessly reiterated through films, tv shows and comics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jtAsl-0o3O0\u003c/p>\n\u003cp>It’s more than turning lightsabers into lightkatanas and calling it a day. Each episode of \u003cem>Star Wars: Visions\u003c/em> represents a fundamental and sweeping visual reimagining through an anime lens, whether that features painstakingly rendered landscapes, grim Ronin-esque Jedis, or a cute, \u003cem>Astro Boy-\u003c/em>like droid who longs to learn the ways of the Force. From the architecture of isolated hamlets and forbidding palaces to the elastic expressiveness of characters’ facial expressions, the series represents a fusion of influences with the potential to take the franchise in new directions …\u003c/p>\n\u003cp>[aside postid='pop_103268']… visually, at least.\u003c/p>\n\u003cp>But even though the creators were given free rein, they remain saddled by \u003cem>Star Wars\u003c/em>‘ strict and limited narrative conventions. Jedis are good, Sith are evil. They fight. Rather a lot. Lather, rinse, repeat.\u003c/p>\n\u003cp>One can be turned from one side to the other, sure—a couple episodes deal with this—but mostly, the vast \u003cem>Star Wars\u003c/em> galaxy is black and white (or if we’re talking lightsabers, red and blue), and if you come to it looking for anything more than tidy morality plays, you’ll spend it wandering the Tatooine deserts until you get eaten by a krayt.\u003c/p>\n\u003cp>There’s an argument to be made that by establishing characters outside the established timeline, yet having them enact very familiar, nay, \u003cem>achingly \u003c/em>familiar conflicts, the series is gesturing towards some kind of universal cycle of Sith-Jedi clashes—a kind of Ragnarok or Yuga Cycle, only with robes and rat-tails. Maybe. The simpler answer, of course, is that the franchise’s simplistic moral worldview is impossible to get out from under.\u003c/p>\n\u003cp>To be fair, animated \u003cem>Star Wars \u003c/em>series like \u003cem>Rebels \u003c/em>and \u003cem>The Clone Wars\u003c/em> managed to find some shades of space-gray in the reductively Manichean \u003cem>Star Wars \u003c/em>universe, but then, they each had several seasons to do so. Most episodes of\u003cem> Star Wars: Visions\u003c/em>, on the other hand, clock in somewhere around the 20-minute mark.\u003c/p>\n\u003cp>Which points up another limitation of the series: Though marketed as a succession of discrete “animated short films,” no episode feels dramatically complete. Instead, they resolve their immediate storylines and conclude by gesturing towards larger, unresolved conflicts—the villain escapes, a war begins, a mystery whose answer awaits our heroes somewhere out among the stars beckons.\u003c/p>\n\u003cp>The inevitable result, of course, is for each episode to feel like a carefully wrought and promising pitch for an ongoing series—just so many pilot episodes, elbowing each other for pickup.\u003c/p>\n\u003cp>Whether or not that’s how it’s intended, that’s how it plays out. For the record, I’d be on board for series based on episodes 5 (“The Ninth Jedi”), 7 (“The Elder”) or 9 (“Akakiri”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='pop_83529']If you’re prepared to approach the series as a testament to this venerable franchise’s limitless visual potential but limited narrative potential (seriously, take a drink every time someone mentions kyber crystals), you’ll set yourself up for getting out of it exactly what it’s prepared to offer you, and nothing more.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Anime+Anthology+%27Star+Wars%3A+Visions%27+Expands+The+Galaxy+Far%2C+Far+Away&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But if you’re here for characters gravely intoning the hokiest of dialogue about “The Force” and “The Dark Side” and “Stretch Out With Your Feeeeeeelings”—aka, the Jedi Stuff—pull up a space-chair. This series is for you. (I count myself among this cohort, so it’s ostensibly for me, too.)\u003c/p>\n\u003cp>There’s a full-circle nature to the series: George Lucas has often talked about the \u003cem>Star Wars\u003c/em> saga’s debt to Akira Kurosowa films like \u003cem>The Seven Samurai \u003c/em>and \u003cem>The Hidden Fortress\u003c/em>.\u003c/p>\n\u003cp>Disney invited leading Japanese anime studios to tell \u003cem>Star Wars\u003c/em> stories, and largely let them go to work without forcing them to adhere to the franchise’s strict canonical timeline. This fact is responsible for the series’ best aspects—its striking visuals, and its lack of references to specific characters and events in the established \u003cem>Star Wars\u003c/em> saga.\u003c/p>\n\u003cp>First the visuals: It’s bracing to see the familiar trappings of the \u003cem>Star Wars \u003c/em>universe inflected through a different cultural aesthetic; each episode feels, appealingly, like it’s merely riffing on Ralph McQuarrie’s original \u003cem>Star Wars \u003c/em>conceptual designs that have for so long been dutifully, endlessly reiterated through films, tv shows and comics.\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/jtAsl-0o3O0'\n title='//www.youtube.com/embed/jtAsl-0o3O0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s more than turning lightsabers into lightkatanas and calling it a day. Each episode of \u003cem>Star Wars: Visions\u003c/em> represents a fundamental and sweeping visual reimagining through an anime lens, whether that features painstakingly rendered landscapes, grim Ronin-esque Jedis, or a cute, \u003cem>Astro Boy-\u003c/em>like droid who longs to learn the ways of the Force. From the architecture of isolated hamlets and forbidding palaces to the elastic expressiveness of characters’ facial expressions, the series represents a fusion of influences with the potential to take the franchise in new directions …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>… visually, at least.\u003c/p>\n\u003cp>But even though the creators were given free rein, they remain saddled by \u003cem>Star Wars\u003c/em>‘ strict and limited narrative conventions. Jedis are good, Sith are evil. They fight. Rather a lot. Lather, rinse, repeat.\u003c/p>\n\u003cp>One can be turned from one side to the other, sure—a couple episodes deal with this—but mostly, the vast \u003cem>Star Wars\u003c/em> galaxy is black and white (or if we’re talking lightsabers, red and blue), and if you come to it looking for anything more than tidy morality plays, you’ll spend it wandering the Tatooine deserts until you get eaten by a krayt.\u003c/p>\n\u003cp>There’s an argument to be made that by establishing characters outside the established timeline, yet having them enact very familiar, nay, \u003cem>achingly \u003c/em>familiar conflicts, the series is gesturing towards some kind of universal cycle of Sith-Jedi clashes—a kind of Ragnarok or Yuga Cycle, only with robes and rat-tails. Maybe. The simpler answer, of course, is that the franchise’s simplistic moral worldview is impossible to get out from under.\u003c/p>\n\u003cp>To be fair, animated \u003cem>Star Wars \u003c/em>series like \u003cem>Rebels \u003c/em>and \u003cem>The Clone Wars\u003c/em> managed to find some shades of space-gray in the reductively Manichean \u003cem>Star Wars \u003c/em>universe, but then, they each had several seasons to do so. Most episodes of\u003cem> Star Wars: Visions\u003c/em>, on the other hand, clock in somewhere around the 20-minute mark.\u003c/p>\n\u003cp>Which points up another limitation of the series: Though marketed as a succession of discrete “animated short films,” no episode feels dramatically complete. Instead, they resolve their immediate storylines and conclude by gesturing towards larger, unresolved conflicts—the villain escapes, a war begins, a mystery whose answer awaits our heroes somewhere out among the stars beckons.\u003c/p>\n\u003cp>The inevitable result, of course, is for each episode to feel like a carefully wrought and promising pitch for an ongoing series—just so many pilot episodes, elbowing each other for pickup.\u003c/p>\n\u003cp>Whether or not that’s how it’s intended, that’s how it plays out. For the record, I’d be on board for series based on episodes 5 (“The Ninth Jedi”), 7 (“The Elder”) or 9 (“Akakiri”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Willie Garson, who played Stanford Blatch, Carrie Bradshaw’s friend on TV’s \u003cem>Sex and the City\u003c/em> and its movie sequels, has died, his son announced Tuesday. He was 57.\u003c/p>\n\u003cp>“I love you so much papa. Rest In Peace and I’m so glad you got to share all your adventures with me and were able to accomplish so much,” Nathen Garson wrote on Instagram. “I’m so proud of you.”\u003c/p>\n\u003cp>“You always were the toughest and funniest and smartest person I’ve known,” his son added.\u003c/p>\n\u003cp>https://www.instagram.com/p/CUGhqQHv9UV/\u003c/p>\n\u003cp>No details of Garson’s death were released. Messages seeking comment from his representatives weren’t immediately returned.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Garson portrayed Blatch, a talent agent and the devoted and stylish best male friend to Sarah Jessica Parker’s Carrie for six seasons. He reprised the role in the films \u003cem>Sex and the City\u003c/em> and \u003cem>Sex and the City 2\u003c/em>, and had been filming an upcoming series revival for HBO Max called \u003cem>And Just Like That\u003c/em>.\u003c/p>\n\u003cp>Cynthia Nixon, who played Miranda Hobbes in the series, expressed her sorrow in a tweet.\u003c/p>\n\u003cp>“We all loved him and adored working with him. He was endlessly funny on-screen and in real life,” she wrote. “He was a source of light, friendship and show business lore. He was a consummate professional—always.”\u003c/p>\n\u003cp>https://twitter.com/CynthiaNixon/status/1440481643936948238\u003c/p>\n\u003cp>“I couldn’t have had a more brilliant TV partner,” tweeted \u003ca href=\"https://twitter.com/macantone/status/1440466454160101382\" target=\"_blank\" rel=\"noopener noreferrer\">Mario Cantone\u003c/a>, who played Garson’s husband in \u003cem>Sex and the City\u003c/em>. “I’m devastated and just overwhelmed with sadness.”\u003c/p>\n\u003cp>He added: “You were a gift from the gods.”\u003c/p>\n\u003cp>“Willie Garson was in life, as on screen, a devoted friend and a bright light for everyone in his universe. He created one of the most beloved characters from the HBO pantheon and was a member of our family for nearly 25 years,” an \u003ca href=\"https://www.facebook.com/HBO/photos/a.10151984366148933/10160234254523933\" target=\"_blank\" rel=\"noopener noreferrer\">HBO Facebook statement\u003c/a> said. “We are deeply saddened to learn of his passing and extend our sincere condolences to his family and loved ones.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4g8w4ikcR5g\u003c/p>\n\u003cp>Born William Garson Paszamant in Highland Park, New Jersey, Garson began studying acting at age 13 at the Actors Institute in New York. He made hundreds of appearances on TV and in motion pictures.\u003c/p>\n\u003cp>Besides \u003cem>Sex and the City\u003c/em>, he was perhaps best known as Mozzie, a con man on the TV show \u003cem>White Collar\u003c/em>, and also had recurring roles on \u003cem>NYPD Blue\u003c/em>, \u003cem>Hawaii Five-0\u003c/em> and \u003cem>Supergirl\u003c/em>.\u003c/p>\n\u003cp>Garson, who was an advocate for adoption agencies, adopted his son, Nathen, in 2009 and marked the adoption in a January \u003ca href=\"https://www.instagram.com/willie.garson\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram posting\u003c/a> that read: “Best day of my life. Always.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/CQVvJn4HNOu/\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beloved+%27Sex+And+The+City%27+Actor+Willie+Garson+Dies+At+57&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I couldn’t have had a more brilliant TV partner,” tweeted \u003ca href=\"https://twitter.com/macantone/status/1440466454160101382\" target=\"_blank\" rel=\"noopener noreferrer\">Mario Cantone\u003c/a>, who played Garson’s husband in \u003cem>Sex and the City\u003c/em>. “I’m devastated and just overwhelmed with sadness.”\u003c/p>\n\u003cp>He added: “You were a gift from the gods.”\u003c/p>\n\u003cp>“Willie Garson was in life, as on screen, a devoted friend and a bright light for everyone in his universe. He created one of the most beloved characters from the HBO pantheon and was a member of our family for nearly 25 years,” an \u003ca href=\"https://www.facebook.com/HBO/photos/a.10151984366148933/10160234254523933\" target=\"_blank\" rel=\"noopener noreferrer\">HBO Facebook statement\u003c/a> said. “We are deeply saddened to learn of his passing and extend our sincere condolences to his family and loved ones.”\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/4g8w4ikcR5g'\n title='//www.youtube.com/embed/4g8w4ikcR5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born William Garson Paszamant in Highland Park, New Jersey, Garson began studying acting at age 13 at the Actors Institute in New York. He made hundreds of appearances on TV and in motion pictures.\u003c/p>\n\u003cp>Besides \u003cem>Sex and the City\u003c/em>, he was perhaps best known as Mozzie, a con man on the TV show \u003cem>White Collar\u003c/em>, and also had recurring roles on \u003cem>NYPD Blue\u003c/em>, \u003cem>Hawaii Five-0\u003c/em> and \u003cem>Supergirl\u003c/em>.\u003c/p>\n\u003cp>Garson, who was an advocate for adoption agencies, adopted his son, Nathen, in 2009 and marked the adoption in a January \u003ca href=\"https://www.instagram.com/willie.garson\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram posting\u003c/a> that read: “Best day of my life. Always.”\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sarah Dash, the singer and co-founder of the all-female singing group Labelle, best known for their 1974 hit “Lady Marmalade,” died Monday at the age of 76.\u003c/p>\n\u003cp>Dash’s bandmate Patti LaBelle announced her longtime friend’s death on social media.\u003c/p>\n\u003cp>“We were just onstage together on Saturday and it was such a powerful and special moment!” LaBelle said on Twitter. “Sarah Dash was an awesomely talented, beautiful and loving soul who blessed my life and the lives of so many others in more ways than I can say. And I could always count on her to have my back! That’s who Sarah was … a loyal friend and a voice for those who didn’t have one.”\u003c/p>\n\u003cp>https://twitter.com/MsPattiPatti/status/1440066002209759232\u003c/p>\n\u003cp>Nona Hendryx rounded out the Labelle trio. Hendryx shared on Instagram of the passing of her former bandmate, “Words are inadequate so I will use few. We spoke a musical language, music says it best. Singing brought us together…”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She added that the two had just talked and texted on Saturday. “Now you’re gone, I can’t believe it,” Hendryx said.\u003c/p>\n\u003cp>https://www.instagram.com/p/CUEEeUQgpJd/\u003c/p>\n\u003cp>Labelle \u003ca href=\"https://www.npr.org/2021/02/10/962840768/the-hidden-legacy-of-the-pointer-sisters-genre-busting-pioneers-of-message-music\" target=\"_blank\" rel=\"noopener noreferrer\">started out as the conventional girl group \u003c/a>called Patti LaBelle and the Bluebelles and changed into an Afro-futuristic glam rock group (even changing the name to Labelle to complete the transformation) in 1971.\u003c/p>\n\u003cp>Unlike other girl groups of the time, each member of the group sang both lead and background voices.\u003c/p>\n\u003cp>They also embraced a futuristic look—complete with spacesuits and feathers. With their biggest hit, “Lady Marmalade,” the group also embraced a sexually suggestive and empowering message.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tn0-6n_dng4\u003c/p>\n\u003cp>After the group disbanded in 1976, Dash continued performing as a solo singer, releasing several albums over the years. She \u003ca href=\"https://www.sarahdash.net/about\" target=\"_blank\" rel=\"noopener noreferrer\">became well-established\u003c/a> as a session singer, recording and performing with Keith Richards and the Rolling Stones.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LaBelle went on to say on Twitter of her friend: “She was a true giver, always serving and sharing her talent and time. I am heartbroken, as I know all of her loved ones and fans are. But I know that Sarah’s spirit and all that she has given to the world live on. And I pray that her precious memory brings us peace and comfort. Rest in power my dear sister. I love you always!”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sarah+Dash%2C+Singer+And+Co-Founder+Of+Labelle%2C+Dies+At+Age+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Labelle \u003ca href=\"https://www.npr.org/2021/02/10/962840768/the-hidden-legacy-of-the-pointer-sisters-genre-busting-pioneers-of-message-music\" target=\"_blank\" rel=\"noopener noreferrer\">started out as the conventional girl group \u003c/a>called Patti LaBelle and the Bluebelles and changed into an Afro-futuristic glam rock group (even changing the name to Labelle to complete the transformation) in 1971.\u003c/p>\n\u003cp>Unlike other girl groups of the time, each member of the group sang both lead and background voices.\u003c/p>\n\u003cp>They also embraced a futuristic look—complete with spacesuits and feathers. With their biggest hit, “Lady Marmalade,” the group also embraced a sexually suggestive and empowering message.\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/Tn0-6n_dng4'\n title='//www.youtube.com/embed/Tn0-6n_dng4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After the group disbanded in 1976, Dash continued performing as a solo singer, releasing several albums over the years. She \u003ca href=\"https://www.sarahdash.net/about\" target=\"_blank\" rel=\"noopener noreferrer\">became well-established\u003c/a> as a session singer, recording and performing with Keith Richards and the Rolling Stones.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LaBelle went on to say on Twitter of her friend: “She was a true giver, always serving and sharing her talent and time. I am heartbroken, as I know all of her loved ones and fans are. But I know that Sarah’s spirit and all that she has given to the world live on. And I pray that her precious memory brings us peace and comfort. Rest in power my dear sister. I love you always!”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sarah+Dash%2C+Singer+And+Co-Founder+Of+Labelle%2C+Dies+At+Age+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Primetime Emmy Awards on Sunday night arrived at a moment when both the medium of television and the concept of awards shows are fighting the sense that they might be … you know, old-fashioned.\u003c/p>\n\u003cp>Innovative shows are pushing narrative structures in interesting directions and tackling social issues in new ways with highly personal stories being told about characters often ignored in the past. But the awards show, despite some COVID-related tweaks, remains strictly traditional.\u003c/p>\n\u003cp>Here are five things to know about how it went.\u003c/p>\n\u003ch3>1. The wealth was not shared widely.\u003c/h3>\n\u003cp>Voters responded to the desperate need for new material that can reach new audiences by giving every drama series award they handed out Sunday night to \u003cem>The Crown\u003c/em>, the Netflix drama about the British royal family. Drama series, actor, actress, supporting actor, supporting actress, writing, directing … only one drama series was deemed worthy of recognition.\u003c/p>\n\u003cp>In fact, very few shows were recognized overall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Comedy awards were divided between \u003cem>Hacks \u003c/em>and \u003cem>Ted Lasso\u003c/em>, and limited series awards—perhaps now the most prestigious ones of all—divided among \u003cem>Mare of Easttown\u003c/em>, \u003cem>The Queen’s Gambit, Halston\u003c/em>, and, fortunately, Michaela Coel’s \u003cem>I May Destroy You\u003c/em>. It’s not clear what all the factors are that are leading to this concentration of nominees and winners, but it doesn’t feel particularly auspicious. Last year, \u003cem>Schitt’s Creek \u003c/em>won all the comedy awards too, but it was that show’s last season and it had never won anything, which made it a little less stifling than what happened this year with \u003cem>The Crown \u003c/em>in particular. This looked early on like it might be a year of entirely sweeps, and at this rate we’ll eventually get that. And that will not be good.\u003c/p>\n\u003cfigure id=\"attachment_13903477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375850-800x533.jpg\" alt=\"Kate Winslet smiles while holding onto her Emmy Award.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Kate Winslet, winner of the Outstanding Lead Actress in a Limited or Anthology Series for ‘Mare of Easttown,’ hits the Emmy Awards press room. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. The Emmys have an acute representation problem.\u003c/h3>\n\u003cp>[aside postid='arts_13903332']The Emmys have a representation problem just as the great majority of awards do, and probably to an even greater degree than most. This was glaringly obvious as regards on-camera talent: Not one actor of color won an award Sunday night. There were \u003cem>12 \u003c/em>actors honored: Brett Goldstein, Hannah Waddingham and Jason Sudeikis of \u003cem>Ted Lasso\u003c/em>; Kate Winslet, Julianne Nicholson and Evan Peters of \u003cem>Mare of Easttown;\u003c/em> Jean Smart of \u003cem>Hacks; \u003c/em>Ewan McGregor of \u003cem>Halston\u003c/em>; and Olivia Colman, Josh O’Connor, Tobias Menzies and Gillian Anderson of \u003cem>The Crown\u003c/em>. Behind the camera, Coel won for her writing, but the rest of the scripted programming that was honored was mostly by and about white people.\u003c/p>\n\u003cp>You could make an argument for the people who won, that they are talented and deserving. These are good shows, mostly. The issue is that in many categories, \u003cem>everyone \u003c/em>is talented and deserving, and in many more, at least multiple people are. Even if you believe \u003cem>The Crown \u003c/em>is a worthy and good show, that doesn’t mean \u003cem>Pose \u003c/em>isn’t, or \u003cem>Lovecraft Country \u003c/em>isn’t, or any of the many things that weren’t even nominated aren’t. It’s not a matter of undeserving nominees being honored, necessarily; it’s often that out of a whole world of deserving artists, the recognition over and over again leaves out artists of color, Indigenous artists, trans artists, disabled artists, and on and on. To continue to press the narrative that this is a coincidence requires more and more closing of one’s eyes to reality.\u003c/p>\n\u003cp>The entire idea that there exists a correct single deserving winner is always deeply silly, so there are other factors at work. Who gets the benefit of an Emmy campaign, who knows a lot of people, who’s well-liked, who’s been in other things that have won awards, whether voters actually watched the show at hand—and, always, what story the industry is currently telling about itself. And the story that television told about itself this year at the Emmys was discouraging, narrow, and dated, even as they honored a lot of good work. That’s the paradox of more good television making less-satisfying celebrations: The more good stuff you could choose to reward, the more striking your peculiar fixations and omissions become.\u003c/p>\n\u003ch3>3. They have to figure out the orchestra.\u003c/h3>\n\u003cp>Bless Debbie Allen, recipient of the Governor’s Award, for getting up there like the legend she is and telling the person with the clock running on her speech that they might as well turn the clock off because she wasn’t going to pay attention to it. She deserves it. She is special. She is different. She is Debbie Allen.\u003c/p>\n\u003cfigure id=\"attachment_13903485\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341373968-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Allen, recipient of the Governors Award, poses with her trophy. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just after she spoke, Scott Frank, the director of \u003cem>The Queen’s Gambit\u003c/em>, won for that show and came up onstage and began to talk. He just kind of waxed poetic in tributes to various people and when the music came to play him off, he stated that he wasn’t going to listen. So he just talked for as long as he wanted, through multiple attempts to coax him into abiding by time constraints that were respected by people like, oh, Olivia Colman. He, to clarify, is not Debbie Allen.\u003c/p>\n\u003cp>Look, it can’t work this way. You can decide people can talk as long as they want—if they’d cut the regrettable comedy “bits” with host Cedric the Entertainer, who was great in the monologue and not so much thereafter, they’d have had more time—but if you do that, it has to apply to everybody. It can’t just be that if a person gets up there and refuses to politely do as they’ve been asked to do, they can talk as long as they want. That’s just rewarding people who are rude. (Obviously, I’m not talking about recipients of special honors, or people who are in the middle of discussing a deeply personal tragedy, or even people racing through a list of names. For that, give them a minute. But if they’re just reading the long address they wrote, they can go ahead and wrap it up when the music comes on.)\u003c/p>\n\u003ch3>4. Seriously, enough with the bits.\u003c/h3>\n\u003cp>It was a good monologue! Cedric the Entertainer is an actual working comic; it helps. But the bits. My friends, the bits were regrettable. One, in particular, involved the fly that landed on Mike Pence’s head during a debate leading up to an election that’s been over for almost a year—a fly that was pretty well used up as a meme about eight hours after it was first spotted. How that fly bit made it all the way to air, I’m not sure, but I would gladly have taken a few minutes of showbiz stories from Debbie Allen (or, heck, Scott Frank) over the fly.\u003c/p>\n\u003ch3>5. As always, some good wins helped.\u003c/h3>\n\u003cp>[aside postid='arts_13884214']To say it was exciting to see Michaela Coel honored for writing \u003cem>I May Destroy You \u003c/em>would be understating it; I startled my dog, I was so pleased. She is a great talent, and for her to go home with nothing would have been deeply disappointing. The wonderful Jean Smart gave a terrific speech when she won for \u003cem>Hacks\u003c/em>, sad and funny and wise, and that’s a lady who’s been good in a lot of things for a very long time. Hannah Waddingham gave a stirring salute to theater actors, and Olivia Colman congratulated Coel with a burst of bleeped profanity. Julianne Nicholson is one of those actors who’s been around forever being good in all kinds of things, and recognition for her was great. If you love \u003cem>Ted Lasso\u003c/em>—some do, some don’t, I do—then it was heartening to see such a strong showing for a show that was originally pitched as “a spin-off of some commercials” and didn’t sound particularly promising.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s not that the people who won Sunday night aren’t good at their jobs. It’s just that a lot of people are good at their jobs, and some are great at their jobs, and they got no encouragement, no congratulations, no recognition. Awards shouldn’t matter to people in theory, perhaps, precisely \u003cem>because \u003c/em>they’re meaningless, but it would be better if they weren’t meaningless. And if they’re going to be meaningless, at least bring them in on time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+Takeaways+From+A+Big+Emmy+Night+For+A+Short+List+Of+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Primetime Emmy Awards on Sunday night arrived at a moment when both the medium of television and the concept of awards shows are fighting the sense that they might be … you know, old-fashioned.\u003c/p>\n\u003cp>Innovative shows are pushing narrative structures in interesting directions and tackling social issues in new ways with highly personal stories being told about characters often ignored in the past. But the awards show, despite some COVID-related tweaks, remains strictly traditional.\u003c/p>\n\u003cp>Here are five things to know about how it went.\u003c/p>\n\u003ch3>1. The wealth was not shared widely.\u003c/h3>\n\u003cp>Voters responded to the desperate need for new material that can reach new audiences by giving every drama series award they handed out Sunday night to \u003cem>The Crown\u003c/em>, the Netflix drama about the British royal family. Drama series, actor, actress, supporting actor, supporting actress, writing, directing … only one drama series was deemed worthy of recognition.\u003c/p>\n\u003cp>In fact, very few shows were recognized overall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Comedy awards were divided between \u003cem>Hacks \u003c/em>and \u003cem>Ted Lasso\u003c/em>, and limited series awards—perhaps now the most prestigious ones of all—divided among \u003cem>Mare of Easttown\u003c/em>, \u003cem>The Queen’s Gambit, Halston\u003c/em>, and, fortunately, Michaela Coel’s \u003cem>I May Destroy You\u003c/em>. It’s not clear what all the factors are that are leading to this concentration of nominees and winners, but it doesn’t feel particularly auspicious. Last year, \u003cem>Schitt’s Creek \u003c/em>won all the comedy awards too, but it was that show’s last season and it had never won anything, which made it a little less stifling than what happened this year with \u003cem>The Crown \u003c/em>in particular. This looked early on like it might be a year of entirely sweeps, and at this rate we’ll eventually get that. And that will not be good.\u003c/p>\n\u003cfigure id=\"attachment_13903477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341375850-800x533.jpg\" alt=\"Kate Winslet smiles while holding onto her Emmy Award.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Kate Winslet, winner of the Outstanding Lead Actress in a Limited or Anthology Series for ‘Mare of Easttown,’ hits the Emmy Awards press room. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. The Emmys have an acute representation problem.\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Emmys have a representation problem just as the great majority of awards do, and probably to an even greater degree than most. This was glaringly obvious as regards on-camera talent: Not one actor of color won an award Sunday night. There were \u003cem>12 \u003c/em>actors honored: Brett Goldstein, Hannah Waddingham and Jason Sudeikis of \u003cem>Ted Lasso\u003c/em>; Kate Winslet, Julianne Nicholson and Evan Peters of \u003cem>Mare of Easttown;\u003c/em> Jean Smart of \u003cem>Hacks; \u003c/em>Ewan McGregor of \u003cem>Halston\u003c/em>; and Olivia Colman, Josh O’Connor, Tobias Menzies and Gillian Anderson of \u003cem>The Crown\u003c/em>. Behind the camera, Coel won for her writing, but the rest of the scripted programming that was honored was mostly by and about white people.\u003c/p>\n\u003cp>You could make an argument for the people who won, that they are talented and deserving. These are good shows, mostly. The issue is that in many categories, \u003cem>everyone \u003c/em>is talented and deserving, and in many more, at least multiple people are. Even if you believe \u003cem>The Crown \u003c/em>is a worthy and good show, that doesn’t mean \u003cem>Pose \u003c/em>isn’t, or \u003cem>Lovecraft Country \u003c/em>isn’t, or any of the many things that weren’t even nominated aren’t. It’s not a matter of undeserving nominees being honored, necessarily; it’s often that out of a whole world of deserving artists, the recognition over and over again leaves out artists of color, Indigenous artists, trans artists, disabled artists, and on and on. To continue to press the narrative that this is a coincidence requires more and more closing of one’s eyes to reality.\u003c/p>\n\u003cp>The entire idea that there exists a correct single deserving winner is always deeply silly, so there are other factors at work. Who gets the benefit of an Emmy campaign, who knows a lot of people, who’s well-liked, who’s been in other things that have won awards, whether voters actually watched the show at hand—and, always, what story the industry is currently telling about itself. And the story that television told about itself this year at the Emmys was discouraging, narrow, and dated, even as they honored a lot of good work. That’s the paradox of more good television making less-satisfying celebrations: The more good stuff you could choose to reward, the more striking your peculiar fixations and omissions become.\u003c/p>\n\u003ch3>3. They have to figure out the orchestra.\u003c/h3>\n\u003cp>Bless Debbie Allen, recipient of the Governor’s Award, for getting up there like the legend she is and telling the person with the clock running on her speech that they might as well turn the clock off because she wasn’t going to pay attention to it. She deserves it. She is special. She is different. She is Debbie Allen.\u003c/p>\n\u003cfigure id=\"attachment_13903485\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1341373968-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1341373968-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Allen, recipient of the Governors Award, poses with her trophy. \u003ccite>(Rich Fury/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just after she spoke, Scott Frank, the director of \u003cem>The Queen’s Gambit\u003c/em>, won for that show and came up onstage and began to talk. He just kind of waxed poetic in tributes to various people and when the music came to play him off, he stated that he wasn’t going to listen. So he just talked for as long as he wanted, through multiple attempts to coax him into abiding by time constraints that were respected by people like, oh, Olivia Colman. He, to clarify, is not Debbie Allen.\u003c/p>\n\u003cp>Look, it can’t work this way. You can decide people can talk as long as they want—if they’d cut the regrettable comedy “bits” with host Cedric the Entertainer, who was great in the monologue and not so much thereafter, they’d have had more time—but if you do that, it has to apply to everybody. It can’t just be that if a person gets up there and refuses to politely do as they’ve been asked to do, they can talk as long as they want. That’s just rewarding people who are rude. (Obviously, I’m not talking about recipients of special honors, or people who are in the middle of discussing a deeply personal tragedy, or even people racing through a list of names. For that, give them a minute. But if they’re just reading the long address they wrote, they can go ahead and wrap it up when the music comes on.)\u003c/p>\n\u003ch3>4. Seriously, enough with the bits.\u003c/h3>\n\u003cp>It was a good monologue! Cedric the Entertainer is an actual working comic; it helps. But the bits. My friends, the bits were regrettable. One, in particular, involved the fly that landed on Mike Pence’s head during a debate leading up to an election that’s been over for almost a year—a fly that was pretty well used up as a meme about eight hours after it was first spotted. How that fly bit made it all the way to air, I’m not sure, but I would gladly have taken a few minutes of showbiz stories from Debbie Allen (or, heck, Scott Frank) over the fly.\u003c/p>\n\u003ch3>5. As always, some good wins helped.\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To say it was exciting to see Michaela Coel honored for writing \u003cem>I May Destroy You \u003c/em>would be understating it; I startled my dog, I was so pleased. She is a great talent, and for her to go home with nothing would have been deeply disappointing. The wonderful Jean Smart gave a terrific speech when she won for \u003cem>Hacks\u003c/em>, sad and funny and wise, and that’s a lady who’s been good in a lot of things for a very long time. Hannah Waddingham gave a stirring salute to theater actors, and Olivia Colman congratulated Coel with a burst of bleeped profanity. Julianne Nicholson is one of those actors who’s been around forever being good in all kinds of things, and recognition for her was great. If you love \u003cem>Ted Lasso\u003c/em>—some do, some don’t, I do—then it was heartening to see such a strong showing for a show that was originally pitched as “a spin-off of some commercials” and didn’t sound particularly promising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not that the people who won Sunday night aren’t good at their jobs. It’s just that a lot of people are good at their jobs, and some are great at their jobs, and they got no encouragement, no congratulations, no recognition. Awards shouldn’t matter to people in theory, perhaps, precisely \u003cem>because \u003c/em>they’re meaningless, but it would be better if they weren’t meaningless. And if they’re going to be meaningless, at least bring them in on time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+Takeaways+From+A+Big+Emmy+Night+For+A+Short+List+Of+Shows&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The signs that it’s officially \u003ca href=\"https://www.npr.org/2021/09/15/1037358346/us-latino-population-demographic-figures-pew-center-hispanic-heritage-month\" target=\"_blank\" rel=\"noopener noreferrer\">Hispanic Heritage Month\u003c/a> are all around us, be it a Google Doodle or an annual film festival.\u003c/p>\n\u003cp>But the \u003ca href=\"https://www.hispanicheritagemonth.gov/about/\" target=\"_blank\" rel=\"noopener noreferrer\">national attention\u003c/a> paid to Latino and Hispanic Americans this time of year belies a persistent reality, according to a new report: those communities are still underrepresented and poorly represented in popular films.\u003c/p>\n\u003cp>[aside postid='arts_13864931']Released on the first day of Hispanic Heritage Month (which ends in mid-October) \u003ca href=\"https://annenberg.usc.edu/news/research-and-impact/new-study-finds-popular-movies-continue-marginalize-hispaniclatinos\" target=\"_blank\" rel=\"noopener noreferrer\">the report \u003c/a>from USC’s Annenberg Inclusion Initiative surveyed leading Hispanic and Latino actors and characters with speaking parts across 1,300 top-grossing films from 2007 to 2019. The report’s authors also assessed the number of Hispanic and Latino directors, casting directors and producers.\u003c/p>\n\u003cp>“As companies celebrate Hispanic Heritage Month through online posts, events, and employee resource groups,” Annenberg Inclusion Initiative founder Stacy Smith said in a statement, “the evidence is clear that concern for inclusion happens when convenient or expected and not when it comes to greenlighting films by, for, and about the Hispanic/Latino community.”\u003c/p>\n\u003cp>Hispanic and Latino people make up \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI725219\" target=\"_blank\" rel=\"noopener noreferrer\">nearly 1 in 5\u003c/a> of the U.S. population. In the county home to Hollywood, over half of Angelenos are Hispanic and Latino.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They also go to the movies more than any other group. Hispanic and Latino Americans have the highest per-capita theater attendance among all ethnicities in the country, according to a \u003ca href=\"https://www.motionpictures.org/wp-content/uploads/2020/03/MPA-THEME-2019.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2019 report \u003c/a>from the Motion Picture Association of America.\u003c/p>\n\u003cp>Here are some of the key findings from the Annenberg report.\u003c/p>\n\u003ch3>Hispanic and Latino people are rarely cast in a lead role\u003c/h3>\n\u003cp>Just 7% of major films in 2019 featured a lead Hispanic or Latino actor. When it comes to speaking or named roles, about 6% of characters cast that year were Hispanic or Latino—not even a full percentage increase in representation when compared across the total 13 years of hit films.\u003c/p>\n\u003ch3>A Hollywood diversity push hasn’t advanced Latino and Hispanic people\u003c/h3>\n\u003cp>Actors of color have landed more high-profile roles in the years following backlash campaigns to boost diversity in Hollywood, \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/24/989635053/at-this-years-oscars-diversity-and-social-consciousness-go-hand-in-hand\" target=\"_blank\" rel=\"noopener noreferrer\">like #OscarsSoWhite\u003c/a>. Yet in 2019, \u003ca href=\"https://annenberg.usc.edu/news/research-and-impact/report-finds-popular-films-show-paltry-progress-toward-inclusion\" target=\"_blank\" rel=\"noopener noreferrer\">USC Annenberg found\u003c/a>, Hispanic and Latino actors trailed all ethnic groups when it came to on-screen time.\u003c/p>\n\u003ch3>Hispanic and Latino characters continue to perpetuate negative stereotypes\u003c/h3>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13864820']When they are seen on screen, Hispanic and Latino characters are often typecast in roles that involve criminality, poverty or immigration, according to the USC report. More than one-third of lead Hispanic and Latino actors in 2019’s biggest movies were depicted as criminals.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hispanics+And+Latinos+Are+The+Biggest+Moviegoers.+The+Big+Screen+Doesn%27t+Reflect+That&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Released on the first day of Hispanic Heritage Month (which ends in mid-October) \u003ca href=\"https://annenberg.usc.edu/news/research-and-impact/new-study-finds-popular-movies-continue-marginalize-hispaniclatinos\" target=\"_blank\" rel=\"noopener noreferrer\">the report \u003c/a>from USC’s Annenberg Inclusion Initiative surveyed leading Hispanic and Latino actors and characters with speaking parts across 1,300 top-grossing films from 2007 to 2019. The report’s authors also assessed the number of Hispanic and Latino directors, casting directors and producers.\u003c/p>\n\u003cp>“As companies celebrate Hispanic Heritage Month through online posts, events, and employee resource groups,” Annenberg Inclusion Initiative founder Stacy Smith said in a statement, “the evidence is clear that concern for inclusion happens when convenient or expected and not when it comes to greenlighting films by, for, and about the Hispanic/Latino community.”\u003c/p>\n\u003cp>Hispanic and Latino people make up \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI725219\" target=\"_blank\" rel=\"noopener noreferrer\">nearly 1 in 5\u003c/a> of the U.S. population. In the county home to Hollywood, over half of Angelenos are Hispanic and Latino.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They also go to the movies more than any other group. Hispanic and Latino Americans have the highest per-capita theater attendance among all ethnicities in the country, according to a \u003ca href=\"https://www.motionpictures.org/wp-content/uploads/2020/03/MPA-THEME-2019.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2019 report \u003c/a>from the Motion Picture Association of America.\u003c/p>\n\u003cp>Here are some of the key findings from the Annenberg report.\u003c/p>\n\u003ch3>Hispanic and Latino people are rarely cast in a lead role\u003c/h3>\n\u003cp>Just 7% of major films in 2019 featured a lead Hispanic or Latino actor. When it comes to speaking or named roles, about 6% of characters cast that year were Hispanic or Latino—not even a full percentage increase in representation when compared across the total 13 years of hit films.\u003c/p>\n\u003ch3>A Hollywood diversity push hasn’t advanced Latino and Hispanic people\u003c/h3>\n\u003cp>Actors of color have landed more high-profile roles in the years following backlash campaigns to boost diversity in Hollywood, \u003ca href=\"https://www.npr.org/sections/live-updates-oscars-2021/2021/04/24/989635053/at-this-years-oscars-diversity-and-social-consciousness-go-hand-in-hand\" target=\"_blank\" rel=\"noopener noreferrer\">like #OscarsSoWhite\u003c/a>. Yet in 2019, \u003ca href=\"https://annenberg.usc.edu/news/research-and-impact/report-finds-popular-films-show-paltry-progress-toward-inclusion\" target=\"_blank\" rel=\"noopener noreferrer\">USC Annenberg found\u003c/a>, Hispanic and Latino actors trailed all ethnic groups when it came to on-screen time.\u003c/p>\n\u003ch3>Hispanic and Latino characters continue to perpetuate negative stereotypes\u003c/h3>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "CBS Backtracks on 'The Activist' After a Backlash, Including From One of its Hosts",
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"content": "\u003cp>CBS thought it had a win when it announced \u003cem>The Activist\u003c/em>, a reality show where six contestants would compete in a variety of activism-themed contests before appearing at a summit of world leaders in Italy—a format that press materials called “awe-inspiring,” “ground-breaking” and sure to “inspire real change.”\u003c/p>\n\u003cp>[aside postid='arts_13901062']But in the week since the network’s announcement, backlash has come from all corners—including an apology from one of the program’s own hosts.\u003c/p>\n\u003cp>Now, the show’s producers have announced they will dramatically reformat the show, dropping the competitive elements to become a one-time documentary special rather than a five-episode series.\u003c/p>\n\u003cp>“It has become apparent the format of the show as announced distracts from the vital work these incredible activists do in their communities every day,” said CBS and its co-producers, advocacy group Global Citizen and entertainment giant Live Nation, in a joint statement emailed to NPR.\u003c/p>\n\u003cp>https://twitter.com/GlblCtzn/status/1438290442983022593\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Global activism centers on collaboration and cooperation, not competition. We apologize to the activists, hosts, and the larger activist community—we got it wrong,” wrote Global Citizen in a separate statement. The group declined to comment further.\u003c/p>\n\u003cp>[aside postid='arts_13902631']The change in format was\u003ca href=\"https://variety.com/2021/tv/news/activist-series-reconfigured-apology-cbs-global-citizen-live-nation-1235065908/\" target=\"_blank\" rel=\"noopener noreferrer\"> first reported by \u003cem>Variety\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Activist\u003c/em> originally sought to combine activism and charitable causes with reality TV, starring six contestants taking part in a variety of challenges, described as “missions, media stunts, digital campaigns and community events” in CBS’\u003ca href=\"https://www.viacomcbspressexpress.com/cbs-entertainment/shows/the-activist/releases/view?id=58195\"> original news release\u003c/a>, with success based partly on online engagement and “social metrics.” Three celebrities—Usher, Priyanka Chopra Jonas and Julianne Hough—would host.\u003c/p>\n\u003cp>Over the course of five episodes, the contestants—all of whom have histories in activism—would work toward addressing issues of global health, education and the environment. The finale was to take place at the Group of 20 summit of world leaders in Italy next month.\u003c/p>\n\u003cp>But after CBS’ announcement, the backlash came both from TV heavyweights like Jameela Jamil and from activists themselves.\u003c/p>\n\u003cp>https://twitter.com/jameelajamil/status/1436170273774923778\u003c/p>\n\u003cp>“Besides the fact that there will be millions of dollars spent on hair, makeup, travel, celebrity hosts and judges, production, distribution that could have gone to the activists and organizations that will be featured, this is deeply dangerous,” said Brittany Packnett Cunningham, an anti-police-violence activist whose organization, Campaign Zero, has helped shape police-reform efforts around the U.S., \u003ca href=\"https://www.msnbc.com/american-voices/watch/-this-is-deeply-dangerous-competition-series-on-activists-draws-criticism-from-activists-120715845645\" target=\"_blank\" rel=\"noopener noreferrer\">speaking on MSNBC\u003c/a>.\u003c/p>\n\u003cp>“This extends a societal belief about what a good activist looks like: someone who is ready for prime time, someone who fits a particular archetype and is great on social media and is perfectly marketable,” Cunningham said.\u003c/p>\n\u003cp>Clover Hogan, a 22-year-old climate activist and founder of youth advocacy organization Force of Nature, wrote on Twitter that she had been interviewed by show producers and was ultimately offered a spot on \u003cem>The Activist\u003c/em>, which she says she declined.\u003c/p>\n\u003cp>https://twitter.com/cloverhogan/status/1436606130088816643\u003c/p>\n\u003cp>“I remember thinking I was in a \u003cem>Black Mirror\u003c/em> episode. When the call ended, I cried & called my mum. The whole time, I was made to feel as if I was failing a test,”\u003ca href=\"https://twitter.com/cloverhogan/status/1436606121540820993\" target=\"_blank\" rel=\"noopener noreferrer\"> she wrote\u003c/a>.\u003c/p>\n\u003cp>On Wednesday, one of the program’s hosts, former \u003cem>Dancing With the Stars \u003c/em>performer Julianne Hough, weighed in with an apologetic post to her Instagram account.\u003c/p>\n\u003cp>https://www.instagram.com/p/CT0SRywB-5-/\u003c/p>\n\u003cp>“The last few days have been a powerful demonstration of real-time activism,” Hough wrote. “I do not claim to be an activist and wholeheartedly agree that the judging aspect of the show missed the mark and furthermore, that I am not qualified to act as a judge.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The broadcast was originally scheduled to premiere on Oct. 22. It has now been postponed to an unannounced date.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=CBS+Backtracks+On+%27The+Activist%27+After+A+Backlash%2C+Including+From+One+Of+Its+Hosts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The change in format was\u003ca href=\"https://variety.com/2021/tv/news/activist-series-reconfigured-apology-cbs-global-citizen-live-nation-1235065908/\" target=\"_blank\" rel=\"noopener noreferrer\"> first reported by \u003cem>Variety\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Activist\u003c/em> originally sought to combine activism and charitable causes with reality TV, starring six contestants taking part in a variety of challenges, described as “missions, media stunts, digital campaigns and community events” in CBS’\u003ca href=\"https://www.viacomcbspressexpress.com/cbs-entertainment/shows/the-activist/releases/view?id=58195\"> original news release\u003c/a>, with success based partly on online engagement and “social metrics.” Three celebrities—Usher, Priyanka Chopra Jonas and Julianne Hough—would host.\u003c/p>\n\u003cp>Over the course of five episodes, the contestants—all of whom have histories in activism—would work toward addressing issues of global health, education and the environment. The finale was to take place at the Group of 20 summit of world leaders in Italy next month.\u003c/p>\n\u003cp>But after CBS’ announcement, the backlash came both from TV heavyweights like Jameela Jamil and from activists themselves.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Besides the fact that there will be millions of dollars spent on hair, makeup, travel, celebrity hosts and judges, production, distribution that could have gone to the activists and organizations that will be featured, this is deeply dangerous,” said Brittany Packnett Cunningham, an anti-police-violence activist whose organization, Campaign Zero, has helped shape police-reform efforts around the U.S., \u003ca href=\"https://www.msnbc.com/american-voices/watch/-this-is-deeply-dangerous-competition-series-on-activists-draws-criticism-from-activists-120715845645\" target=\"_blank\" rel=\"noopener noreferrer\">speaking on MSNBC\u003c/a>.\u003c/p>\n\u003cp>“This extends a societal belief about what a good activist looks like: someone who is ready for prime time, someone who fits a particular archetype and is great on social media and is perfectly marketable,” Cunningham said.\u003c/p>\n\u003cp>Clover Hogan, a 22-year-old climate activist and founder of youth advocacy organization Force of Nature, wrote on Twitter that she had been interviewed by show producers and was ultimately offered a spot on \u003cem>The Activist\u003c/em>, which she says she declined.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I remember thinking I was in a \u003cem>Black Mirror\u003c/em> episode. When the call ended, I cried & called my mum. The whole time, I was made to feel as if I was failing a test,”\u003ca href=\"https://twitter.com/cloverhogan/status/1436606121540820993\" target=\"_blank\" rel=\"noopener noreferrer\"> she wrote\u003c/a>.\u003c/p>\n\u003cp>On Wednesday, one of the program’s hosts, former \u003cem>Dancing With the Stars \u003c/em>performer Julianne Hough, weighed in with an apologetic post to her Instagram account.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The last few days have been a powerful demonstration of real-time activism,” Hough wrote. “I do not claim to be an activist and wholeheartedly agree that the judging aspect of the show missed the mark and furthermore, that I am not qualified to act as a judge.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The broadcast was originally scheduled to premiere on Oct. 22. It has now been postponed to an unannounced date.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=CBS+Backtracks+On+%27The+Activist%27+After+A+Backlash%2C+Including+From+One+Of+Its+Hosts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Notebook: A Month Into R. Kelly's Trial, Here's What it's Been Like in the Courtroom",
"headTitle": "Notebook: A Month Into R. Kelly’s Trial, Here’s What it’s Been Like in the Courtroom | KQED",
"content": "\u003cp>\u003cem>Editor’s note: This report includes allegations of sexual and physical abuse.\u003c/em>\u003c/p>\n\u003cp>The federal trial against \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> in New York is now almost at the end of its fourth week of testimony. Dozens of witnesses for the prosecution, including 11 alleged victims, have appeared on the stand in this case, in which the R&B superstar stands accused of running a criminal enterprise not unlike the mob. In this case, the government says, the purpose of that enterprise was to “prey upon young women and teenagers” and lure them into sexual relationships.\u003c/p>\n\u003cp>[aside postid='arts_13900892']When jurors were selected early last month, Judge Ann Donnelly told them that the trial would take about a full month after testimony began on Aug. 18. We’re almost at that point already now, and the prosecution is still laying out its argument. We don’t know how many more witnesses the government expects to call, who the defense team is going to put forward, or whether Kelly himself is going to take the stand.\u003c/p>\n\u003cp>It seems exceedingly unlikely, however, that the trial will wrap up in the next few days. And that’s without considering Kelly’s second scheduled federal trial, to take place in Chicago at some future time. There, Kelly will face separate charges of child pornography and obstruction of justice. Kelly has pleaded not guilty to all charges across both federal indictments.\u003c/p>\n\u003cp>I’ve attended the trial in Brooklyn on many days. It’s been a strange experience so far, even by the standards of high-profile celebrity cases. Because of COVID protocols, journalists and the public have been assigned to overflow courtrooms, to watch the proceedings via video and audio feeds. Every trial day, hours before the court even opens, R. Kelly supporters line up to snag hotly coveted seats in the overflow areas; multiple \u003ca href=\"https://twitter.com/vicbekiempis/status/1430136654916997143?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">disputes\u003c/a> over seats and places in line have precipitated the intervention of U.S. marshals and local police. After court ended on Sept. 3, the NYPD \u003ca href=\"https://twitter.com/emilyepalmer/status/1433842112810860544?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">arrested\u003c/a> one male Kelly supporter who, according to police, was accused of sexually harassing another supporter.\u003c/p>\n\u003ch3>“Is that a weird shadow?”\u003c/h3>\n\u003cp>In the meantime, we journalists covering the trial spend our days peering at tiny figures rendered so small onscreen that even the sketch artists seated in the front row of our overflow courtroom have had considerable difficulty discerning participants’ basic features. (“Is she wearing glasses?” “Does he have a shaved head, or is that just a weird shadow?”) We can’t see the jurors at all, because—again, due to coronavirus protocols—they are seated not in the traditional jury box, but instead spaced out in the gallery, where public observers usually sit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a result, we in the media have no idea how jurors are reacting to the testimony they’re hearing. Is anyone snoozing through long stretches while experts are describing the particulars of cell phone data? When alleged victims burst into tears on the stand, as several have, is anyone in the jury viscerally responding? Are jurors taking notes, or just letting information wash over them? When the defense team brings up the names of Kelly’s former peers and colleagues—for example, the late singer Whitney Houston, whose name has been raised repeatedly—do they seem star-struck?\u003c/p>\n\u003cp>[aside postid='arts_13901400']None of those kinds of reactions will determine their eventual judgment of innocence or guilt, of course. But body language could provide insights into how they’re feeling at any given time.\u003c/p>\n\u003ch3>Not following the “rules”\u003c/h3>\n\u003cp>Day in and day out, testimony from witnesses—both those named in the indictment and some who are alleged victims of \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">“uncharged crimes”\u003c/a> purportedly committed by Kelly—has rung similarly throughout, and much of it has been very difficult to listen to. Six alleged victims described being abused by Kelly while they were minors. Women have detailed being forced into unwanted sexual encounters, sometimes with other people, including strangers. Women have recounted alleged episodes of intense physical and sexual abuse for breaking one of his many “rules.” Women have stated that Kelly had lied to them by claiming he had no STDs, and finding out after the fact that he had given them herpes.\u003c/p>\n\u003cp>Both women and \u003ca href=\"https://www.vulture.com/2021/09/r-kelly-trial-week-3-recap-accuser-testimony-aaliyah-marriage.html\" target=\"_blank\" rel=\"noopener noreferrer\">men\u003c/a>, who were minors or still teenagers when they met Kelly, have said that either Kelly or one of his associates slipped them his phone number after seeing him somewhere—at a show, at a mall, at a McDonald’s—and wound up as one of his sexual partners. One woman said on the stand that Kelly made her have sex with another man as punishment for breaking his rules, and also forced her to have an abortion. Another described being \u003ca href=\"https://www.buzzfeednews.com/article/juliareinstein/r-kelly-trial-victim-imprisoned-drugged-raped\" target=\"_blank\" rel=\"noopener noreferrer\">raped\u003c/a> backstage at one of the singer’s shows, soon after meeting Kelly.\u003c/p>\n\u003cp>Still another, “Angela,” a former back-up dancer for Kelly and a back-up singer for Kelly’s late protégée, Aaliyah, said in testimony Monday that she witnessed Kelly appearing to perform oral sex on Aaliyah when the singer was just 13 or 14 years old. “Angela” appeared in the docuseries \u003cem>Surviving R. Kelly\u003c/em>, but did not make accusations of her own there. On the stand, however, she said that she, too, was sexually abused by Kelly.\u003c/p>\n\u003ch3>“Zombieish”\u003c/h3>\n\u003cp>Also on Monday, a man who went by “Alex” in court, but who also was referred to in other testimony by the nickname “Nephew,” recounted being directed by Kelly to have sex with “countless” young women, as well as with Kelly himself, while Kelly recorded them all on video. Alex said he was not allowed to talk to the women or to learn their names. He flatly described the women’s demeanor during their sexual encounters as “zombieish.” Alex also said that he himself was “brainwashed” by Kelly. When asked by a prosecutor, “Why did you do what the defendant told you to do?” Alex hung his head and said, “I actually don’t even know.”\u003c/p>\n\u003cp>[aside postid='pop_109968']Two experts recently told \u003ca href=\"https://www.insider.com/cult-experts-why-r-kelly-accusers-stayed-despite-alleged-abuse-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Insider\u003c/em>\u003c/a> that Kelly’s alleged behavior fits that of a cult leader. According to Rick Ross, executive director of the Cult Education Institute, “The women that are under his control, or have been under his control, they’re not functioning independently. He’s engendered dependency upon himself to make value judgments, to critically think, to analyze things—it’s incapacitated these women from being able to think for themselves.”\u003c/p>\n\u003cp>In contrast, the defense team has alternately sought to characterize the women as \u003ca href=\"https://apnews.com/article/entertainment-music-arts-and-entertainment-r-kelly-bd42a092620ac9d159a8e6e8e9824e62\" target=\"_blank\" rel=\"noopener noreferrer\">“groupies\u003c/a>,” or argued that Kelly treated them lavishly, providing them with gifts, trips and spending sprees, while always opening doors for them and standing if they entered a room.\u003c/p>\n\u003ch3>“Was it MSG?”\u003c/h3>\n\u003cp>Defense lawyer Devereaux Cannick has repeatedly asked women on the stand \u003ca href=\"https://www.insider.com/r-kelly-lawyer-twerking-sex-crimes-trial-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">if they twerked\u003c/a> at Kelly’s shows or in his presence, as if dancing suggestively meant that they deserved alleged abuse. Cannick also tried to discredit the allegations of one woman, “Sonja,” who believes that she was drugged and sexually assaulted at Kelly’s home after going there to interview him for a Utah radio station. In her testimony, she said that she’d eaten a few bites of Chinese food shortly before she fell asleep. “Was it MSG?” Cannick asked her during cross-examination, implying that she’d gotten sick because she’d ingested monosodium glutamate, a common amino acid present in everything from tomatoes to Cool Ranch Doritos. (Activists say that anti-MSG sentiments are more about \u003ca href=\"https://www.cnn.com/2020/01/18/asia/chinese-restaurant-syndrome-msg-intl-hnk-scli/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">racism\u003c/a> than about science.)\u003c/p>\n\u003cp>Kelly has a team of four lawyers, two of whom have never argued a federal trial before—and it often shows. Just during the defense’s opening statement, for example, Judge Donnelly interrupted defense lawyer Nicole Blank Becker to ask for a sidebar, or sustained objections against her, more than half a dozen times. My media colleagues who are full-time court reporters, who also are covering the Kelly trial, tell me this is very unusual, especially in such a high-profile case.\u003c/p>\n\u003cp>On the other hand, the defense has pointed out inconsistencies between what one witness said on the stand during the trial and statements she had made earlier. Another woman brought forward by the prosecution as a former girlfriend of Kelly’s clearly did not want to testify; what she said on the stand didn’t fit certain patterns laid out by other female witnesses, which served the defense’s argument well.\u003c/p>\n\u003ch3>“It’s a bit misleading to call him a co-lyricist”\u003c/h3>\n\u003cp>Meanwhile, outside of court, R. Kelly received a songwriting credit on Drake’s new album, \u003cem>Certified Lover Boy\u003c/em>, which dropped earlier this month. The project has earned Drake a \u003ca href=\"https://www.billboard.com/articles/news/9629040/drake-hot-100-history-way-2-sexy-number-one\" target=\"_blank\" rel=\"noopener noreferrer\">historic place\u003c/a> on the \u003cem>Billboard \u003c/em>charts, with nine out of the top 10 songs on the Hot 100. Drake’s “TSU”—currently charting at No. 9—incorporates material from a song released by R. Kelly in 1998 called “Half on a Baby.” The Drake song includes a sample from a track on which Houston DJ OG Ron C raps over an orchestral passage from the Kelly song.\u003c/p>\n\u003cp>[aside postid='pop_108417']In a recent Instagram comment, longtime Drake producer and collaborator \u003ca href=\"https://variety.com/2021/music/news/drake-r-kelly-songwriting-tsu-certified-lover-boy-sample-1235057256/\" target=\"_blank\" rel=\"noopener noreferrer\">Noah “40” Shebib wrote\u003c/a>: “It [the R. Kelly sample] has no significance no lyrics are present, r Kelly’s voice isn’t even present but if we wanted to use Ron c talking we were forced to license it. Doesn’t sit well with me let me just say that. And I’m not here to defend drakes lyrics, but I thought I would clear up that there is no actual r Kelly present and it’s a bit misleading to call him a co lyricist.” Still, having worked in the business as long as Drake and Shebib have, they surely must know how credits are parceled out for samples—and it’s hard to imagine Drake and his collaborators wouldn’t have foreseen any \u003ca href=\"https://www.google.com/search?rlz=1C1GCEJ_enUS883US883&sxsrf=AOaemvKH0VzX-5W7TyHAKr9rVyZGkMpPTw:1631042539096&q=drake+r.+kelly+tsu&tbm=nws&source=univ&tbo=u&sa=X&ved=2ahUKEwiDrJ_5yu3yAhWgGVkFHa1vC_wQt8YBegQIAhAG&biw=1280&bih=577\" target=\"_blank\" rel=\"noopener noreferrer\">blowback\u003c/a>.\u003c/p>\n\u003cp>It’s equally hard to fathom that they didn’t realize the optics of utilizing an R. Kelly-related sample in this particular moment in time—and that they didn’t recognize that scandal sells. After \u003cem>Surviving R. Kelly \u003c/em>first aired, streams of R. Kelly’s music \u003ca href=\"https://www.goodmorningamerica.com/culture/video/kellys-music-sales-reportedly-spike-docuseries-60207069\" target=\"_blank\" rel=\"noopener noreferrer\">surged\u003c/a>, even though he had been \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener noreferrer\">removed\u003c/a> from Spotify’s playlists the preceding year. Just as Aaliyah’s name and the story of her marriage to Kelly at age 15 was coming up in court testimony, her uncle Barry Hankerson—who had managed both her and Kelly, and who owns the rights to much of her material—began to \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">release\u003c/a> many of her recordings to streaming services for the first time, to the dismay of Aaliyah’s estate, including \u003ca href=\"https://variety.com/2021/music/news/aaliyah-estate-manager-battle-hankerson-1235035097/\" target=\"_blank\" rel=\"noopener noreferrer\">her mother\u003c/a>.\u003c/p>\n\u003ch3>“It was dues time”\u003c/h3>\n\u003cp>On Monday, a weeping “Angela” gave testimony about her own alleged abuse and that of Aaliyah. During one tour stop in 1992 or 1993 in Washington, D.C., Angela said, she and a group of other teenaged girls, including Aaliyah, were instructed by Kelly to stay at the hotel while he and his male associates hit the town. Hungry, the girls went to a nearby 7-Eleven for food. While outside, they ran into Kelly, who was enraged. The punishment for their supposed infraction, Angela said, was to “put out” and have sex with him.\u003c/p>\n\u003cp>“It was dues time,” she explained. Angela said that on this occasion she refused him, and suggested to Kelly that she would call her mother and let her family know what was going on. Kelly allegedly relented, saying he was “just joking.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Aaliyah billboards have \u003ca href=\"https://www.newyorker.com/news/news-desk/the-focus-finally-turns-to-aaliyah-in-r-kellys-trial\" target=\"_blank\" rel=\"noopener noreferrer\">sprouted up\u003c/a> around Manhattan in the past few weeks, hailing the arrival of her albums on streaming services. Often, just minutes after I leave court, I pass underneath a giant version of her towering over Canal Street, full of such promise, fire and swagger. Some days, it’s been hard even to glance up at her, given the testimony that we’ve heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Notebook%3A+A+Month+Into+R.+Kelly%27s+Trial%2C+Here%27s+What+It%27s+Been+Like+In+The+Courtroom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This report includes allegations of sexual and physical abuse.\u003c/em>\u003c/p>\n\u003cp>The federal trial against \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> in New York is now almost at the end of its fourth week of testimony. Dozens of witnesses for the prosecution, including 11 alleged victims, have appeared on the stand in this case, in which the R&B superstar stands accused of running a criminal enterprise not unlike the mob. In this case, the government says, the purpose of that enterprise was to “prey upon young women and teenagers” and lure them into sexual relationships.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When jurors were selected early last month, Judge Ann Donnelly told them that the trial would take about a full month after testimony began on Aug. 18. We’re almost at that point already now, and the prosecution is still laying out its argument. We don’t know how many more witnesses the government expects to call, who the defense team is going to put forward, or whether Kelly himself is going to take the stand.\u003c/p>\n\u003cp>It seems exceedingly unlikely, however, that the trial will wrap up in the next few days. And that’s without considering Kelly’s second scheduled federal trial, to take place in Chicago at some future time. There, Kelly will face separate charges of child pornography and obstruction of justice. Kelly has pleaded not guilty to all charges across both federal indictments.\u003c/p>\n\u003cp>I’ve attended the trial in Brooklyn on many days. It’s been a strange experience so far, even by the standards of high-profile celebrity cases. Because of COVID protocols, journalists and the public have been assigned to overflow courtrooms, to watch the proceedings via video and audio feeds. Every trial day, hours before the court even opens, R. Kelly supporters line up to snag hotly coveted seats in the overflow areas; multiple \u003ca href=\"https://twitter.com/vicbekiempis/status/1430136654916997143?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">disputes\u003c/a> over seats and places in line have precipitated the intervention of U.S. marshals and local police. After court ended on Sept. 3, the NYPD \u003ca href=\"https://twitter.com/emilyepalmer/status/1433842112810860544?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">arrested\u003c/a> one male Kelly supporter who, according to police, was accused of sexually harassing another supporter.\u003c/p>\n\u003ch3>“Is that a weird shadow?”\u003c/h3>\n\u003cp>In the meantime, we journalists covering the trial spend our days peering at tiny figures rendered so small onscreen that even the sketch artists seated in the front row of our overflow courtroom have had considerable difficulty discerning participants’ basic features. (“Is she wearing glasses?” “Does he have a shaved head, or is that just a weird shadow?”) We can’t see the jurors at all, because—again, due to coronavirus protocols—they are seated not in the traditional jury box, but instead spaced out in the gallery, where public observers usually sit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a result, we in the media have no idea how jurors are reacting to the testimony they’re hearing. Is anyone snoozing through long stretches while experts are describing the particulars of cell phone data? When alleged victims burst into tears on the stand, as several have, is anyone in the jury viscerally responding? Are jurors taking notes, or just letting information wash over them? When the defense team brings up the names of Kelly’s former peers and colleagues—for example, the late singer Whitney Houston, whose name has been raised repeatedly—do they seem star-struck?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>None of those kinds of reactions will determine their eventual judgment of innocence or guilt, of course. But body language could provide insights into how they’re feeling at any given time.\u003c/p>\n\u003ch3>Not following the “rules”\u003c/h3>\n\u003cp>Day in and day out, testimony from witnesses—both those named in the indictment and some who are alleged victims of \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">“uncharged crimes”\u003c/a> purportedly committed by Kelly—has rung similarly throughout, and much of it has been very difficult to listen to. Six alleged victims described being abused by Kelly while they were minors. Women have detailed being forced into unwanted sexual encounters, sometimes with other people, including strangers. Women have recounted alleged episodes of intense physical and sexual abuse for breaking one of his many “rules.” Women have stated that Kelly had lied to them by claiming he had no STDs, and finding out after the fact that he had given them herpes.\u003c/p>\n\u003cp>Both women and \u003ca href=\"https://www.vulture.com/2021/09/r-kelly-trial-week-3-recap-accuser-testimony-aaliyah-marriage.html\" target=\"_blank\" rel=\"noopener noreferrer\">men\u003c/a>, who were minors or still teenagers when they met Kelly, have said that either Kelly or one of his associates slipped them his phone number after seeing him somewhere—at a show, at a mall, at a McDonald’s—and wound up as one of his sexual partners. One woman said on the stand that Kelly made her have sex with another man as punishment for breaking his rules, and also forced her to have an abortion. Another described being \u003ca href=\"https://www.buzzfeednews.com/article/juliareinstein/r-kelly-trial-victim-imprisoned-drugged-raped\" target=\"_blank\" rel=\"noopener noreferrer\">raped\u003c/a> backstage at one of the singer’s shows, soon after meeting Kelly.\u003c/p>\n\u003cp>Still another, “Angela,” a former back-up dancer for Kelly and a back-up singer for Kelly’s late protégée, Aaliyah, said in testimony Monday that she witnessed Kelly appearing to perform oral sex on Aaliyah when the singer was just 13 or 14 years old. “Angela” appeared in the docuseries \u003cem>Surviving R. Kelly\u003c/em>, but did not make accusations of her own there. On the stand, however, she said that she, too, was sexually abused by Kelly.\u003c/p>\n\u003ch3>“Zombieish”\u003c/h3>\n\u003cp>Also on Monday, a man who went by “Alex” in court, but who also was referred to in other testimony by the nickname “Nephew,” recounted being directed by Kelly to have sex with “countless” young women, as well as with Kelly himself, while Kelly recorded them all on video. Alex said he was not allowed to talk to the women or to learn their names. He flatly described the women’s demeanor during their sexual encounters as “zombieish.” Alex also said that he himself was “brainwashed” by Kelly. When asked by a prosecutor, “Why did you do what the defendant told you to do?” Alex hung his head and said, “I actually don’t even know.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Two experts recently told \u003ca href=\"https://www.insider.com/cult-experts-why-r-kelly-accusers-stayed-despite-alleged-abuse-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Insider\u003c/em>\u003c/a> that Kelly’s alleged behavior fits that of a cult leader. According to Rick Ross, executive director of the Cult Education Institute, “The women that are under his control, or have been under his control, they’re not functioning independently. He’s engendered dependency upon himself to make value judgments, to critically think, to analyze things—it’s incapacitated these women from being able to think for themselves.”\u003c/p>\n\u003cp>In contrast, the defense team has alternately sought to characterize the women as \u003ca href=\"https://apnews.com/article/entertainment-music-arts-and-entertainment-r-kelly-bd42a092620ac9d159a8e6e8e9824e62\" target=\"_blank\" rel=\"noopener noreferrer\">“groupies\u003c/a>,” or argued that Kelly treated them lavishly, providing them with gifts, trips and spending sprees, while always opening doors for them and standing if they entered a room.\u003c/p>\n\u003ch3>“Was it MSG?”\u003c/h3>\n\u003cp>Defense lawyer Devereaux Cannick has repeatedly asked women on the stand \u003ca href=\"https://www.insider.com/r-kelly-lawyer-twerking-sex-crimes-trial-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">if they twerked\u003c/a> at Kelly’s shows or in his presence, as if dancing suggestively meant that they deserved alleged abuse. Cannick also tried to discredit the allegations of one woman, “Sonja,” who believes that she was drugged and sexually assaulted at Kelly’s home after going there to interview him for a Utah radio station. In her testimony, she said that she’d eaten a few bites of Chinese food shortly before she fell asleep. “Was it MSG?” Cannick asked her during cross-examination, implying that she’d gotten sick because she’d ingested monosodium glutamate, a common amino acid present in everything from tomatoes to Cool Ranch Doritos. (Activists say that anti-MSG sentiments are more about \u003ca href=\"https://www.cnn.com/2020/01/18/asia/chinese-restaurant-syndrome-msg-intl-hnk-scli/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">racism\u003c/a> than about science.)\u003c/p>\n\u003cp>Kelly has a team of four lawyers, two of whom have never argued a federal trial before—and it often shows. Just during the defense’s opening statement, for example, Judge Donnelly interrupted defense lawyer Nicole Blank Becker to ask for a sidebar, or sustained objections against her, more than half a dozen times. My media colleagues who are full-time court reporters, who also are covering the Kelly trial, tell me this is very unusual, especially in such a high-profile case.\u003c/p>\n\u003cp>On the other hand, the defense has pointed out inconsistencies between what one witness said on the stand during the trial and statements she had made earlier. Another woman brought forward by the prosecution as a former girlfriend of Kelly’s clearly did not want to testify; what she said on the stand didn’t fit certain patterns laid out by other female witnesses, which served the defense’s argument well.\u003c/p>\n\u003ch3>“It’s a bit misleading to call him a co-lyricist”\u003c/h3>\n\u003cp>Meanwhile, outside of court, R. Kelly received a songwriting credit on Drake’s new album, \u003cem>Certified Lover Boy\u003c/em>, which dropped earlier this month. The project has earned Drake a \u003ca href=\"https://www.billboard.com/articles/news/9629040/drake-hot-100-history-way-2-sexy-number-one\" target=\"_blank\" rel=\"noopener noreferrer\">historic place\u003c/a> on the \u003cem>Billboard \u003c/em>charts, with nine out of the top 10 songs on the Hot 100. Drake’s “TSU”—currently charting at No. 9—incorporates material from a song released by R. Kelly in 1998 called “Half on a Baby.” The Drake song includes a sample from a track on which Houston DJ OG Ron C raps over an orchestral passage from the Kelly song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a recent Instagram comment, longtime Drake producer and collaborator \u003ca href=\"https://variety.com/2021/music/news/drake-r-kelly-songwriting-tsu-certified-lover-boy-sample-1235057256/\" target=\"_blank\" rel=\"noopener noreferrer\">Noah “40” Shebib wrote\u003c/a>: “It [the R. Kelly sample] has no significance no lyrics are present, r Kelly’s voice isn’t even present but if we wanted to use Ron c talking we were forced to license it. Doesn’t sit well with me let me just say that. And I’m not here to defend drakes lyrics, but I thought I would clear up that there is no actual r Kelly present and it’s a bit misleading to call him a co lyricist.” Still, having worked in the business as long as Drake and Shebib have, they surely must know how credits are parceled out for samples—and it’s hard to imagine Drake and his collaborators wouldn’t have foreseen any \u003ca href=\"https://www.google.com/search?rlz=1C1GCEJ_enUS883US883&sxsrf=AOaemvKH0VzX-5W7TyHAKr9rVyZGkMpPTw:1631042539096&q=drake+r.+kelly+tsu&tbm=nws&source=univ&tbo=u&sa=X&ved=2ahUKEwiDrJ_5yu3yAhWgGVkFHa1vC_wQt8YBegQIAhAG&biw=1280&bih=577\" target=\"_blank\" rel=\"noopener noreferrer\">blowback\u003c/a>.\u003c/p>\n\u003cp>It’s equally hard to fathom that they didn’t realize the optics of utilizing an R. Kelly-related sample in this particular moment in time—and that they didn’t recognize that scandal sells. After \u003cem>Surviving R. Kelly \u003c/em>first aired, streams of R. Kelly’s music \u003ca href=\"https://www.goodmorningamerica.com/culture/video/kellys-music-sales-reportedly-spike-docuseries-60207069\" target=\"_blank\" rel=\"noopener noreferrer\">surged\u003c/a>, even though he had been \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener noreferrer\">removed\u003c/a> from Spotify’s playlists the preceding year. Just as Aaliyah’s name and the story of her marriage to Kelly at age 15 was coming up in court testimony, her uncle Barry Hankerson—who had managed both her and Kelly, and who owns the rights to much of her material—began to \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">release\u003c/a> many of her recordings to streaming services for the first time, to the dismay of Aaliyah’s estate, including \u003ca href=\"https://variety.com/2021/music/news/aaliyah-estate-manager-battle-hankerson-1235035097/\" target=\"_blank\" rel=\"noopener noreferrer\">her mother\u003c/a>.\u003c/p>\n\u003ch3>“It was dues time”\u003c/h3>\n\u003cp>On Monday, a weeping “Angela” gave testimony about her own alleged abuse and that of Aaliyah. During one tour stop in 1992 or 1993 in Washington, D.C., Angela said, she and a group of other teenaged girls, including Aaliyah, were instructed by Kelly to stay at the hotel while he and his male associates hit the town. Hungry, the girls went to a nearby 7-Eleven for food. While outside, they ran into Kelly, who was enraged. The punishment for their supposed infraction, Angela said, was to “put out” and have sex with him.\u003c/p>\n\u003cp>“It was dues time,” she explained. Angela said that on this occasion she refused him, and suggested to Kelly that she would call her mother and let her family know what was going on. Kelly allegedly relented, saying he was “just joking.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aaliyah billboards have \u003ca href=\"https://www.newyorker.com/news/news-desk/the-focus-finally-turns-to-aaliyah-in-r-kellys-trial\" target=\"_blank\" rel=\"noopener noreferrer\">sprouted up\u003c/a> around Manhattan in the past few weeks, hailing the arrival of her albums on streaming services. Often, just minutes after I leave court, I pass underneath a giant version of her towering over Canal Street, full of such promise, fire and swagger. Some days, it’s been hard even to glance up at her, given the testimony that we’ve heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Notebook%3A+A+Month+Into+R.+Kelly%27s+Trial%2C+Here%27s+What+It%27s+Been+Like+In+The+Courtroom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"meta": {
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 5
},
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