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"content": "\u003cp>There’s an argument that a review of \u003cem>Palm Springs\u003c/em>, new this weekend on Hulu, should just say, “Watch it; it’s fun. Andy Samberg, Cristin Milioti, romantic comedy hijinks—just watch it.” That’s as much as I knew about it, and I enjoyed seeing it reveal itself, and if you’re willing to take my word for it, then off with you! Watch it; it’s fun.\u003c/p>\n\u003cp>Now … what to say to the rest of you, who need a little more, or who have already seen promotion for the film that you can’t unsee. Promotion that gives away the premise.\u003c/p>\n\u003cp>“\u003cem>Groundhog Day \u003c/em>at a wedding” is a piece of shorthand that wouldn’t be a lie. More specifically: Nyles (Samberg) is trapped in a time loop, much like \u003cem>Groundhog Day\u003c/em>‘s Phil (Bill Murray). 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Just the way Sarah always was for Nyles, until this happened.\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>was directed by Max Barbakow and written by Andy Siara, and while it has the stamp (literally and figuratively) of the Lonely Island, Samberg’s longtime comedy shop, it’s also a little bit of a different shading of his persona.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CpBLtXduh_k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Particularly if you see it a second time, you pick up a cleverness in what Samberg is doing with his weary portrayal of Nyles. This is a man who has learned that nothing has consequences, and (unlike Phil) he mostly doesn’t like that (at least by the time we meet him), and he doesn’t exploit that fact to be mean; he exploits it to be weird. He can make strange wedding speeches, hook up with whomever he wants, try anything, and none of it matters. So he drifts through the day, again and again, without purpose. It’s dangerous to seek metaphors that are too literal, but if you made this a metaphor for how depression feels to some people, you wouldn’t be far off. Nobody understands what’s happening to you and nobody understands how you feel, nobody except you can see the futility of every day, so you can only sit back and wonder at the foolishness that makes people care about anything.\u003c/p>\n\u003cp>And of course, into this mess comes Sarah. Milioti is an actress who hasn’t had a lot of exactly-right roles in film and television; she can play very sunny and sweet as she did on \u003cem>How I Met Your Mother\u003c/em>, but she’s a more interesting and emotionally angular actor than that. Here, you really get her as a perfect romantic comedy lead and yet a fresh one. This is a woman who can get past her own shock and bafflement to seek a way to live in the time loop without losing herself, but she also can slice through Nyles’ self-pity and his (frankly earned) nihilism. Because it doesn’t take long for her to adopt a very different attitude toward this version of confinement than Nyles has. Hers is something more like, \u003cem>we gotta get out of here. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>features a terrific supporting turn from the reliable J.K. Simmons as Roy, a man whose part in all this it would be unsporting to explain too much, except to say that the role calls on Simmons’ ability to play dry and wise observers of the world, but also his flair for pure comedy. (Nobody but me will likely care that this is a reunion of Simmons and Peter Gallagher, who plays Sarah’s father and also co-starred on Broadway in \u003cem>Guys and Dolls \u003c/em>when Gallagher was Sky Masterson and Simmons was Benny Southstreet, right? Right, right.) Simmons improves 99% of the projects he appears in, and it turns out a full-length buddy comedy featuring him with Andy Samberg is a feature film I would very much watch in the future.\u003c/p>\n\u003cp>The thing about a gimmick like time loops is that the thing itself will not sustain interest. We’ve seen that—\u003cem>Groundhog Day\u003c/em>, sure, but also in \u003cem>Edge Of Tomorrow\u003c/em>, \u003cem>Happy Death Day\u003c/em> and more. It comes down to what you do with it. The good part of \u003cem>Groundhog Day \u003c/em>for me has always been the lighter observations about what this kind of life would make possible: amazing people by predicting what was about to happen, mastering a skill through endless practice, and so forth. But the ugly part has always been the way Phil manipulates Rita (Andie MacDowell) intentionally, and the way it all winds up being about his redemption, which solves his problem and gives him everything he wants.\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>is still a comedy, don’t get me wrong. But it’s using the time loop idea to think about something interesting. A time loop is a form of meaninglessness, really, and fighting that requires figuring out what you’re going to get out of bed for every day. It’s not that once Nyles is nice and is redeemed, all his problems are solved. He’s mostly pretty nice all along. It’s that both of these people have to decide how to add some kind of stakes to their own lives, because if they wanted to, they really could just float in the pool and drink at the wedding forever, and they could even have each other’s company along the way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But that, it turns out, isn’t much of a life, staying in the same place, seeing the same people, having the same routine, even if it means nothing particularly terrible happens to you either. \u003cem>We gotta get out of here\u003c/em>, indeed.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Kick+Back+With+%27Palm+Springs%2C%27+A+Witty+Romcom+About+Fighting+Despair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an argument that a review of \u003cem>Palm Springs\u003c/em>, new this weekend on Hulu, should just say, “Watch it; it’s fun. Andy Samberg, Cristin Milioti, romantic comedy hijinks—just watch it.” That’s as much as I knew about it, and I enjoyed seeing it reveal itself, and if you’re willing to take my word for it, then off with you! Watch it; it’s fun.\u003c/p>\n\u003cp>Now … what to say to the rest of you, who need a little more, or who have already seen promotion for the film that you can’t unsee. Promotion that gives away the premise.\u003c/p>\n\u003cp>“\u003cem>Groundhog Day \u003c/em>at a wedding” is a piece of shorthand that wouldn’t be a lie. More specifically: Nyles (Samberg) is trapped in a time loop, much like \u003cem>Groundhog Day\u003c/em>‘s Phil (Bill Murray). He spends every day at the same wedding at the same venue in Palm Springs, where he sees the same people (including a girlfriend he doesn’t particularly like), and then the next day, he wakes up, and he does it all over again. There’s a woman at the wedding named Sarah (Milioti), who’s the bride’s sister. Nyles is used to seeing her and talking to her; she’s part of the routine. But every version of this day is a little different, and on one of them, an unexpected event yanks her into the time loop with him. So now she’s waking up over and over again on the day of the wedding too, and she can’t get out of it either, and they have only each other to talk to about it, since everyone is blissfully at the wedding for the first and only time, every day. Just the way Sarah always was for Nyles, until this happened.\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>was directed by Max Barbakow and written by Andy Siara, and while it has the stamp (literally and figuratively) of the Lonely Island, Samberg’s longtime comedy shop, it’s also a little bit of a different shading of his persona.\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/CpBLtXduh_k'\n title='//www.youtube.com/embed/CpBLtXduh_k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Particularly if you see it a second time, you pick up a cleverness in what Samberg is doing with his weary portrayal of Nyles. This is a man who has learned that nothing has consequences, and (unlike Phil) he mostly doesn’t like that (at least by the time we meet him), and he doesn’t exploit that fact to be mean; he exploits it to be weird. He can make strange wedding speeches, hook up with whomever he wants, try anything, and none of it matters. So he drifts through the day, again and again, without purpose. It’s dangerous to seek metaphors that are too literal, but if you made this a metaphor for how depression feels to some people, you wouldn’t be far off. Nobody understands what’s happening to you and nobody understands how you feel, nobody except you can see the futility of every day, so you can only sit back and wonder at the foolishness that makes people care about anything.\u003c/p>\n\u003cp>And of course, into this mess comes Sarah. Milioti is an actress who hasn’t had a lot of exactly-right roles in film and television; she can play very sunny and sweet as she did on \u003cem>How I Met Your Mother\u003c/em>, but she’s a more interesting and emotionally angular actor than that. Here, you really get her as a perfect romantic comedy lead and yet a fresh one. This is a woman who can get past her own shock and bafflement to seek a way to live in the time loop without losing herself, but she also can slice through Nyles’ self-pity and his (frankly earned) nihilism. Because it doesn’t take long for her to adopt a very different attitude toward this version of confinement than Nyles has. Hers is something more like, \u003cem>we gotta get out of here. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>features a terrific supporting turn from the reliable J.K. Simmons as Roy, a man whose part in all this it would be unsporting to explain too much, except to say that the role calls on Simmons’ ability to play dry and wise observers of the world, but also his flair for pure comedy. (Nobody but me will likely care that this is a reunion of Simmons and Peter Gallagher, who plays Sarah’s father and also co-starred on Broadway in \u003cem>Guys and Dolls \u003c/em>when Gallagher was Sky Masterson and Simmons was Benny Southstreet, right? Right, right.) Simmons improves 99% of the projects he appears in, and it turns out a full-length buddy comedy featuring him with Andy Samberg is a feature film I would very much watch in the future.\u003c/p>\n\u003cp>The thing about a gimmick like time loops is that the thing itself will not sustain interest. We’ve seen that—\u003cem>Groundhog Day\u003c/em>, sure, but also in \u003cem>Edge Of Tomorrow\u003c/em>, \u003cem>Happy Death Day\u003c/em> and more. It comes down to what you do with it. The good part of \u003cem>Groundhog Day \u003c/em>for me has always been the lighter observations about what this kind of life would make possible: amazing people by predicting what was about to happen, mastering a skill through endless practice, and so forth. But the ugly part has always been the way Phil manipulates Rita (Andie MacDowell) intentionally, and the way it all winds up being about his redemption, which solves his problem and gives him everything he wants.\u003c/p>\n\u003cp>\u003cem>Palm Springs \u003c/em>is still a comedy, don’t get me wrong. But it’s using the time loop idea to think about something interesting. A time loop is a form of meaninglessness, really, and fighting that requires figuring out what you’re going to get out of bed for every day. It’s not that once Nyles is nice and is redeemed, all his problems are solved. He’s mostly pretty nice all along. It’s that both of these people have to decide how to add some kind of stakes to their own lives, because if they wanted to, they really could just float in the pool and drink at the wedding forever, and they could even have each other’s company along the way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that, it turns out, isn’t much of a life, staying in the same place, seeing the same people, having the same routine, even if it means nothing particularly terrible happens to you either. \u003cem>We gotta get out of here\u003c/em>, indeed.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Kick+Back+With+%27Palm+Springs%2C%27+A+Witty+Romcom+About+Fighting+Despair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actress Kelly Preston has died after a two-year battle with breast cancer, according to an \u003ca href=\"https://www.instagram.com/p/CCkgCG5ptxE/?utm_source=ig_embed\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a> from her husband, John Travolta. She was 57 years old.\u003c/p>\n\u003cp>“She fought a courageous fight with the love and support of so many,” the actor wrote. “My family and I will forever be grateful to her doctors and nurses at MD Anderson Cancer Center, all the medical centers that have helped, as well as her many friends and loved ones who have been by her side.”\u003c/p>\n\u003cp>A family representative told \u003cem>\u003ca href=\"https://people.com/movies/kelly-preston-dies-of-breast-cancer-at-57/\" target=\"_blank\" rel=\"noopener noreferrer\">People\u003c/a>\u003c/em> that Preston had been undergoing treatment for some time but chose to keep her illness private. “She was a bright, beautiful and loving soul who cared deeply about others and who brought life to everything she touched. Her family asks for your understanding of their need for privacy at this time,” the rep told the magazine.\u003c/p>\n\u003cp>Preston was born Oct. 13, 1962, in Honolulu. She acted in various TV shows but rose to fame after her role in the 1988 Arnold Schwarzenegger and Danny DeVito comedy, \u003cem>Twins\u003c/em>. She met her future husband shortly afterward on the set of the coming-of-age comedy \u003cem>The Experts\u003c/em>. The two got married in 1991.\u003c/p>\n\u003cp>She went on to act in movies such as \u003cem>Jerry Maguire\u003c/em> and\u003cem> Jack Frost\u003c/em>, and made an appearance in the Travolta sci-fi movie \u003cem>Battlefield Earth\u003c/em>. Preston also acted alongside her husband in the 2018 biopic \u003cem>Gotti\u003c/em>, playing the late mobster’s wife, Victoria.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Travolta and Preston had three children together. Their son Jett died at age 16 in January 2009 after a seizure.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Kelly+Preston%2C+Actress+And+Wife+Of+John+Travolta%2C+Dead+At+57&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actress Kelly Preston has died after a two-year battle with breast cancer, according to an \u003ca href=\"https://www.instagram.com/p/CCkgCG5ptxE/?utm_source=ig_embed\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a> from her husband, John Travolta. She was 57 years old.\u003c/p>\n\u003cp>“She fought a courageous fight with the love and support of so many,” the actor wrote. “My family and I will forever be grateful to her doctors and nurses at MD Anderson Cancer Center, all the medical centers that have helped, as well as her many friends and loved ones who have been by her side.”\u003c/p>\n\u003cp>A family representative told \u003cem>\u003ca href=\"https://people.com/movies/kelly-preston-dies-of-breast-cancer-at-57/\" target=\"_blank\" rel=\"noopener noreferrer\">People\u003c/a>\u003c/em> that Preston had been undergoing treatment for some time but chose to keep her illness private. “She was a bright, beautiful and loving soul who cared deeply about others and who brought life to everything she touched. Her family asks for your understanding of their need for privacy at this time,” the rep told the magazine.\u003c/p>\n\u003cp>Preston was born Oct. 13, 1962, in Honolulu. She acted in various TV shows but rose to fame after her role in the 1988 Arnold Schwarzenegger and Danny DeVito comedy, \u003cem>Twins\u003c/em>. She met her future husband shortly afterward on the set of the coming-of-age comedy \u003cem>The Experts\u003c/em>. The two got married in 1991.\u003c/p>\n\u003cp>She went on to act in movies such as \u003cem>Jerry Maguire\u003c/em> and\u003cem> Jack Frost\u003c/em>, and made an appearance in the Travolta sci-fi movie \u003cem>Battlefield Earth\u003c/em>. Preston also acted alongside her husband in the 2018 biopic \u003cem>Gotti\u003c/em>, playing the late mobster’s wife, Victoria.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Start Here: Your Guide to Getting Into K-Pop | KQED",
"content": "\u003cp>The last half-decade of Western pop music has been dominated by whisper-singing: a deliberately dry, almost ASMR-like performance style popularized by the likes of major label “indie pop” artists Julia Michaels, Selena Gomez, Lana Del Rey and Billie Eilish. The sound is hushed and pacifying, a response to the chaos of the world, the millennial’s music equivalent to minimalistic interior design—why belt when you could soothe?\u003c/p>\n\u003cp>K-pop idol music, meanwhile, took hold in the United States during the exact same era, and it was the opposite: a maximalist dreamland full of color, high concept-performances and videos, a plethora of performers and unrivaled choreography. If Top 40 in America wanted solo singers so soft every breath was caught on mic over a mid-tempo chorus, K-pop appeared to offer a genre-less alternative: constant stimulation, euphoria delivered in \u003ca href=\"https://www.rollingstone.com/music/music-features/bts-kpop-albums-bands-global-takeover-707139/\" target=\"_blank\" rel=\"noopener noreferrer\">eight to 10 melodies\u003c/a> and fantastical harmonies in a single track. (That is, K-pop \u003cem>idol music\u003c/em>— in the West, “K-pop” is frequently used synonymously with Korean idol music, pop with a high-production value and produced in a deliberate studio system, as it is in this piece.)\u003c/p>\n\u003cp>K-pop is music that is stuffed but never bloated; music that is fun and meant to elicit joy when listened to and seen (K-pop is designed to be enjoyed visually as much, if not more, than it is meant to be heard). And it is music that is now nearing total global ubiquity. Boy band BTS is the most popular group on the planet, bringing in billions to South Korea each year between \u003ca href=\"https://www.npr.org/2018/05/29/615079872/k-pop-hits-no-1-in-the-u-s\" target=\"_blank\" rel=\"noopener noreferrer\">No. 1 albums\u003c/a> (three of which hit that particular benchmark in \u003ca href=\"https://www.hollywoodreporter.com/features/bts-is-back-musics-billion-dollar-boy-band-takes-next-step-1244580\" target=\"_blank\" rel=\"noopener noreferrer\">less than a year\u003c/a>,) history-making \u003ca href=\"https://www.npr.org/sections/allsongs/2019/04/14/712797129/watch-bts-further-its-quest-for-world-domination-on-the-snl-stage\" target=\"_blank\" rel=\"noopener noreferrer\">late-night television performances\u003c/a> and music videos that double as \u003ca href=\"https://www.npr.org/2020/01/17/797240927/bts-drops-black-swan-and-a-lavishly-choreographed-art-film\" target=\"_blank\" rel=\"noopener noreferrer\">art films\u003c/a>. K-pop fans themselves have dominated headlines in and outside of the pop culture arena for their \u003ca href=\"https://www.npr.org/2020/07/01/886034124/when-the-stans-assemble-k-pop-protests-and-fan-activism\" target=\"_blank\" rel=\"noopener noreferrer\">recent political successes\u003c/a>: using their digital native understanding to overwhelm white supremacist hashtags, crashing President Trump’s Tulsa rally \u003ca href=\"https://www.npr.org/2020/06/24/882867577/k-pops-digital-army-musters-to-meet-the-moment-baggage-in-tow\" target=\"_blank\" rel=\"noopener noreferrer\">attendance numbers\u003c/a> and police apps meant to solicit information about Black Lives Matter protesters, pressuring their Idols to take a stance and contributing \u003ca href=\"https://www.wbur.org/hereandnow/2020/06/08/bts-fans-black-lives-matter-donations\" target=\"_blank\" rel=\"noopener noreferrer\">millions in donations\u003c/a>. For those Anglophone audiences learning about K-pop for the first time, this particular music discovery probably feels like missing the boat on a voyage you didn’t know was taking off. How could the needle shift so quickly? K-pop is overwhelming.\u003c/p>\n\u003cp>And that’s understandable. In the history of popular music, American audiences have been hesitant to embrace music recorded in a different language, save for a few Spanish-language superstars. Artists from other cultures are expected to cross over—to translate their work, to white-wash themselves and their performances to sell to the United States, the world’s largest music market. For many, a dominant pop form that isn’t in English is inconceivable. And yet, here’s K-pop, music largely recorded in Korean, born in the early 1990s and now one of the most popular forms of music on the planet, enjoyed by multiple generations of listeners. The numbers \u003ca href=\"https://www.npr.org/sections/therecord/2017/09/29/554496829/a-record-breaking-week-begs-the-question-how-far-can-k-pop-go\" target=\"_blank\" rel=\"noopener noreferrer\">may be intimidating\u003c/a>, but getting into the music shouldn’t be.\u003c/p>\n\u003cp>Learning to experience K-pop means first ridding yourself of common misconceptions. The basics: K-pop is not a genre, nor do K-pop fans behave like a monolith. The term means “Korean pop,” but like “Latin pop,” the title is more of a geographic designation for the industry than a sonic one. An “idol system” for auditioning and creating pop talent, not unlike the mechanization of Berry Gordy’s Motown in the 1960s and ’70s, and financial support for the arts by the South Korean government is responsible for K-pop’s dominion, but the music’s current popularity in the United States is a relatively new phenomenon: born online, retweeted, streamed and shared ceaselessly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>K-pop music traverses genre with incredible ease—in one moment, taking cues from the dubstep drops that defined pop in the early 2010s, or Swedish hitmakers, or hip-hop, or R&B balladry, or new jack swing, or soul, or euro-pop, or Caribbean dancehall, or salsa and beyond—border-less eclecticism identifiable by the performers themselves, their seismic aesthetic judgments, and their multi-lingual singing. K-pop performers run the spectrum from girl groups and boy bands to soloists and rappers. The evolution of K-pop is defined by indistinct “generations” of the music, the parameters of which are frequently contested by fans and critics alike. Listening to K-pop is only one aspect of getting into industry, as well: The path to discovery is designed so that fans participate online, which means the most ardent supporters are vocal and engage in coordinated publicity efforts, such as streaming new music videos on an endless loop. That said, it is possible to get into K-pop by simply listening to it, and that’s what the below playlist hopes to accomplish.\u003c/p>\n\u003cp>Like any introduction, this should serve as a subjective primer—one curated to best satiate curious Western listeners and give them a skeletal foundation in which to build upon. In truth, the world of K-pop is expansive and exponentially evolving. It is not a matter of if you can find a K-pop artist whose work you’ll fall for, it’s when. Start digging below.\u003c/p>\n\u003chr>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *;\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/playlist/starter-kit-k-pop/pl.1d8c04dbe47448e5adf73a8d41f91369\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>FIRST GENERATION: The Origins of Idols\u003c/h3>\n\u003cp>\u003cstrong>Seo Taiji and Boys, “Nan Arayo (I Know)” (1992)\u003c/strong>\u003c/p>\n\u003cp>Most critics tend to agree that K-pop’s origin story begins on April 11, 1992, when the trio Seo Taiji and Boys performed its soon-to-become a hit “Nan Arayo (I Know)” on South Korea’s Munhwa Broadcasting Corporation. For many South Korean youths, the track was their first exposure to hip-hop and New Jack Swing (never mind the popularity of both genres in boy band history) and a welcome alternative to traditional styles of music, including “trot,” a form of Korean folk.\u003c/p>\n\u003cp>\u003cstrong>H.O.T., “Candy” (1996)\u003c/strong>\u003c/p>\n\u003cp>H.O.T. (aka. High-Five of Teenagers—consider them formative to the trend of naming your group with an initialism for easy comprehension in the global marketplace) is largely credited as the first idol group in K-pop history, meaning that its members were brought together by a company—in this case, Lee Soo-man, founder of SM Entertainment. “Candy” is bubblegum pop at its brightest, cute music no doubt constructed in the model of American boy bands and J-pop.\u003c/p>\n\u003cp>\u003cstrong>S.E.S., “I’m Your Girl” (1997)\u003c/strong>\u003c/p>\n\u003cp>The girl group S.E.S., also put together by Lee Soo-man, was initially positioned as the female counterpart to H.O.T., though its sound differed drastically as the group’s profile grew. On “I’m Your Girl,” the group bears a striking resemblance to TLC—it’s ’90s R&B-pop, to a tee.\u003c/p>\n\u003chr>\n\u003ch3>SECOND GENERATION: The Idol Industry Evolves\u003c/h3>\n\u003cp>\u003cstrong>Rain, “Rainism” (2008)\u003cbr>\n\u003c/strong>\u003cem>(This song is not currently available on streaming in the United States.)\u003c/em>\u003c/p>\n\u003cp>After training to debut in a boy band that never took off, Rain pursued a career as a soloist, eventually becoming the first K-pop star to break internationally. “Rainism” is his most successful single, with a sound not unsimilar to Usher and Justin Timberlake. It is especially noteworthy that many of the lyrics are in English.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IVBW7sI8IhY\u003c/p>\n\u003cp>\u003cstrong>Wonder Girls, “Nobody” (2008)\u003c/strong>\u003c/p>\n\u003cp>Girl group Wonder Girls’ retro concept proved to be super successful in 2008, the beginning of a time period routinely referred to as “the golden age of K-pop.” The quartet frequently sourced elements from vintage sounds, including Motown—the members embody the Supremes in the video for “Nobody,” the first K-pop song to ever chart on the \u003cem>Billboard \u003c/em>Hot 100.\u003c/p>\n\u003cp>\u003cstrong>SHINee, “Ring Ding Dong” (2009)\u003c/strong>\u003c/p>\n\u003cp>Boy band SHINee’s “Ring Ding Dong” encapsulates the genre-hybridity of golden age K-pop: it’s futuristic R&B, with percussion built on congas, Euro-pop production and heavily auto-tuned vocals.\u003c/p>\n\u003cp>\u003cstrong>Girls Generation, “Gee” (2009)\u003c/strong>\u003c/p>\n\u003cp>Consider Girls Generation’s “Gee” the framework in which all future PG-rated K-pop girl groups would follow: It’s sugar-y sweet, bouncy pop music all about love and crushing—and its earworm chorus made it almost instantaneously viral, the most valuable currency of all.\u003c/p>\n\u003cp>\u003cstrong>SE7EN ft. Lil’ Kim, “Girls” (2009)\u003c/strong>\u003c/p>\n\u003cp>It’s not just that K-pop, like all forms of popular music, is founded in Black music—as K-pop’s presence grew in America, \u003cem>BET\u003c/em> was one of its first supporters. Soloist SE7EN’s collaboration with American rapper Lil’ Kim, “Girls,” premiered on \u003cem>106 & Park\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>IU, “Good Day” (2010)\u003c/strong>\u003c/p>\n\u003cp>Not all of the biggest K-pop artists become the biggest K-pop artists in the U.S., and such is the case for IU—she is one of the most successful K-pop musicians in South Korea and “Good Day” is proof. Her signature single is as striking as the lead musical number in a beloved Disney classic, and just as orchestral.\u003c/p>\n\u003cp>\u003cstrong>Super Junior, “Mr. Simple” (2011)\u003c/strong>\u003c/p>\n\u003cp>Super Junior’s “Mr. Simple” is soul from Seoul—there’s a scat-like, dark jazz club element to song’s intro before it explodes in vivid, repetitive techno.\u003c/p>\n\u003cp>\u003cstrong>2NE1, “I Am The Best” (2011)\u003c/strong>\u003c/p>\n\u003cp>2NE1’s “I Am The Best” is Euro-pop excellence—an empowerment anthem for the club.\u003c/p>\n\u003cp>\u003cstrong>Psy, “Gangnam Style” (2012)\u003c/strong>\u003c/p>\n\u003cp>The virality of Psy’s “Gangnam Style,” and it’s easily mimicked horse-riding dance move, was the first K-pop song to make a major splash in the United States, but in the greater K-pop story, he’s an outlier. The song is ironic and subversive, a criticism of a wealthy neighborhood in Seoul and a larger commentary on inequality. The others on this list are sincere love odes constructed to attract the widest audience.\u003c/p>\n\u003cp>\u003cstrong>BoA, “Only One” (2012)\u003c/strong>\u003c/p>\n\u003cp>BoA is formative in the K-pop story—she sang in English long before having a few key phrases in the chorus became a norm, and on “Only One,” she tackled R&B breakup balladry with total expertise.\u003c/p>\n\u003cp>\u003cstrong>BIGBANG, “Fantastic Baby” (2012)\u003c/strong>\u003c/p>\n\u003cp>Before there was BTS, there was BIGBANG, the break-dancing boy band slated to take over the West. “Fantastic Baby” is the group’s biggest hit, a gargantuan EDM-hip-hop beat so popular it was covered in the hit show \u003cem>Glee.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>THIRD GENERATION: The Idol Industry Goes Transnational\u003c/h3>\n\u003cp>\u003cstrong>2PM, “My House” (2015)\u003c/strong>\u003c/p>\n\u003cp>Boy band 2PM’s “My House,” is seductive, romantic R&B that will charm even the most staunch genre purist.\u003c/p>\n\u003cp>\u003cstrong>GOT7, “Just Right” (2015)\u003c/strong>\u003c/p>\n\u003cp>Some may find GOT7’s child-like wonder on “Just Right” cheesy, but “twee-rap” might be a better categorization. The chorus, however, screams early One Direction.\u003c/p>\n\u003cp>\u003cstrong>EXO, “Monster” (2016)\u003c/strong>\u003c/p>\n\u003cp>The 12-member EXO offer a darker take on the electro-pop boy band formula on its single “Monster.”\u003c/p>\n\u003cp>\u003cstrong>Jennie, “Solo” (2018)\u003c/strong>\u003c/p>\n\u003cp>In K-pop, it isn’t uncommon for girl group and boy band members to pursue solo work outside of their collective duties—it allows them space to explore other creative avenues without breaking the band up, and doubles as a fan service for those listeners who prefer one member to the others (in K-pop, that member is your “bias”). Blackpink’s Jennie, and her solo single “Solo,” is the exemplar of a member “going solo,” as she sings, without diverting too much from the integrity of the group. This one is for fans of big pop anthems and old school hip-hop whistle.\u003c/p>\n\u003cp>\u003cstrong>April, “Oh My Mistake” (2018)\u003c/strong>\u003c/p>\n\u003cp>Girl group April’s “Oh My Mistake” is ’80s synthpop with shimmering production—it is impossible to hear this and not feel giddy.\u003c/p>\n\u003cp>\u003cstrong>Blackpink, “Kill This Love” (2019)\u003c/strong>\u003c/p>\n\u003cp>The biggest girl group on the planet is Blackpink, a K-pop quartet without a full-length LP under its belt. With singles as ferocious as the air horn-adorned stadium anthem “Kill This Love,” it’s easy to see why: the single marries military cadences with trap, emphasized with gargantuan synthesizers.\u003c/p>\n\u003cp>\u003cstrong>BTS ft. Halsey, “Boy With Luv” (2019)\u003c/strong>\u003c/p>\n\u003cp>Any number of BTS songs would be appropriate to include here—check out “No More Dream,” the group’s first single, to get a sense of their range. That song rallied against a rigid education system that places untenable pressure on young people in South Korea, while “Boy With Luv” is an earworm single featuring one of the greatest American popstars of the 21st century. It’s also one of BTS’s most irresistible singles, a roller rink disco number punctuated with an almost house-like bass drum.\u003c/p>\n\u003chr>\n\u003ch3>FOURTH GENERATION: K-pop Breaks Down Borders\u003c/h3>\n\u003cp>\u003cstrong>Ateez, “Say My Name” (2019)\u003c/strong>\u003c/p>\n\u003cp>The latest generation of K-pop superstars are no longer bound by borders—they can debut or train outside of South Korea and become just as, or even more successful in the West than they are back home. They also continue to expand upon K-pop’s constant musical experimentation. Eight-person boy band Ateez’s hit “Say My Name,” for example, is built around a pan flute, and main rapper Mingi, with his raspy tone so low it recalls Scandinavian post-punk more than any other vocalists on this list, sings the chorus. It is so distinctive, listeners will have no choice but to forgive them for giving their song the same title as a Destiny’s Child classic.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Maria Sherman is a senior staff writer at Jezebel and the author of the book \u003c/em>\u003ca href=\"https://urldefense.com/v3/__https:/www.blackdogandleventhal.com/titles/maria-sherman/larger-than-life/9780762468904/__;!!Iwwt!EMvQr3pDltVlCrqBWHGfjWmhm1WDbhRq69rPBodMKtqVKusyFEs-G-5dylBs%24\" target=\"_blank\" rel=\"noopener noreferrer\">Larger Than Life: A History of Boy Bands from NKOTB to BTS\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last half-decade of Western pop music has been dominated by whisper-singing: a deliberately dry, almost ASMR-like performance style popularized by the likes of major label “indie pop” artists Julia Michaels, Selena Gomez, Lana Del Rey and Billie Eilish. The sound is hushed and pacifying, a response to the chaos of the world, the millennial’s music equivalent to minimalistic interior design—why belt when you could soothe?\u003c/p>\n\u003cp>K-pop idol music, meanwhile, took hold in the United States during the exact same era, and it was the opposite: a maximalist dreamland full of color, high concept-performances and videos, a plethora of performers and unrivaled choreography. If Top 40 in America wanted solo singers so soft every breath was caught on mic over a mid-tempo chorus, K-pop appeared to offer a genre-less alternative: constant stimulation, euphoria delivered in \u003ca href=\"https://www.rollingstone.com/music/music-features/bts-kpop-albums-bands-global-takeover-707139/\" target=\"_blank\" rel=\"noopener noreferrer\">eight to 10 melodies\u003c/a> and fantastical harmonies in a single track. (That is, K-pop \u003cem>idol music\u003c/em>— in the West, “K-pop” is frequently used synonymously with Korean idol music, pop with a high-production value and produced in a deliberate studio system, as it is in this piece.)\u003c/p>\n\u003cp>K-pop is music that is stuffed but never bloated; music that is fun and meant to elicit joy when listened to and seen (K-pop is designed to be enjoyed visually as much, if not more, than it is meant to be heard). And it is music that is now nearing total global ubiquity. Boy band BTS is the most popular group on the planet, bringing in billions to South Korea each year between \u003ca href=\"https://www.npr.org/2018/05/29/615079872/k-pop-hits-no-1-in-the-u-s\" target=\"_blank\" rel=\"noopener noreferrer\">No. 1 albums\u003c/a> (three of which hit that particular benchmark in \u003ca href=\"https://www.hollywoodreporter.com/features/bts-is-back-musics-billion-dollar-boy-band-takes-next-step-1244580\" target=\"_blank\" rel=\"noopener noreferrer\">less than a year\u003c/a>,) history-making \u003ca href=\"https://www.npr.org/sections/allsongs/2019/04/14/712797129/watch-bts-further-its-quest-for-world-domination-on-the-snl-stage\" target=\"_blank\" rel=\"noopener noreferrer\">late-night television performances\u003c/a> and music videos that double as \u003ca href=\"https://www.npr.org/2020/01/17/797240927/bts-drops-black-swan-and-a-lavishly-choreographed-art-film\" target=\"_blank\" rel=\"noopener noreferrer\">art films\u003c/a>. K-pop fans themselves have dominated headlines in and outside of the pop culture arena for their \u003ca href=\"https://www.npr.org/2020/07/01/886034124/when-the-stans-assemble-k-pop-protests-and-fan-activism\" target=\"_blank\" rel=\"noopener noreferrer\">recent political successes\u003c/a>: using their digital native understanding to overwhelm white supremacist hashtags, crashing President Trump’s Tulsa rally \u003ca href=\"https://www.npr.org/2020/06/24/882867577/k-pops-digital-army-musters-to-meet-the-moment-baggage-in-tow\" target=\"_blank\" rel=\"noopener noreferrer\">attendance numbers\u003c/a> and police apps meant to solicit information about Black Lives Matter protesters, pressuring their Idols to take a stance and contributing \u003ca href=\"https://www.wbur.org/hereandnow/2020/06/08/bts-fans-black-lives-matter-donations\" target=\"_blank\" rel=\"noopener noreferrer\">millions in donations\u003c/a>. For those Anglophone audiences learning about K-pop for the first time, this particular music discovery probably feels like missing the boat on a voyage you didn’t know was taking off. How could the needle shift so quickly? K-pop is overwhelming.\u003c/p>\n\u003cp>And that’s understandable. In the history of popular music, American audiences have been hesitant to embrace music recorded in a different language, save for a few Spanish-language superstars. Artists from other cultures are expected to cross over—to translate their work, to white-wash themselves and their performances to sell to the United States, the world’s largest music market. For many, a dominant pop form that isn’t in English is inconceivable. And yet, here’s K-pop, music largely recorded in Korean, born in the early 1990s and now one of the most popular forms of music on the planet, enjoyed by multiple generations of listeners. The numbers \u003ca href=\"https://www.npr.org/sections/therecord/2017/09/29/554496829/a-record-breaking-week-begs-the-question-how-far-can-k-pop-go\" target=\"_blank\" rel=\"noopener noreferrer\">may be intimidating\u003c/a>, but getting into the music shouldn’t be.\u003c/p>\n\u003cp>Learning to experience K-pop means first ridding yourself of common misconceptions. The basics: K-pop is not a genre, nor do K-pop fans behave like a monolith. The term means “Korean pop,” but like “Latin pop,” the title is more of a geographic designation for the industry than a sonic one. An “idol system” for auditioning and creating pop talent, not unlike the mechanization of Berry Gordy’s Motown in the 1960s and ’70s, and financial support for the arts by the South Korean government is responsible for K-pop’s dominion, but the music’s current popularity in the United States is a relatively new phenomenon: born online, retweeted, streamed and shared ceaselessly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>K-pop music traverses genre with incredible ease—in one moment, taking cues from the dubstep drops that defined pop in the early 2010s, or Swedish hitmakers, or hip-hop, or R&B balladry, or new jack swing, or soul, or euro-pop, or Caribbean dancehall, or salsa and beyond—border-less eclecticism identifiable by the performers themselves, their seismic aesthetic judgments, and their multi-lingual singing. K-pop performers run the spectrum from girl groups and boy bands to soloists and rappers. The evolution of K-pop is defined by indistinct “generations” of the music, the parameters of which are frequently contested by fans and critics alike. Listening to K-pop is only one aspect of getting into industry, as well: The path to discovery is designed so that fans participate online, which means the most ardent supporters are vocal and engage in coordinated publicity efforts, such as streaming new music videos on an endless loop. That said, it is possible to get into K-pop by simply listening to it, and that’s what the below playlist hopes to accomplish.\u003c/p>\n\u003cp>Like any introduction, this should serve as a subjective primer—one curated to best satiate curious Western listeners and give them a skeletal foundation in which to build upon. In truth, the world of K-pop is expansive and exponentially evolving. It is not a matter of if you can find a K-pop artist whose work you’ll fall for, it’s when. Start digging below.\u003c/p>\n\u003chr>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *;\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/playlist/starter-kit-k-pop/pl.1d8c04dbe47448e5adf73a8d41f91369\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>FIRST GENERATION: The Origins of Idols\u003c/h3>\n\u003cp>\u003cstrong>Seo Taiji and Boys, “Nan Arayo (I Know)” (1992)\u003c/strong>\u003c/p>\n\u003cp>Most critics tend to agree that K-pop’s origin story begins on April 11, 1992, when the trio Seo Taiji and Boys performed its soon-to-become a hit “Nan Arayo (I Know)” on South Korea’s Munhwa Broadcasting Corporation. For many South Korean youths, the track was their first exposure to hip-hop and New Jack Swing (never mind the popularity of both genres in boy band history) and a welcome alternative to traditional styles of music, including “trot,” a form of Korean folk.\u003c/p>\n\u003cp>\u003cstrong>H.O.T., “Candy” (1996)\u003c/strong>\u003c/p>\n\u003cp>H.O.T. (aka. High-Five of Teenagers—consider them formative to the trend of naming your group with an initialism for easy comprehension in the global marketplace) is largely credited as the first idol group in K-pop history, meaning that its members were brought together by a company—in this case, Lee Soo-man, founder of SM Entertainment. “Candy” is bubblegum pop at its brightest, cute music no doubt constructed in the model of American boy bands and J-pop.\u003c/p>\n\u003cp>\u003cstrong>S.E.S., “I’m Your Girl” (1997)\u003c/strong>\u003c/p>\n\u003cp>The girl group S.E.S., also put together by Lee Soo-man, was initially positioned as the female counterpart to H.O.T., though its sound differed drastically as the group’s profile grew. On “I’m Your Girl,” the group bears a striking resemblance to TLC—it’s ’90s R&B-pop, to a tee.\u003c/p>\n\u003chr>\n\u003ch3>SECOND GENERATION: The Idol Industry Evolves\u003c/h3>\n\u003cp>\u003cstrong>Rain, “Rainism” (2008)\u003cbr>\n\u003c/strong>\u003cem>(This song is not currently available on streaming in the United States.)\u003c/em>\u003c/p>\n\u003cp>After training to debut in a boy band that never took off, Rain pursued a career as a soloist, eventually becoming the first K-pop star to break internationally. “Rainism” is his most successful single, with a sound not unsimilar to Usher and Justin Timberlake. It is especially noteworthy that many of the lyrics are in English.\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/IVBW7sI8IhY'\n title='//www.youtube.com/embed/IVBW7sI8IhY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Wonder Girls, “Nobody” (2008)\u003c/strong>\u003c/p>\n\u003cp>Girl group Wonder Girls’ retro concept proved to be super successful in 2008, the beginning of a time period routinely referred to as “the golden age of K-pop.” The quartet frequently sourced elements from vintage sounds, including Motown—the members embody the Supremes in the video for “Nobody,” the first K-pop song to ever chart on the \u003cem>Billboard \u003c/em>Hot 100.\u003c/p>\n\u003cp>\u003cstrong>SHINee, “Ring Ding Dong” (2009)\u003c/strong>\u003c/p>\n\u003cp>Boy band SHINee’s “Ring Ding Dong” encapsulates the genre-hybridity of golden age K-pop: it’s futuristic R&B, with percussion built on congas, Euro-pop production and heavily auto-tuned vocals.\u003c/p>\n\u003cp>\u003cstrong>Girls Generation, “Gee” (2009)\u003c/strong>\u003c/p>\n\u003cp>Consider Girls Generation’s “Gee” the framework in which all future PG-rated K-pop girl groups would follow: It’s sugar-y sweet, bouncy pop music all about love and crushing—and its earworm chorus made it almost instantaneously viral, the most valuable currency of all.\u003c/p>\n\u003cp>\u003cstrong>SE7EN ft. Lil’ Kim, “Girls” (2009)\u003c/strong>\u003c/p>\n\u003cp>It’s not just that K-pop, like all forms of popular music, is founded in Black music—as K-pop’s presence grew in America, \u003cem>BET\u003c/em> was one of its first supporters. Soloist SE7EN’s collaboration with American rapper Lil’ Kim, “Girls,” premiered on \u003cem>106 & Park\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>IU, “Good Day” (2010)\u003c/strong>\u003c/p>\n\u003cp>Not all of the biggest K-pop artists become the biggest K-pop artists in the U.S., and such is the case for IU—she is one of the most successful K-pop musicians in South Korea and “Good Day” is proof. Her signature single is as striking as the lead musical number in a beloved Disney classic, and just as orchestral.\u003c/p>\n\u003cp>\u003cstrong>Super Junior, “Mr. Simple” (2011)\u003c/strong>\u003c/p>\n\u003cp>Super Junior’s “Mr. Simple” is soul from Seoul—there’s a scat-like, dark jazz club element to song’s intro before it explodes in vivid, repetitive techno.\u003c/p>\n\u003cp>\u003cstrong>2NE1, “I Am The Best” (2011)\u003c/strong>\u003c/p>\n\u003cp>2NE1’s “I Am The Best” is Euro-pop excellence—an empowerment anthem for the club.\u003c/p>\n\u003cp>\u003cstrong>Psy, “Gangnam Style” (2012)\u003c/strong>\u003c/p>\n\u003cp>The virality of Psy’s “Gangnam Style,” and it’s easily mimicked horse-riding dance move, was the first K-pop song to make a major splash in the United States, but in the greater K-pop story, he’s an outlier. The song is ironic and subversive, a criticism of a wealthy neighborhood in Seoul and a larger commentary on inequality. The others on this list are sincere love odes constructed to attract the widest audience.\u003c/p>\n\u003cp>\u003cstrong>BoA, “Only One” (2012)\u003c/strong>\u003c/p>\n\u003cp>BoA is formative in the K-pop story—she sang in English long before having a few key phrases in the chorus became a norm, and on “Only One,” she tackled R&B breakup balladry with total expertise.\u003c/p>\n\u003cp>\u003cstrong>BIGBANG, “Fantastic Baby” (2012)\u003c/strong>\u003c/p>\n\u003cp>Before there was BTS, there was BIGBANG, the break-dancing boy band slated to take over the West. “Fantastic Baby” is the group’s biggest hit, a gargantuan EDM-hip-hop beat so popular it was covered in the hit show \u003cem>Glee.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>THIRD GENERATION: The Idol Industry Goes Transnational\u003c/h3>\n\u003cp>\u003cstrong>2PM, “My House” (2015)\u003c/strong>\u003c/p>\n\u003cp>Boy band 2PM’s “My House,” is seductive, romantic R&B that will charm even the most staunch genre purist.\u003c/p>\n\u003cp>\u003cstrong>GOT7, “Just Right” (2015)\u003c/strong>\u003c/p>\n\u003cp>Some may find GOT7’s child-like wonder on “Just Right” cheesy, but “twee-rap” might be a better categorization. The chorus, however, screams early One Direction.\u003c/p>\n\u003cp>\u003cstrong>EXO, “Monster” (2016)\u003c/strong>\u003c/p>\n\u003cp>The 12-member EXO offer a darker take on the electro-pop boy band formula on its single “Monster.”\u003c/p>\n\u003cp>\u003cstrong>Jennie, “Solo” (2018)\u003c/strong>\u003c/p>\n\u003cp>In K-pop, it isn’t uncommon for girl group and boy band members to pursue solo work outside of their collective duties—it allows them space to explore other creative avenues without breaking the band up, and doubles as a fan service for those listeners who prefer one member to the others (in K-pop, that member is your “bias”). Blackpink’s Jennie, and her solo single “Solo,” is the exemplar of a member “going solo,” as she sings, without diverting too much from the integrity of the group. This one is for fans of big pop anthems and old school hip-hop whistle.\u003c/p>\n\u003cp>\u003cstrong>April, “Oh My Mistake” (2018)\u003c/strong>\u003c/p>\n\u003cp>Girl group April’s “Oh My Mistake” is ’80s synthpop with shimmering production—it is impossible to hear this and not feel giddy.\u003c/p>\n\u003cp>\u003cstrong>Blackpink, “Kill This Love” (2019)\u003c/strong>\u003c/p>\n\u003cp>The biggest girl group on the planet is Blackpink, a K-pop quartet without a full-length LP under its belt. With singles as ferocious as the air horn-adorned stadium anthem “Kill This Love,” it’s easy to see why: the single marries military cadences with trap, emphasized with gargantuan synthesizers.\u003c/p>\n\u003cp>\u003cstrong>BTS ft. Halsey, “Boy With Luv” (2019)\u003c/strong>\u003c/p>\n\u003cp>Any number of BTS songs would be appropriate to include here—check out “No More Dream,” the group’s first single, to get a sense of their range. That song rallied against a rigid education system that places untenable pressure on young people in South Korea, while “Boy With Luv” is an earworm single featuring one of the greatest American popstars of the 21st century. It’s also one of BTS’s most irresistible singles, a roller rink disco number punctuated with an almost house-like bass drum.\u003c/p>\n\u003chr>\n\u003ch3>FOURTH GENERATION: K-pop Breaks Down Borders\u003c/h3>\n\u003cp>\u003cstrong>Ateez, “Say My Name” (2019)\u003c/strong>\u003c/p>\n\u003cp>The latest generation of K-pop superstars are no longer bound by borders—they can debut or train outside of South Korea and become just as, or even more successful in the West than they are back home. They also continue to expand upon K-pop’s constant musical experimentation. Eight-person boy band Ateez’s hit “Say My Name,” for example, is built around a pan flute, and main rapper Mingi, with his raspy tone so low it recalls Scandinavian post-punk more than any other vocalists on this list, sings the chorus. It is so distinctive, listeners will have no choice but to forgive them for giving their song the same title as a Destiny’s Child classic.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Maria Sherman is a senior staff writer at Jezebel and the author of the book \u003c/em>\u003ca href=\"https://urldefense.com/v3/__https:/www.blackdogandleventhal.com/titles/maria-sherman/larger-than-life/9780762468904/__;!!Iwwt!EMvQr3pDltVlCrqBWHGfjWmhm1WDbhRq69rPBodMKtqVKusyFEs-G-5dylBs%24\" target=\"_blank\" rel=\"noopener noreferrer\">Larger Than Life: A History of Boy Bands from NKOTB to BTS\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tom Hanks’ screen persona is …\u003c/p>\n\u003cp>One is tempted to reach for the word \u003cem>avuncular \u003c/em>here, but that doesn’t quite pin it down. He’s not America’s Uncle, after all, he’s America’s Dad. But \u003cem>paternal \u003c/em>doesn’t get you there, either, as that word has taken on an oppressive, exclusionary patina, which are two qualities that couldn’t stick to Hanks in a million years, onscreen or off. The guy’s a dependably empathetic, inviting presence, even when he’s playing someone as inscrutable as Fred Rogers (\u003cem>A Beautiful Day in the Neighborhood\u003c/em>) or as gruff-but-lovable as Jimmy Dugan (\u003cem>A League of Their Own\u003c/em>).\u003c/p>\n\u003cp>\u003cem>Affable\u003c/em>, then. Let’s go with that.\u003c/p>\n\u003cp>On those rare occasions Hanks has attempted to run from his inherent, bone-deep likability to instead play heels, in films like \u003cem>The Ladykillers\u003c/em>, \u003cem>Charlie Wilson’s War\u003c/em> and, infamously, \u003cem>The Bonfire of the Vanities\u003c/em>, audiences recoil. It’s the Jimmy Stewart Phenomenon at work. “But you’re so affable!” we collectively insist. “We love your ability to aff! So shut up and get back to affing, already!”\u003c/p>\n\u003cp>Of course, Alfred Hitchcock found a way to twist that phenomenon to his own twisted needs; he knew he could cast Jimmy Stewart as a Peeping Tom or a creep obsessed with a dead woman and audiences would blithely accept it, because it was Jimmy Stewart. Jimmy Freaking “I’ll lasso the moon for ya” Stewart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having not yet found his Hitchcock, Hanks has settled into a series of roles that draft on his uncanny ability to get us to deeply identify with whomever he’s playing. But in the taut World War II film \u003cem>Greyhound\u003c/em>, dropping Friday on Apple TV+, Hanks seems to have arrived at a troubling but inevitable epiphany: He no longer has to bother creating a layered character, he can just … be \u003cem>him\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pNgAZVrf40\u003c/p>\n\u003cp>In \u003cem>Greyhound\u003c/em>, which Hanks adapted from the 1955 novel \u003cem>The Good Shepherd\u003c/em> by C. S. Forester, he plays Ernie Krause, captain of a U.S. warship leading a convoy of merchant and troop ships through a North Atlantic infested by German U-boats in February 1942. In the book, Krause possesses a rich, deeply conflicted inner life: He was a career officer about to retire when the Pearl Harbor attack officially propelled the U.S. into World War II, so he’s at once significantly older, and far less battle-tested (this being his first wartime command) than the men he’s tasked to lead. Between U-boat attacks, he broods over his failed marriage, his devout Christian faith, his previous career disappointments, and a profound case of Imposter Syndrome as he constantly second-guesses his decisions.\u003c/p>\n\u003cp>In the film, however, Krause’s backstory and personal struggles have been loaded into a torpedo tube and fired into the murky depths of Davy Jones’ Locker. This Krause is still a Christian (read: he prays a few times), and he’s not married (read: Elisabeth Shue shows up in a flashback to smile ruefully at him and deliver all of six lines). Otherwise, he’s … Tom Hanks.\u003c/p>\n\u003cp>Which, it turns out, in a film as lean (88 minutes!) and efficiently executed as this one, is enough. \u003cem>Greyhound \u003c/em>director Aaron Schneider knows what he’s doing, and he starts doing it right away, packing the film with naval action from the jump. As soon as the convoy moves out of range of U.S. air cover and begins to cross “The Black Pit”—that yawning stretch in the middle of the Atlantic when the convoy will be on its own—the sonar operator detects a U-boat. More follow. Tension rises, released in intermittent bursts by small victories and dismaying losses.\u003c/p>\n\u003cp>The film’s several battle sequences are clearly and effectively staged: They reek of CGI, but the technology is used well, as when we zoom out in virtual drone shots that show us the action from far above—so we can see just how nearly a near-miss misses as we watch a ship slooooowly steering itself out of a torpedo’s path in the nick of time. We soon come to recognize and distinguish the various U-boats descending on the convoy, as they’ve each got different symbols painted on their conning towers.\u003c/p>\n\u003cp>In that sense, the U-boats register as stronger and more distinct personalities than any Greyhound crew member manages to, as the men that surround Hanks’ Krause are called upon to do little more than look worried, sad or happy as Hanks’ script dictates. No, this is Hanks’ show, and he seems completely in his element awash in sea-spray, peering through binoculars while shouting torrents of naval jargon. (A word about said jargon: \u003cem>Greyhound \u003c/em>is the kind of movie in which there’s always a sailor on hand to translate for an audience of landlubbers by helpfully shouting in astonishment that something will soon happen, is happening, or has just happened—often all three, just to be safe.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t much matter that Krause and the men who serve him might as well be CGI simulations like the boats around them. Like a sailing vessel, \u003cem>Greyhound \u003c/em>benefits from the sleekness of its design and its characters’ lack of baggage, both literal and emotional. As befits his status as America’s Dad, Hanks has constructed for us the ultimate Dad Movie—all the action you could ever need or want, with no annoying characters hanging around, harboring pesky needs and wants of their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=World+War+II+Naval+Drama+%27Greyhound%27+Charts+A+Trim%2C+Efficient+Course&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Hanks’ screen persona is …\u003c/p>\n\u003cp>One is tempted to reach for the word \u003cem>avuncular \u003c/em>here, but that doesn’t quite pin it down. He’s not America’s Uncle, after all, he’s America’s Dad. But \u003cem>paternal \u003c/em>doesn’t get you there, either, as that word has taken on an oppressive, exclusionary patina, which are two qualities that couldn’t stick to Hanks in a million years, onscreen or off. The guy’s a dependably empathetic, inviting presence, even when he’s playing someone as inscrutable as Fred Rogers (\u003cem>A Beautiful Day in the Neighborhood\u003c/em>) or as gruff-but-lovable as Jimmy Dugan (\u003cem>A League of Their Own\u003c/em>).\u003c/p>\n\u003cp>\u003cem>Affable\u003c/em>, then. Let’s go with that.\u003c/p>\n\u003cp>On those rare occasions Hanks has attempted to run from his inherent, bone-deep likability to instead play heels, in films like \u003cem>The Ladykillers\u003c/em>, \u003cem>Charlie Wilson’s War\u003c/em> and, infamously, \u003cem>The Bonfire of the Vanities\u003c/em>, audiences recoil. It’s the Jimmy Stewart Phenomenon at work. “But you’re so affable!” we collectively insist. “We love your ability to aff! So shut up and get back to affing, already!”\u003c/p>\n\u003cp>Of course, Alfred Hitchcock found a way to twist that phenomenon to his own twisted needs; he knew he could cast Jimmy Stewart as a Peeping Tom or a creep obsessed with a dead woman and audiences would blithely accept it, because it was Jimmy Stewart. Jimmy Freaking “I’ll lasso the moon for ya” Stewart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having not yet found his Hitchcock, Hanks has settled into a series of roles that draft on his uncanny ability to get us to deeply identify with whomever he’s playing. But in the taut World War II film \u003cem>Greyhound\u003c/em>, dropping Friday on Apple TV+, Hanks seems to have arrived at a troubling but inevitable epiphany: He no longer has to bother creating a layered character, he can just … be \u003cem>him\u003c/em>.\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/-pNgAZVrf40'\n title='//www.youtube.com/embed/-pNgAZVrf40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Greyhound\u003c/em>, which Hanks adapted from the 1955 novel \u003cem>The Good Shepherd\u003c/em> by C. S. Forester, he plays Ernie Krause, captain of a U.S. warship leading a convoy of merchant and troop ships through a North Atlantic infested by German U-boats in February 1942. In the book, Krause possesses a rich, deeply conflicted inner life: He was a career officer about to retire when the Pearl Harbor attack officially propelled the U.S. into World War II, so he’s at once significantly older, and far less battle-tested (this being his first wartime command) than the men he’s tasked to lead. Between U-boat attacks, he broods over his failed marriage, his devout Christian faith, his previous career disappointments, and a profound case of Imposter Syndrome as he constantly second-guesses his decisions.\u003c/p>\n\u003cp>In the film, however, Krause’s backstory and personal struggles have been loaded into a torpedo tube and fired into the murky depths of Davy Jones’ Locker. This Krause is still a Christian (read: he prays a few times), and he’s not married (read: Elisabeth Shue shows up in a flashback to smile ruefully at him and deliver all of six lines). Otherwise, he’s … Tom Hanks.\u003c/p>\n\u003cp>Which, it turns out, in a film as lean (88 minutes!) and efficiently executed as this one, is enough. \u003cem>Greyhound \u003c/em>director Aaron Schneider knows what he’s doing, and he starts doing it right away, packing the film with naval action from the jump. As soon as the convoy moves out of range of U.S. air cover and begins to cross “The Black Pit”—that yawning stretch in the middle of the Atlantic when the convoy will be on its own—the sonar operator detects a U-boat. More follow. Tension rises, released in intermittent bursts by small victories and dismaying losses.\u003c/p>\n\u003cp>The film’s several battle sequences are clearly and effectively staged: They reek of CGI, but the technology is used well, as when we zoom out in virtual drone shots that show us the action from far above—so we can see just how nearly a near-miss misses as we watch a ship slooooowly steering itself out of a torpedo’s path in the nick of time. We soon come to recognize and distinguish the various U-boats descending on the convoy, as they’ve each got different symbols painted on their conning towers.\u003c/p>\n\u003cp>In that sense, the U-boats register as stronger and more distinct personalities than any Greyhound crew member manages to, as the men that surround Hanks’ Krause are called upon to do little more than look worried, sad or happy as Hanks’ script dictates. No, this is Hanks’ show, and he seems completely in his element awash in sea-spray, peering through binoculars while shouting torrents of naval jargon. (A word about said jargon: \u003cem>Greyhound \u003c/em>is the kind of movie in which there’s always a sailor on hand to translate for an audience of landlubbers by helpfully shouting in astonishment that something will soon happen, is happening, or has just happened—often all three, just to be safe.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t much matter that Krause and the men who serve him might as well be CGI simulations like the boats around them. Like a sailing vessel, \u003cem>Greyhound \u003c/em>benefits from the sleekness of its design and its characters’ lack of baggage, both literal and emotional. As befits his status as America’s Dad, Hanks has constructed for us the ultimate Dad Movie—all the action you could ever need or want, with no annoying characters hanging around, harboring pesky needs and wants of their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=World+War+II+Naval+Drama+%27Greyhound%27+Charts+A+Trim%2C+Efficient+Course&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The country act now officially known as \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/11/875062248/lady-antebellum-changes-its-name-to-lady-a\" target=\"_blank\" rel=\"noopener noreferrer\">Lady A\u003c/a> has sued a blues, soul and funk singer who says that she has used Lady A as her stage name for two decades.\u003c/p>\n\u003cp>On June 11, the country trio changed its name to Lady A, saying that they were, in retrospect, “regretful and embarrassed” that they hadn’t considered the loaded and racist history of “antebellum.” This was despite the fact that journalists had challenged them about it \u003ca href=\"https://www.npr.org/transcripts/140312877\" target=\"_blank\" rel=\"noopener noreferrer\">for years\u003c/a>.\u003c/p>\n\u003cp>Shortly after the name change was announced, Anita White, who is a Black artist based in Seattle, emerged to say that she had already been \u003ca href=\"https://ladyababyblues.com/home\" target=\"_blank\" rel=\"noopener noreferrer\">performing\u003c/a> under that name for about 20 years. It was an inauspicious beginning for the trio’s revamped image.\u003c/p>\n\u003cp>On June 15, the band \u003ca href=\"https://www.instagram.com/p/CBeTF3iDVht/\" target=\"_blank\" rel=\"noopener noreferrer\">posted to Instagram\u003c/a> a screenshot of a Zoom call it had with White. “Transparent, honest, and authentic conversations were had,” the trio wrote in part. “We are excited to share we are moving forward with positive solutions and common ground. The hurt is turning into hope.” White \u003ca href=\"https://www.instagram.com/p/CBeiDpAHN6z/\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> the same message with the same image, on the same day. In its court filing, the group said that they had begun co-writing a song with White.\u003c/p>\n\u003cp>But that good will evidently soured quite quickly. The day after that happy Instagram post, White gave an emailed interview to \u003ca href=\"https://www.newsday.com/entertainment/music/lady-antebellum-lady-a-1.45795425\" target=\"_blank\" rel=\"noopener noreferrer\">Newsday\u003c/a>, in which she wrote: “Their camp is trying to erase me and I’ll have more to say… Trust is important and I no longer trust them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to the band’s court filing with the U.S. District Court for the Middle District of Tennessee on Wednesday which NPR has obtained, White asked for “an exorbitant monetary demand” from the band as part of a proposed settlement on Tuesday.\u003c/p>\n\u003cp>In a statement to NPR Thursday morning, the trio said that White had requested $10 million. It added in part: “We never even entertained the idea that she shouldn’t also be able to use the name Lady A, and never will.” In its filing, the band also said that its fans had been using “Lady A” as a nickname for well over a decade, and it had referred to itself as “Lady A” on its own website starting in 2008.\u003c/p>\n\u003cp>A search by NPR showed that Lady A Entertainment LLC, based in Nashville, Tenn., filed three trademark applications related to the term “Lady A” in 2010; the same company filed for a fourth “Lady A” trademark on June 9, two days before the band started presenting itself publicly under the new moniker.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The lawsuit from the Nashville trio said that White had never opposed those trademark applications, nor did she seek the trademark herself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Lady+A+The+Band+Sues+Lady+A+The+Singer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The country act now officially known as \u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/11/875062248/lady-antebellum-changes-its-name-to-lady-a\" target=\"_blank\" rel=\"noopener noreferrer\">Lady A\u003c/a> has sued a blues, soul and funk singer who says that she has used Lady A as her stage name for two decades.\u003c/p>\n\u003cp>On June 11, the country trio changed its name to Lady A, saying that they were, in retrospect, “regretful and embarrassed” that they hadn’t considered the loaded and racist history of “antebellum.” This was despite the fact that journalists had challenged them about it \u003ca href=\"https://www.npr.org/transcripts/140312877\" target=\"_blank\" rel=\"noopener noreferrer\">for years\u003c/a>.\u003c/p>\n\u003cp>Shortly after the name change was announced, Anita White, who is a Black artist based in Seattle, emerged to say that she had already been \u003ca href=\"https://ladyababyblues.com/home\" target=\"_blank\" rel=\"noopener noreferrer\">performing\u003c/a> under that name for about 20 years. It was an inauspicious beginning for the trio’s revamped image.\u003c/p>\n\u003cp>On June 15, the band \u003ca href=\"https://www.instagram.com/p/CBeTF3iDVht/\" target=\"_blank\" rel=\"noopener noreferrer\">posted to Instagram\u003c/a> a screenshot of a Zoom call it had with White. “Transparent, honest, and authentic conversations were had,” the trio wrote in part. “We are excited to share we are moving forward with positive solutions and common ground. The hurt is turning into hope.” White \u003ca href=\"https://www.instagram.com/p/CBeiDpAHN6z/\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> the same message with the same image, on the same day. In its court filing, the group said that they had begun co-writing a song with White.\u003c/p>\n\u003cp>But that good will evidently soured quite quickly. The day after that happy Instagram post, White gave an emailed interview to \u003ca href=\"https://www.newsday.com/entertainment/music/lady-antebellum-lady-a-1.45795425\" target=\"_blank\" rel=\"noopener noreferrer\">Newsday\u003c/a>, in which she wrote: “Their camp is trying to erase me and I’ll have more to say… Trust is important and I no longer trust them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to the band’s court filing with the U.S. District Court for the Middle District of Tennessee on Wednesday which NPR has obtained, White asked for “an exorbitant monetary demand” from the band as part of a proposed settlement on Tuesday.\u003c/p>\n\u003cp>In a statement to NPR Thursday morning, the trio said that White had requested $10 million. It added in part: “We never even entertained the idea that she shouldn’t also be able to use the name Lady A, and never will.” In its filing, the band also said that its fans had been using “Lady A” as a nickname for well over a decade, and it had referred to itself as “Lady A” on its own website starting in 2008.\u003c/p>\n\u003cp>A search by NPR showed that Lady A Entertainment LLC, based in Nashville, Tenn., filed three trademark applications related to the term “Lady A” in 2010; the same company filed for a fourth “Lady A” trademark on June 9, two days before the band started presenting itself publicly under the new moniker.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The lawsuit from the Nashville trio said that White had never opposed those trademark applications, nor did she seek the trademark herself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Lady+A+The+Band+Sues+Lady+A+The+Singer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Welcome to Chechnya' Chronicles Abuses Against its LGBTQ Citizens",
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"content": "\u003cp>\u003cem>Welcome to Chechnya\u003c/em> is a grimly ironic title for a documentary that plays like a chilling undercover thriller. The camerawork is rough and ragged; the sense of menace is palpable.\u003c/p>\n\u003cp>The movie opens on a dark street in the southern Russian republic of Chechnya, where a man smokes a cigarette and arranges secret meetings and transports by phone. This is David Isteev, a crisis intervention coordinator for the \u003ca href=\"https://www.lgbtnet.org/en\" target=\"_blank\" rel=\"noopener noreferrer\">Russian LGBT Network\u003c/a>, and he spends his days helping gay and transgender Chechens flee a place where they are no longer safe.\u003c/p>\n\u003cp>Homosexuality and gender nonconformity have long been frowned upon in Chechen society. But things got much worse in early 2017, when the leader of the republic, \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/28/464552123/chechnyas-strongman-praises-putin-threatens-traitors\" target=\"_blank\" rel=\"noopener noreferrer\">Ramzan Kadyrov\u003c/a>, a strongman with close ties to Russian President Vladimir Putin, began a violent purge of anyone suspected of being gay or transgender.\u003c/p>\n\u003cp>It began with a drug raid when police arrested a young man and found sexually explicit images of men on his phone. He was tortured and forced to name those men, who were then also arrested, tortured and forced to name others, setting off a horrific chain reaction. Some of the men were released—with the expectation that their own relatives would kill them, since the stigma of homosexuality runs deep in this ultra-conservative, primarily Muslim society.\u003c/p>\n\u003cp>The journalist and filmmaker \u003ca href=\"https://www.npr.org/2020/06/28/884458992/interview-with-the-director-of-welcome-to-chechnya\" target=\"_blank\" rel=\"noopener noreferrer\">David France\u003c/a> was first alerted to this crisis by Masha Gessen’s \u003ca href=\"https://www.newyorker.com/magazine/2017/07/03/the-gay-men-who-fled-chechnyas-purge\" target=\"_blank\" rel=\"noopener noreferrer\">2017 \u003cem>New Yorker\u003c/em> article\u003c/a> and decided to make it the subject of his next film. He embedded himself with Isteev and another activist, Olga Baranova, and began filming some of the young people who turned to them for help. For security reasons, these individuals are introduced with aliases, and their circumstances and whereabouts are left deliberately vague.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as the movie tells us upfront, France took an extraordinary step to protect their identities further, using sophisticated facial-disguise technology. Many of the faces we see are actually the faces of people from outside Chechnya, who lent their likenesses to the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_2KMm49B6pE\u003c/p>\n\u003cp>It’s a bold gambit that may put off those who find it too duplicitous in the context of a documentary. But I found it remarkably effective in the way it lets these young men and women tell their stories and express a level of emotion that would have been lost if they had been filmed with blurred faces or in heavy shadows. Giving them different faces also makes a kind of poetic sense: It’s a reminder that to be LGBTQ in a repressive society is to never feel comfortable in your own skin.\u003c/p>\n\u003cp>One of these digitally altered subjects is a 21-year-old lesbian introduced as “Anya,” whose uncle knows her sexual orientation and demands that she sleep with him or risk being outed to her father, a powerful Chechen official. Anya decides to escape, but that isn’t so easy with the authorities soon hot on her trail. The Russian LGBT Network moves her into an apartment where she must hole up for weeks on end, waiting for a travel visa that might never arrive.\u003c/p>\n\u003cp>Similarly harrowing, but also more hopeful, is the experience of a 30-year-old Russian businessman, here called “Grisha,” who was detained and beaten for 12 days during a trip to Chechnya. The Network helps him move to an undisclosed location in Europe with his boyfriend of 10 years. Fortunately, the brave Grisha has the support of his immediate family, who decide to move with him; as his mother notes in one poignant scene, her loyalty is to her family—not to an oppressive government.\u003c/p>\n\u003cp>\u003cem>Welcome to Chechnya\u003c/em> pays important tribute to the courage of its subjects, including activists like Isteev and Baranova, who risk their own persecution and exposure. The mere presence of France’s camera might endanger their lives and their work, but it’s also crucial to drawing international attention to the Chechen government’s abuses. We see some of those abuses in the movie’s most disturbing footage, much of it secretly filmed on cell phones and spliced into the film in brief jolts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In one video, an incarcerated man is sexually assaulted off-camera by police. In another, a woman is attacked by a relative who—it’s implied but not shown—proceeds to bludgeon her to death. These are ghastly images, and I’m not convinced the film needed all of them to convey the full horror of what’s going on. But there’s no doubting the depth of its fury and anguish on behalf of the victims and survivors we see—and the many, many more that we don’t.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Welcome+To+Chechnya%27+Chronicles+Abuses+Against+Its+LGBTQ+Citizens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Chechnya\u003c/em> is a grimly ironic title for a documentary that plays like a chilling undercover thriller. The camerawork is rough and ragged; the sense of menace is palpable.\u003c/p>\n\u003cp>The movie opens on a dark street in the southern Russian republic of Chechnya, where a man smokes a cigarette and arranges secret meetings and transports by phone. This is David Isteev, a crisis intervention coordinator for the \u003ca href=\"https://www.lgbtnet.org/en\" target=\"_blank\" rel=\"noopener noreferrer\">Russian LGBT Network\u003c/a>, and he spends his days helping gay and transgender Chechens flee a place where they are no longer safe.\u003c/p>\n\u003cp>Homosexuality and gender nonconformity have long been frowned upon in Chechen society. But things got much worse in early 2017, when the leader of the republic, \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/28/464552123/chechnyas-strongman-praises-putin-threatens-traitors\" target=\"_blank\" rel=\"noopener noreferrer\">Ramzan Kadyrov\u003c/a>, a strongman with close ties to Russian President Vladimir Putin, began a violent purge of anyone suspected of being gay or transgender.\u003c/p>\n\u003cp>It began with a drug raid when police arrested a young man and found sexually explicit images of men on his phone. He was tortured and forced to name those men, who were then also arrested, tortured and forced to name others, setting off a horrific chain reaction. Some of the men were released—with the expectation that their own relatives would kill them, since the stigma of homosexuality runs deep in this ultra-conservative, primarily Muslim society.\u003c/p>\n\u003cp>The journalist and filmmaker \u003ca href=\"https://www.npr.org/2020/06/28/884458992/interview-with-the-director-of-welcome-to-chechnya\" target=\"_blank\" rel=\"noopener noreferrer\">David France\u003c/a> was first alerted to this crisis by Masha Gessen’s \u003ca href=\"https://www.newyorker.com/magazine/2017/07/03/the-gay-men-who-fled-chechnyas-purge\" target=\"_blank\" rel=\"noopener noreferrer\">2017 \u003cem>New Yorker\u003c/em> article\u003c/a> and decided to make it the subject of his next film. He embedded himself with Isteev and another activist, Olga Baranova, and began filming some of the young people who turned to them for help. For security reasons, these individuals are introduced with aliases, and their circumstances and whereabouts are left deliberately vague.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as the movie tells us upfront, France took an extraordinary step to protect their identities further, using sophisticated facial-disguise technology. Many of the faces we see are actually the faces of people from outside Chechnya, who lent their likenesses to the film.\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/_2KMm49B6pE'\n title='//www.youtube.com/embed/_2KMm49B6pE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a bold gambit that may put off those who find it too duplicitous in the context of a documentary. But I found it remarkably effective in the way it lets these young men and women tell their stories and express a level of emotion that would have been lost if they had been filmed with blurred faces or in heavy shadows. Giving them different faces also makes a kind of poetic sense: It’s a reminder that to be LGBTQ in a repressive society is to never feel comfortable in your own skin.\u003c/p>\n\u003cp>One of these digitally altered subjects is a 21-year-old lesbian introduced as “Anya,” whose uncle knows her sexual orientation and demands that she sleep with him or risk being outed to her father, a powerful Chechen official. Anya decides to escape, but that isn’t so easy with the authorities soon hot on her trail. The Russian LGBT Network moves her into an apartment where she must hole up for weeks on end, waiting for a travel visa that might never arrive.\u003c/p>\n\u003cp>Similarly harrowing, but also more hopeful, is the experience of a 30-year-old Russian businessman, here called “Grisha,” who was detained and beaten for 12 days during a trip to Chechnya. The Network helps him move to an undisclosed location in Europe with his boyfriend of 10 years. Fortunately, the brave Grisha has the support of his immediate family, who decide to move with him; as his mother notes in one poignant scene, her loyalty is to her family—not to an oppressive government.\u003c/p>\n\u003cp>\u003cem>Welcome to Chechnya\u003c/em> pays important tribute to the courage of its subjects, including activists like Isteev and Baranova, who risk their own persecution and exposure. The mere presence of France’s camera might endanger their lives and their work, but it’s also crucial to drawing international attention to the Chechen government’s abuses. We see some of those abuses in the movie’s most disturbing footage, much of it secretly filmed on cell phones and spliced into the film in brief jolts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In one video, an incarcerated man is sexually assaulted off-camera by police. In another, a woman is attacked by a relative who—it’s implied but not shown—proceeds to bludgeon her to death. These are ghastly images, and I’m not convinced the film needed all of them to convey the full horror of what’s going on. But there’s no doubting the depth of its fury and anguish on behalf of the victims and survivors we see—and the many, many more that we don’t.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Welcome+To+Chechnya%27+Chronicles+Abuses+Against+Its+LGBTQ+Citizens&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Julian Bass loves Spider-Man, a trait you can easily glean by scrolling through the videos he posts to his TikTok and Twitter accounts.\u003c/p>\n\u003cp>“I just think Spider-Man is so fun. It’s so inspiring to me,” Bass told NPR’s \u003cem>Weekend Edition\u003c/em>. “Everything, every little aspect that you could possibly think of about Spider-Man is something that I’m aware of, that I know of.”\u003c/p>\n\u003cp>In one now-viral video, the 20-year-old theater major at Georgia State University morphs into his favorite heroes using his own special-effects—first a Jedi wielding a blue lightsaber, then Ben 10, before his final transition into Spider-Man. He asked his followers to retweet the video “enough times that Disney calls.” Twenty million views later, \u003ca href=\"https://twitter.com/RobertIger/status/1278869218889367552\" target=\"_blank\" rel=\"noopener noreferrer\">Disney \u003c/a>wasn’t the only one he heard from.\u003c/p>\n\u003cp>https://twitter.com/thejulianbass/status/1278714517770440707\u003c/p>\n\u003cp>At first, he said his video gained “some small traction with my immediate circle.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And then the verified profiles started commenting,” he said. “The first one for me was The Lonely Island. And then I started seeing Josh Gad, Matthew Cherry. I saw Mark Hamill liked it. I mean if Mark Hamill likes it, I’m a Jedi now.”\u003c/p>\n\u003cp>Bass said these aren’t just retweets—he’s also getting messages from “bigwigs” such as Marvel co-president Louis D’Esposito and people from HBO Max.\u003c/p>\n\u003cp>“Everyone you can think of has been just blowing up my phone recently and I just need to sort of mitigate how to respond to everybody and make sure I can get these opportunities and seize these opportunities in the best way possible,” he said.\u003c/p>\n\u003cp>He’s hoping those opportunities could potentially lead into a role in front of the camera, despite his professional-looking special-effects work behind the videos.\u003c/p>\n\u003cp>“The skills that I have as a visual effects artist kind of were born out of me wanting to be in front of the camera and looking good while I’m doing it,” he said. “My parents are fantastic for doing this but they told me that, yeah Julian, you can do this. Use this program, this little free thing here. Yeah you can use a green screen and learn how to do that. And so I was like, if I can, why don’t I? If I want to act like Spider-Man, why not make it look like Spider-Man?”\u003c/p>\n\u003cp>After he posted the video, \u003ca href=\"https://twitter.com/Marvel_Fan_3000/status/1278889003417169920\" target=\"_blank\" rel=\"noopener noreferrer\">responses began pouring in\u003c/a>, requesting to see him cast as Miles Morales, the first Afro-Latino character to take on the name Spider-Man in the Spider-Verse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Yeah to be a fan of something and then to see people want you to be a part of it, that’s a chance that I will not ruin for myself whatsoever,” Bass said. “If they pass on it, look, that’s okay, there’s plenty more opportunities. But I feel like I’m ready to take my shot and that’s truly what it’s all about right now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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+Theater+Student+Gets+Supersized+Attention+After+Superhero+Video+Goes+Viral&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Julian Bass loves Spider-Man, a trait you can easily glean by scrolling through the videos he posts to his TikTok and Twitter accounts.\u003c/p>\n\u003cp>“I just think Spider-Man is so fun. It’s so inspiring to me,” Bass told NPR’s \u003cem>Weekend Edition\u003c/em>. “Everything, every little aspect that you could possibly think of about Spider-Man is something that I’m aware of, that I know of.”\u003c/p>\n\u003cp>In one now-viral video, the 20-year-old theater major at Georgia State University morphs into his favorite heroes using his own special-effects—first a Jedi wielding a blue lightsaber, then Ben 10, before his final transition into Spider-Man. He asked his followers to retweet the video “enough times that Disney calls.” Twenty million views later, \u003ca href=\"https://twitter.com/RobertIger/status/1278869218889367552\" target=\"_blank\" rel=\"noopener noreferrer\">Disney \u003c/a>wasn’t the only one he heard from.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And then the verified profiles started commenting,” he said. “The first one for me was The Lonely Island. And then I started seeing Josh Gad, Matthew Cherry. I saw Mark Hamill liked it. I mean if Mark Hamill likes it, I’m a Jedi now.”\u003c/p>\n\u003cp>Bass said these aren’t just retweets—he’s also getting messages from “bigwigs” such as Marvel co-president Louis D’Esposito and people from HBO Max.\u003c/p>\n\u003cp>“Everyone you can think of has been just blowing up my phone recently and I just need to sort of mitigate how to respond to everybody and make sure I can get these opportunities and seize these opportunities in the best way possible,” he said.\u003c/p>\n\u003cp>He’s hoping those opportunities could potentially lead into a role in front of the camera, despite his professional-looking special-effects work behind the videos.\u003c/p>\n\u003cp>“The skills that I have as a visual effects artist kind of were born out of me wanting to be in front of the camera and looking good while I’m doing it,” he said. “My parents are fantastic for doing this but they told me that, yeah Julian, you can do this. Use this program, this little free thing here. Yeah you can use a green screen and learn how to do that. And so I was like, if I can, why don’t I? If I want to act like Spider-Man, why not make it look like Spider-Man?”\u003c/p>\n\u003cp>After he posted the video, \u003ca href=\"https://twitter.com/Marvel_Fan_3000/status/1278889003417169920\" target=\"_blank\" rel=\"noopener noreferrer\">responses began pouring in\u003c/a>, requesting to see him cast as Miles Morales, the first Afro-Latino character to take on the name Spider-Man in the Spider-Verse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Yeah to be a fan of something and then to see people want you to be a part of it, that’s a chance that I will not ruin for myself whatsoever,” Bass said. “If they pass on it, look, that’s okay, there’s plenty more opportunities. But I feel like I’m ready to take my shot and that’s truly what it’s all about right now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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+Theater+Student+Gets+Supersized+Attention+After+Superhero+Video+Goes+Viral&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Pitch-Perfect 'Mexican Gothic' Ratchets Up the Dread",
"headTitle": "Pitch-Perfect ‘Mexican Gothic’ Ratchets Up the Dread | KQED",
"content": "\u003cp>Silvia Moreno-Garcia’s \u003cem>Mexican Gothic\u003c/em> is a thoroughly enjoyable, thought-provoking novel. I want to discuss it around tea, preferably while in the mountains, preferably somewhere well-lit. I remember placing my bookmark in the book and thinking, I should not have read this before bed.\u003c/p>\n\u003cp>I was afraid of what I might dream.\u003c/p>\n\u003cp>Noémi’s cousin Catalina writes a strange letter begging for help. She claims her new husband Virgil Doyle is poisoning her, that “fleshless things” and ghosts trouble her, that “they will not let me go.” Noémi—self-assured, chic and stubborn—leaves the glamor of 1950s Mexico City for the countryside, still depressed after a mining bust and fecund with secrets, to determine whether Catalina needs rescue.\u003c/p>\n\u003cp>Reader, she does. The situation is more complicated and sinister than the initial fear of just a con artist husband isolating his new wife and convincing the world she’s mad so he can steal her money.\u003c/p>\n\u003cp>The Doyles of High Place are so Anglo and insular they brought European earth for their garden. Rot seeps from cracks, corrupts wallpaper and slimes the ceilings of the house. There is no regular electricity, so our heroine must get around with candles and oil lamps. Smoking cigarettes, going into town, and conversation at dinner are all against house rules. And when conversation \u003cem>does\u003c/em> happen, the patriarch of the clan (Howard) says things like “You are much darker than your cousin,” and approvingly discusses eugenics. Virgil and Florence (High Place’s mistress) keep Noémi away from Catalina, saying she’s in mysterious “treatments.” Noémi’s only potential ally is Francis, Florence’s sheltered and delicate son. But even his friendship only stretches so far—and can it stretch further than the family land he’s never left?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Noémi’s dreams become haunted: A woman whose face is a golden cloud tries to speak, accompanied by visceral dread. Dream Virgil appears, a figure of lust and terror. A dead woman repeatedly tells Noémi to open her eyes. Where the dreamworld ends and reality begins feels uncertain. Noémi wonders whether she is losing her mind.\u003c/p>\n\u003cp>The reader isn’t sure, either.\u003c/p>\n\u003cp>There is a gradual rise of dread in \u003cem>Mexican Gothic\u003c/em>. It never quite falls off, even at the end, which I loved for its satisfying ambiguity; this is a novel that will leave you wary even after the last page. \u003cem>Mexican Gothic\u003c/em> touches on racial, class, and labor inequity, the way these things fester, infusing the landscape and blighting generations. High Place is haunted by memory. The very air is possessed. This is Silvia Moreno-Garcia’s greatness as a storyteller: She makes you uneasy about invisible things by writing \u003cem>around\u003c/em> them. Even when you think you know what lurks, the power to unsettle isn’t diminished. Secrets brought to light stay disquieting.\u003c/p>\n\u003cp>During the more surreal sequences, I was reminded of Remedios Varo’s paintings, Guillermo del Toro’s \u003cem>Crimson Peak\u003c/em> (this story is much better crafted), or Jeff Vandermeer’s \u003cem>Ambergris\u003c/em>. I appreciated the frequent winks at classic Gothic novels, even as Moreno-Garcia hit all of the expected tropes.\u003c/p>\n\u003cp>\u003cem>Mexican Gothic \u003c/em>is a pitch-perfect Gothic novel. The Gothics knew the only thing more full of horrors than the landscape is the human heart, that the human heart is a haunting. We often think of Frankenstein’s monster as magical; a limb drops off and cartoon Frank sews it back on, but Frankenstein’s monster was more Romantic than that. So is \u003cem>Mexican Gothic\u003c/em>. Moreno-Garcia (an occasional NPR contributor) spins science, myth, and obsession into an effective tale of supernatural horror and determination. We are asked to consider the terror of losing agency, of being part of or becoming monstrousness whether you will or not. Something is sick. Nothing is as it seems. We are possessed by the air we breathe. We are haunted by our bodies and the people who came before us. Can one escape that?\u003c/p>\n\u003cp>To help us through, there is a bright whisper of goodness—Noémi’s wit and vivacity, even as the Doyles pick her apart with criticism, Francis’s quiet will, light growing where it shouldn’t. You will want to see this heroine succeed, you’ll desperately root for her escape; as desperately, you will want other characters to fall. But in \u003cem>Mexican Gothic \u003c/em>we are asked to consider the things abusers do to create their next victims, the lengths one might go to control the future, and whether the snake can ever stop eating its tail.\u003c/p>\n\u003cp>You will be left unsettled, unsteady, and uncertain. You will also be left satisfied.\u003c/p>\n\u003cp>And you will remember High Place, though hopefully not in your dreams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jessica P. Wick is a writer, freelance editor, and California native currently living in Rhode Island. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Pitch-Perfect+%27Mexican+Gothic%27+Ratchets+Up+The+Dread&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Silvia Moreno-Garcia’s \u003cem>Mexican Gothic\u003c/em> is a thoroughly enjoyable, thought-provoking novel. I want to discuss it around tea, preferably while in the mountains, preferably somewhere well-lit. I remember placing my bookmark in the book and thinking, I should not have read this before bed.\u003c/p>\n\u003cp>I was afraid of what I might dream.\u003c/p>\n\u003cp>Noémi’s cousin Catalina writes a strange letter begging for help. She claims her new husband Virgil Doyle is poisoning her, that “fleshless things” and ghosts trouble her, that “they will not let me go.” Noémi—self-assured, chic and stubborn—leaves the glamor of 1950s Mexico City for the countryside, still depressed after a mining bust and fecund with secrets, to determine whether Catalina needs rescue.\u003c/p>\n\u003cp>Reader, she does. The situation is more complicated and sinister than the initial fear of just a con artist husband isolating his new wife and convincing the world she’s mad so he can steal her money.\u003c/p>\n\u003cp>The Doyles of High Place are so Anglo and insular they brought European earth for their garden. Rot seeps from cracks, corrupts wallpaper and slimes the ceilings of the house. There is no regular electricity, so our heroine must get around with candles and oil lamps. Smoking cigarettes, going into town, and conversation at dinner are all against house rules. And when conversation \u003cem>does\u003c/em> happen, the patriarch of the clan (Howard) says things like “You are much darker than your cousin,” and approvingly discusses eugenics. Virgil and Florence (High Place’s mistress) keep Noémi away from Catalina, saying she’s in mysterious “treatments.” Noémi’s only potential ally is Francis, Florence’s sheltered and delicate son. But even his friendship only stretches so far—and can it stretch further than the family land he’s never left?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Noémi’s dreams become haunted: A woman whose face is a golden cloud tries to speak, accompanied by visceral dread. Dream Virgil appears, a figure of lust and terror. A dead woman repeatedly tells Noémi to open her eyes. Where the dreamworld ends and reality begins feels uncertain. Noémi wonders whether she is losing her mind.\u003c/p>\n\u003cp>The reader isn’t sure, either.\u003c/p>\n\u003cp>There is a gradual rise of dread in \u003cem>Mexican Gothic\u003c/em>. It never quite falls off, even at the end, which I loved for its satisfying ambiguity; this is a novel that will leave you wary even after the last page. \u003cem>Mexican Gothic\u003c/em> touches on racial, class, and labor inequity, the way these things fester, infusing the landscape and blighting generations. High Place is haunted by memory. The very air is possessed. This is Silvia Moreno-Garcia’s greatness as a storyteller: She makes you uneasy about invisible things by writing \u003cem>around\u003c/em> them. Even when you think you know what lurks, the power to unsettle isn’t diminished. Secrets brought to light stay disquieting.\u003c/p>\n\u003cp>During the more surreal sequences, I was reminded of Remedios Varo’s paintings, Guillermo del Toro’s \u003cem>Crimson Peak\u003c/em> (this story is much better crafted), or Jeff Vandermeer’s \u003cem>Ambergris\u003c/em>. I appreciated the frequent winks at classic Gothic novels, even as Moreno-Garcia hit all of the expected tropes.\u003c/p>\n\u003cp>\u003cem>Mexican Gothic \u003c/em>is a pitch-perfect Gothic novel. The Gothics knew the only thing more full of horrors than the landscape is the human heart, that the human heart is a haunting. We often think of Frankenstein’s monster as magical; a limb drops off and cartoon Frank sews it back on, but Frankenstein’s monster was more Romantic than that. So is \u003cem>Mexican Gothic\u003c/em>. Moreno-Garcia (an occasional NPR contributor) spins science, myth, and obsession into an effective tale of supernatural horror and determination. We are asked to consider the terror of losing agency, of being part of or becoming monstrousness whether you will or not. Something is sick. Nothing is as it seems. We are possessed by the air we breathe. We are haunted by our bodies and the people who came before us. Can one escape that?\u003c/p>\n\u003cp>To help us through, there is a bright whisper of goodness—Noémi’s wit and vivacity, even as the Doyles pick her apart with criticism, Francis’s quiet will, light growing where it shouldn’t. You will want to see this heroine succeed, you’ll desperately root for her escape; as desperately, you will want other characters to fall. But in \u003cem>Mexican Gothic \u003c/em>we are asked to consider the things abusers do to create their next victims, the lengths one might go to control the future, and whether the snake can ever stop eating its tail.\u003c/p>\n\u003cp>You will be left unsettled, unsteady, and uncertain. You will also be left satisfied.\u003c/p>\n\u003cp>And you will remember High Place, though hopefully not in your dreams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Jessica P. Wick is a writer, freelance editor, and California native currently living in Rhode Island. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Pitch-Perfect+%27Mexican+Gothic%27+Ratchets+Up+The+Dread&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Do Right By Us': Black 'Survivor' Alums Say the Reality Was Harmful Stereotypes",
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"content": "\u003cp>Ramona Gray Amaro has a spot in reality TV history. She is the first Black woman to compete on CBS’s unscripted hit series \u003cem>Survivor\u003c/em>, which took 16 people and isolated them on an island in Malaysia, vying for a million-dollar prize, on the show’s first season in 2000, \u003cem>Survivor: Borneo\u003c/em>.\u003c/p>\n\u003cp>But when she saw how she was depicted in the show, which takes footage filmed on the island and edits it into episodes aired months later on network TV, Amaro also felt she was also one of the first Black people stereotyped by \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>She says footage showing her lying around her team’s campsite early in the competition made her look lazy, feeding into stereotypes about Black people. But she was suffering from dehydration.\u003c/p>\n\u003cp>Even though the program eventually showed her regaining her strength and working harder, she was voted off the island after 12 days. Amaro felt the damage was done.\u003c/p>\n\u003cp>“I became the lazy person, which is the furthest thing from the truth,” says Amaro. “That really upset me and it took me a long time to get over it. … To realize, we signed our life away. They can do whatever they want to do.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In watching the series since then—there have been 40 seasons over the past 20 years—Amaro believes she saw other Black contestants stereotyped in similar ways. “We can’t swim … we butt heads, we’re athletic, but maybe not smart and strategic,” she adds. “I’m just saying, ‘Do right by us.’ ”\u003c/p>\n\u003cp>That’s why Amaro has joined with several other Black people who have competed on the show to advocate for changes to \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>Among their requests: Hire more people of color to work behind the scenes as casting executives, editors and producers to improve portrayals. Enforce a zero tolerance policy for racist acts. Avoid creating storylines for non-white contestants that play to racial stereotypes. And issue a public statement acknowledging systemic racism in the franchise, with a concrete plan for addressing it.\u003c/p>\n\u003cp>There are a few different groups of Black \u003cem>Survivor\u003c/em> alumni trying different strategies to make their opinions known. One group sent a letter to CBS on June 19—the Juneteenth holiday—to request a meeting. Another Black alum, J’Tia Hart, created \u003ca href=\"https://sign.moveon.org/petitions/a-petition-for-anti-racism-action-by-survivor-entertainment-group-2?share=d9886e1a-f52b-47f1-9e0d-ce5629b355c8&source=rawlink&utm_source=rawlink&share=73b594a9-b9b2-4668-86f3-8ff31358ee59\" target=\"_blank\" rel=\"noopener noreferrer\">a petition\u003c/a> on MoveOn.org asking for a range of changes to help diversify the program, including insuring at least 30 percent of the show’s cast is Black, Indigenous or People of Color (BIPOC). So far, over 4,500 people have signed it.\u003c/p>\n\u003cp>“What they don’t do a great job with, is telling positive stories and connecting with the multifacets of being African American,” says Hart, an alum from the 2014 season \u003cem>Survivor: Cagayan\u003c/em>. “I have a degree in nuclear engineering from a top engineering school. I’m a mother. I work in national security. I am very well-rounded. And I just got boiled down to a simple trope of a lazy, unintelligent person.”\u003c/p>\n\u003cp>Last week, former \u003cem>Survivor\u003c/em> contestant Rob Cesternino, who is white, hosted a discussion with 12 Black alumni from the show led by Sean Rector, a Black man who competed on \u003cem>Survivor: Marquesas\u003c/em> in 2002.\u003c/p>\n\u003cp>On Cesternino’s podcast, the Black alumni spoke about the stress of auditioning before rooms filled with white executives, the challenge of not offending white castmates while also trying to play the game, having fans sling racial slurs or death threats and having white castmates use racial slurs around them.\u003c/p>\n\u003cp>Chief among their concerns: feeling that the show mostly marginalizes the Black people who play on it, because the production staff that creates the show isn’t diverse enough.\u003c/p>\n\u003cp>Hart says the show’s Black alumni, many of whom have connected with each other on a private Facebook group, were galvanized by the discussions about race and civil rights following the death of George Floyd at the hands of Minneapolis police. Some of the systemic racism Black people face in America, she says, comes from negative stereotypes on TV. So they decided to speak up about their concerns over how Black contestants are depicted on the show.\u003c/p>\n\u003cp>“It’s not just Black Lives Matter when it comes to the police,” says Brice Johnston, who competed on \u003cem>Survivor: Cagayan\u003c/em> alongside Hart and felt he was stereotyped as a sassy, flamboyant Black gay man. “It’s Black Lives Matter [for us] as reality contestants … our lives, our stories, we matter as well.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> is CBS’s longest-running reality TV show, involving several production companies, including MGM Television. CBS declined to respond on the record to the criticisms, but said it will meet with the alumni. “CBS condemns racism in all its forms and we are committed to inclusive and safe production environments,” the network said in a statement. “In the spirit of partnership with former contestants, we have responded to the request from the Black Survivor Alliance to meet with representatives from the show and CBS, and we’re working together to set a time for this discussion.”\u003c/p>\n\u003cp>About 30 percent of the show’s cast in the last 10 seasons have already been BIPOC, according to CBS. \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI225219\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Census estimates\u003c/a> say the percentage of America’s population that is white alone—Hispanic people can be white, too—is 60 percent.\u003c/p>\n\u003cp>The show has had just four Black winners over 40 seasons—at 10 percent, that’s a little less than the percentage of America’s Black population, which is 13 percent. Most seasons have two or three Black contestants; one had none.\u003c/p>\n\u003cp>Earl Cole became the first Black man to win the show in 2007, on \u003cem>Survivor: Fiji \u003c/em>(the first Black person to win, Vecepia Towery, won on \u003cem>Survivor: Marquesas\u003c/em>). In fact, Cole’s season featured five Black contestants, just like the previous season, \u003cem>Survivor: Cook Islands\u003c/em>. That season produced the show’s first Asian American winner, Yul Kwon.\u003c/p>\n\u003cp>Cole said competing in a season where Black people weren’t heavily outnumbered by white people helped Black players feel less isolated. It also removed an extra level of difficulty Black contestants face on less diverse seasons, where they must navigate how a larger group of white players reacts to their race, in addition to the typical challenges of the game.\u003c/p>\n\u003cp>And while Cole doesn’t have many gripes about how he was depicted—he says the show has to make whoever wins look good to keep viewers engaged—he felt CBS didn’t offer him many opportunities afterward. His season also featured two Black people as runners-up, but Cole felt the show failed to capitalize on the historic nature of his win, especially in reaching out to black-centered media.\u003c/p>\n\u003cp>“They could have really uplifted me a certain way … it maybe would have gotten [the show] more of a Black audience,” he adds. “They didn’t have a system in place to handle the different directions you might go with a person of color. I became my own publicist. … I got myself into \u003cem>Ebony\u003c/em> magazine.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> has faced criticism about how it handles race for years. The \u003cem>Cook Islands\u003c/em> season initially \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5704325\" target=\"_blank\" rel=\"noopener noreferrer\">segregated contestants by race,\u003c/a> prompting \u003cem>USA Today\u003c/em> to call it, “a publicity stunt of the rankest and most obvious kind.” And Julia Carter, a Black woman who competed on the show’s 38th season, \u003cem>Edge of Extinction\u003c/em>, \u003ca href=\"https://thejuliacarter.com/2019/06/06/push-me-to-the-edge-my-survivor-experience/\" target=\"_blank\" rel=\"noopener noreferrer\">published a blog post \u003c/a>in 2019 alleging that there were two instances when other contestants used the n-word around her—quoting a film and a TV show—that Carter says was never shown on air.\u003c/p>\n\u003cp>It’s a criticism CBS has faced regarding another one of its unscripted competitions, \u003cem>Big Brother\u003c/em>: that racism committed by white contestants is rarely shown, leaving viewers unaware of why people of color on the show might be reacting badly.\u003c/p>\n\u003cp>“Socially, I wanted to shut down,” Carter wrote on her blog. “Speak up and put a target on my back or bite my tongue in order to maneuver my way through the game without much attention? … In that moment, I chose the game.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> \u003ca href=\"https://www.nytimes.com/2019/12/12/arts/television/survivor-dan-spilo.html\" target=\"_blank\" rel=\"noopener noreferrer\">was criticized\u003c/a> last year for moving too slowly to address a series of sexual harassment allegations against a male contestant.\u003c/p>\n\u003cp>As a result, the show\u003ca href=\"https://www.hollywoodreporter.com/live-feed/cbs-bring-new-policies-procedures-survivor-misconduct-allegations-1263542\" target=\"_blank\" rel=\"noopener noreferrer\"> announced changes\u003c/a> to its production process, stating, “sexual harassment and impermissible biases cannot be brought into the competition.”\u003c/p>\n\u003cp>Carter, Cole and the show’s other Black alumni want racism to get the same kind of specific attention and treatment. They believe their suggestions will help \u003cem>Survivor \u003c/em>create an environment that doesn’t echo the racism they face in the real world.\u003c/p>\n\u003cp>The only questions left now, are whether CBS and MGM Television agree, and are willing to change.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Do+Right+By+Us%27%3A+Black+%27Survivor%27+Alums+Say+The+Reality+Was+Harmful+Stereotypes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ramona Gray Amaro has a spot in reality TV history. She is the first Black woman to compete on CBS’s unscripted hit series \u003cem>Survivor\u003c/em>, which took 16 people and isolated them on an island in Malaysia, vying for a million-dollar prize, on the show’s first season in 2000, \u003cem>Survivor: Borneo\u003c/em>.\u003c/p>\n\u003cp>But when she saw how she was depicted in the show, which takes footage filmed on the island and edits it into episodes aired months later on network TV, Amaro also felt she was also one of the first Black people stereotyped by \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>She says footage showing her lying around her team’s campsite early in the competition made her look lazy, feeding into stereotypes about Black people. But she was suffering from dehydration.\u003c/p>\n\u003cp>Even though the program eventually showed her regaining her strength and working harder, she was voted off the island after 12 days. Amaro felt the damage was done.\u003c/p>\n\u003cp>“I became the lazy person, which is the furthest thing from the truth,” says Amaro. “That really upset me and it took me a long time to get over it. … To realize, we signed our life away. They can do whatever they want to do.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In watching the series since then—there have been 40 seasons over the past 20 years—Amaro believes she saw other Black contestants stereotyped in similar ways. “We can’t swim … we butt heads, we’re athletic, but maybe not smart and strategic,” she adds. “I’m just saying, ‘Do right by us.’ ”\u003c/p>\n\u003cp>That’s why Amaro has joined with several other Black people who have competed on the show to advocate for changes to \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>Among their requests: Hire more people of color to work behind the scenes as casting executives, editors and producers to improve portrayals. Enforce a zero tolerance policy for racist acts. Avoid creating storylines for non-white contestants that play to racial stereotypes. And issue a public statement acknowledging systemic racism in the franchise, with a concrete plan for addressing it.\u003c/p>\n\u003cp>There are a few different groups of Black \u003cem>Survivor\u003c/em> alumni trying different strategies to make their opinions known. One group sent a letter to CBS on June 19—the Juneteenth holiday—to request a meeting. Another Black alum, J’Tia Hart, created \u003ca href=\"https://sign.moveon.org/petitions/a-petition-for-anti-racism-action-by-survivor-entertainment-group-2?share=d9886e1a-f52b-47f1-9e0d-ce5629b355c8&source=rawlink&utm_source=rawlink&share=73b594a9-b9b2-4668-86f3-8ff31358ee59\" target=\"_blank\" rel=\"noopener noreferrer\">a petition\u003c/a> on MoveOn.org asking for a range of changes to help diversify the program, including insuring at least 30 percent of the show’s cast is Black, Indigenous or People of Color (BIPOC). So far, over 4,500 people have signed it.\u003c/p>\n\u003cp>“What they don’t do a great job with, is telling positive stories and connecting with the multifacets of being African American,” says Hart, an alum from the 2014 season \u003cem>Survivor: Cagayan\u003c/em>. “I have a degree in nuclear engineering from a top engineering school. I’m a mother. I work in national security. I am very well-rounded. And I just got boiled down to a simple trope of a lazy, unintelligent person.”\u003c/p>\n\u003cp>Last week, former \u003cem>Survivor\u003c/em> contestant Rob Cesternino, who is white, hosted a discussion with 12 Black alumni from the show led by Sean Rector, a Black man who competed on \u003cem>Survivor: Marquesas\u003c/em> in 2002.\u003c/p>\n\u003cp>On Cesternino’s podcast, the Black alumni spoke about the stress of auditioning before rooms filled with white executives, the challenge of not offending white castmates while also trying to play the game, having fans sling racial slurs or death threats and having white castmates use racial slurs around them.\u003c/p>\n\u003cp>Chief among their concerns: feeling that the show mostly marginalizes the Black people who play on it, because the production staff that creates the show isn’t diverse enough.\u003c/p>\n\u003cp>Hart says the show’s Black alumni, many of whom have connected with each other on a private Facebook group, were galvanized by the discussions about race and civil rights following the death of George Floyd at the hands of Minneapolis police. Some of the systemic racism Black people face in America, she says, comes from negative stereotypes on TV. So they decided to speak up about their concerns over how Black contestants are depicted on the show.\u003c/p>\n\u003cp>“It’s not just Black Lives Matter when it comes to the police,” says Brice Johnston, who competed on \u003cem>Survivor: Cagayan\u003c/em> alongside Hart and felt he was stereotyped as a sassy, flamboyant Black gay man. “It’s Black Lives Matter [for us] as reality contestants … our lives, our stories, we matter as well.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> is CBS’s longest-running reality TV show, involving several production companies, including MGM Television. CBS declined to respond on the record to the criticisms, but said it will meet with the alumni. “CBS condemns racism in all its forms and we are committed to inclusive and safe production environments,” the network said in a statement. “In the spirit of partnership with former contestants, we have responded to the request from the Black Survivor Alliance to meet with representatives from the show and CBS, and we’re working together to set a time for this discussion.”\u003c/p>\n\u003cp>About 30 percent of the show’s cast in the last 10 seasons have already been BIPOC, according to CBS. \u003ca href=\"https://www.census.gov/quickfacts/fact/table/US/RHI225219\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Census estimates\u003c/a> say the percentage of America’s population that is white alone—Hispanic people can be white, too—is 60 percent.\u003c/p>\n\u003cp>The show has had just four Black winners over 40 seasons—at 10 percent, that’s a little less than the percentage of America’s Black population, which is 13 percent. Most seasons have two or three Black contestants; one had none.\u003c/p>\n\u003cp>Earl Cole became the first Black man to win the show in 2007, on \u003cem>Survivor: Fiji \u003c/em>(the first Black person to win, Vecepia Towery, won on \u003cem>Survivor: Marquesas\u003c/em>). In fact, Cole’s season featured five Black contestants, just like the previous season, \u003cem>Survivor: Cook Islands\u003c/em>. That season produced the show’s first Asian American winner, Yul Kwon.\u003c/p>\n\u003cp>Cole said competing in a season where Black people weren’t heavily outnumbered by white people helped Black players feel less isolated. It also removed an extra level of difficulty Black contestants face on less diverse seasons, where they must navigate how a larger group of white players reacts to their race, in addition to the typical challenges of the game.\u003c/p>\n\u003cp>And while Cole doesn’t have many gripes about how he was depicted—he says the show has to make whoever wins look good to keep viewers engaged—he felt CBS didn’t offer him many opportunities afterward. His season also featured two Black people as runners-up, but Cole felt the show failed to capitalize on the historic nature of his win, especially in reaching out to black-centered media.\u003c/p>\n\u003cp>“They could have really uplifted me a certain way … it maybe would have gotten [the show] more of a Black audience,” he adds. “They didn’t have a system in place to handle the different directions you might go with a person of color. I became my own publicist. … I got myself into \u003cem>Ebony\u003c/em> magazine.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> has faced criticism about how it handles race for years. The \u003cem>Cook Islands\u003c/em> season initially \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5704325\" target=\"_blank\" rel=\"noopener noreferrer\">segregated contestants by race,\u003c/a> prompting \u003cem>USA Today\u003c/em> to call it, “a publicity stunt of the rankest and most obvious kind.” And Julia Carter, a Black woman who competed on the show’s 38th season, \u003cem>Edge of Extinction\u003c/em>, \u003ca href=\"https://thejuliacarter.com/2019/06/06/push-me-to-the-edge-my-survivor-experience/\" target=\"_blank\" rel=\"noopener noreferrer\">published a blog post \u003c/a>in 2019 alleging that there were two instances when other contestants used the n-word around her—quoting a film and a TV show—that Carter says was never shown on air.\u003c/p>\n\u003cp>It’s a criticism CBS has faced regarding another one of its unscripted competitions, \u003cem>Big Brother\u003c/em>: that racism committed by white contestants is rarely shown, leaving viewers unaware of why people of color on the show might be reacting badly.\u003c/p>\n\u003cp>“Socially, I wanted to shut down,” Carter wrote on her blog. “Speak up and put a target on my back or bite my tongue in order to maneuver my way through the game without much attention? … In that moment, I chose the game.”\u003c/p>\n\u003cp>\u003cem>Survivor\u003c/em> \u003ca href=\"https://www.nytimes.com/2019/12/12/arts/television/survivor-dan-spilo.html\" target=\"_blank\" rel=\"noopener noreferrer\">was criticized\u003c/a> last year for moving too slowly to address a series of sexual harassment allegations against a male contestant.\u003c/p>\n\u003cp>As a result, the show\u003ca href=\"https://www.hollywoodreporter.com/live-feed/cbs-bring-new-policies-procedures-survivor-misconduct-allegations-1263542\" target=\"_blank\" rel=\"noopener noreferrer\"> announced changes\u003c/a> to its production process, stating, “sexual harassment and impermissible biases cannot be brought into the competition.”\u003c/p>\n\u003cp>Carter, Cole and the show’s other Black alumni want racism to get the same kind of specific attention and treatment. They believe their suggestions will help \u003cem>Survivor \u003c/em>create an environment that doesn’t echo the racism they face in the real world.\u003c/p>\n\u003cp>The only questions left now, are whether CBS and MGM Television agree, and are willing to change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Do+Right+By+Us%27%3A+Black+%27Survivor%27+Alums+Say+The+Reality+Was+Harmful+Stereotypes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After longstanding criticism over its lack of diversity, The Academy of Motion Picture Arts and Sciences is continuing to invite more women and minorities to its membership.\u003c/p>\n\u003cp>Of the 819 artists and executives invited to join in 2020, the Academy says 45 percent are women and 36 percent are from underrepresented ethnic and racial communities. Among those invited to join are actors Awkwafina, Cynthia Erivo and Eva Longoria, Native American director Sterlin Harjo and executive Ozzie Areu who, along with his brother Will, are the \u003ca href=\"https://www.gpbnews.org/post/atlantas-areu-bros-open-first-latinx-owned-studios-us\" target=\"_blank\" rel=\"noopener noreferrer\">first\u003c/a> Latinxs to own and operate a film and TV studio in the United States.\u003c/p>\n\u003cp>In 2019, of the 842 invited to join the Academy, 50 percent were women and 29 percent were minorities.\u003c/p>\n\u003cp>In a statement, Academy President David Rubin says, “The Academy is delighted to welcome these distinguished fellow travelers in the motion picture arts and sciences. We have always embraced extraordinary talent that reflects the rich variety of our global film community, and never more so than now.”\u003c/p>\n\u003cp>“Always” is a bit of a stretch. Eddie Murphy joked about the Oscars’ lack of recognition of Black people as far back as 1988. Kim Basinger called it out in 1990. Halle Berry in 2002. In 2012, the \u003cem>Los Angeles Times\u003c/em> surveyed some 5,000 Academy members and \u003ca href=\"https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-diversity-oscar-academy-members-20131221-story.html#ixzz2uqvZKl10\" target=\"_blank\" rel=\"noopener noreferrer\">discovered\u003c/a> that 93 percent were white, 76 percent were male and the average age was 63 years old.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Five years ago, calls to boycott the Oscars and the #OscarsSoWhite campaign seemed to be the tipping point for the Academy to face the glaring disparity. In 2016, the Hollywood institution announced an initiative to double the number of women and underrepresented ethnic/racial communities by 2020. While this week’s announcement moves the Academy closer to that goal, it remains largely white and male overall. According to the \u003ca href=\"https://www.nytimes.com/2020/06/30/movies/academy-oscars-new-members.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, “only 19 percent of the current members are people of color while just 33 percent of Oscar voters are female.”\u003c/p>\n\u003cp>April Reign, the founder of #OscarsSoWhite, says that despite having five years “to show meaningful commitment to issues of inclusion and diversity, the Oscars nomination and voting process still results in little more than a popularity contest amongst older white men.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the Academy’s new members, writer, director and producer Lulu Wang \u003ca href=\"https://twitter.com/thumbelulu/status/1278092929072951296?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> that she is “honored” to join the Academy. “Though there is still much work to be done,” Wang writes, “this class looks more like an actual jury of our PEERS than ever before.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=The+Academy+Of+Motion+Picture+Arts+And+Sciences+Invites+More+Women%2C+Minorities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After longstanding criticism over its lack of diversity, The Academy of Motion Picture Arts and Sciences is continuing to invite more women and minorities to its membership.\u003c/p>\n\u003cp>Of the 819 artists and executives invited to join in 2020, the Academy says 45 percent are women and 36 percent are from underrepresented ethnic and racial communities. Among those invited to join are actors Awkwafina, Cynthia Erivo and Eva Longoria, Native American director Sterlin Harjo and executive Ozzie Areu who, along with his brother Will, are the \u003ca href=\"https://www.gpbnews.org/post/atlantas-areu-bros-open-first-latinx-owned-studios-us\" target=\"_blank\" rel=\"noopener noreferrer\">first\u003c/a> Latinxs to own and operate a film and TV studio in the United States.\u003c/p>\n\u003cp>In 2019, of the 842 invited to join the Academy, 50 percent were women and 29 percent were minorities.\u003c/p>\n\u003cp>In a statement, Academy President David Rubin says, “The Academy is delighted to welcome these distinguished fellow travelers in the motion picture arts and sciences. We have always embraced extraordinary talent that reflects the rich variety of our global film community, and never more so than now.”\u003c/p>\n\u003cp>“Always” is a bit of a stretch. Eddie Murphy joked about the Oscars’ lack of recognition of Black people as far back as 1988. Kim Basinger called it out in 1990. Halle Berry in 2002. In 2012, the \u003cem>Los Angeles Times\u003c/em> surveyed some 5,000 Academy members and \u003ca href=\"https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-diversity-oscar-academy-members-20131221-story.html#ixzz2uqvZKl10\" target=\"_blank\" rel=\"noopener noreferrer\">discovered\u003c/a> that 93 percent were white, 76 percent were male and the average age was 63 years old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Five years ago, calls to boycott the Oscars and the #OscarsSoWhite campaign seemed to be the tipping point for the Academy to face the glaring disparity. In 2016, the Hollywood institution announced an initiative to double the number of women and underrepresented ethnic/racial communities by 2020. While this week’s announcement moves the Academy closer to that goal, it remains largely white and male overall. According to the \u003ca href=\"https://www.nytimes.com/2020/06/30/movies/academy-oscars-new-members.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, “only 19 percent of the current members are people of color while just 33 percent of Oscar voters are female.”\u003c/p>\n\u003cp>April Reign, the founder of #OscarsSoWhite, says that despite having five years “to show meaningful commitment to issues of inclusion and diversity, the Oscars nomination and voting process still results in little more than a popularity contest amongst older white men.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the Academy’s new members, writer, director and producer Lulu Wang \u003ca href=\"https://twitter.com/thumbelulu/status/1278092929072951296?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> that she is “honored” to join the Academy. “Though there is still much work to be done,” Wang writes, “this class looks more like an actual jury of our PEERS than ever before.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=The+Academy+Of+Motion+Picture+Arts+And+Sciences+Invites+More+Women%2C+Minorities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Hamilton' Comes Home, Just in Time For the Fourth of July",
"headTitle": "‘Hamilton’ Comes Home, Just in Time For the Fourth of July | KQED",
"content": "\u003cblockquote>\u003cp>We committed the unpardonable crime of being mavericks who were successful, and everybody hated us. It would’ve been fine if we’d been just hacks and made a lot of money, that’s okay. Or to be really original and starve, that’s okay. But it’s not okay to do both, and they didn’t forgive us.\u003c/p>\u003c/blockquote>\n\u003cp>That’s what Stephen Sondheim says in the 2016 documentary \u003cem>Best Worst Thing That Ever Could’ve Happened\u003c/em>. He’s speaking about the glee and meanness in the press and elsewhere over the commercial failure and quick closure of the 1981 musical \u003cem>Merrily We Roll Along\u003c/em>, which he created with producer and director Hal Prince after the successes they’d had with \u003cem>Follies \u003c/em>and especially \u003cem>Sweeney Todd\u003c/em>. Sondheim isn’t saying that’s why people didn’t like the show; he’s saying that’s why they took such pleasure in not liking it.\u003c/p>\n\u003cp>Talking about \u003cem>Hamilton \u003c/em>now can, if Sondheim is right, provoke a similar reaction. The film version of \u003cem>Hamilton\u003c/em> that arrives Friday on Disney+ is a film of the stage musical, assembled from three days of performances when the show was at its hottest, in June 2016, just before the original cast began to leave. \u003cem>Hamilton\u003c/em> was a juggernaut by then, and it’s a Disney movie now, but it was also “really original” and, let’s be honest: pretty high-risk.\u003c/p>\n\u003cp>It’s not just that it’s a race-bent hip-hop musical about the Founding Fathers. It’s almost entirely sung-through, meaning there’s little dialogue to flesh out the story. The company, outside the main characters, dresses in plain white and cream in what often looks like underwear. The staging plays with time, both by spinning it backward and forward and by stopping it entirely. And arguably its most humane, deeply felt performance is by Leslie Odom Jr. playing Aaron Burr, the man who kills the title character. And who reminds you in the opening number that that’s how this all ends: “I’m the damn fool that shot him.”\u003c/p>\n\u003cp>It’s easy to forget now how much people struggled with what to make of it. In a \u003ca href=\"https://www.youtube.com/watch?v=WNFf7nMIGnE\" target=\"_blank\" rel=\"noopener noreferrer\">now-famous clip from 2009\u003c/a>, filmed when Barack Obama had been president only a few months, 29-year-old Lin-Manuel Miranda appears at a White House event called “An Evening of Poetry, Music & the Spoken Word.” He announces, in front of an audience that is not terribly different from the big-ticket Broadway audience he’ll one day have to impress, that he’s working on a hip-hop concept album about Alexander Hamilton, and they laugh at him. Gently, appreciatively, but they laugh. Even by the end, though they give him a big ovation, they don’t seem entirely sure it’s not a joke.\u003c/p>\n\u003cp>Can you imagine what it must have been like to continue working on this for another \u003cem>five years\u003c/em>, having taken something you see as an epic American tragedy for a spin at the White House and having them laugh? And continuing, and persuading your collaborators to continue, in the conviction that this was your \u003cem>Sweeney Todd\u003c/em>, and not your \u003cem>Merrily We Roll Along\u003c/em>?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But here we are, 11 years later, and the film adaptation is a marvelous and welcome addition to the show’s legacy in spite of a few imperfections. Even for those who know the celebrated cast album backward and forward. Even for those who have seen it live. Even for those who have seen it live with this cast.\u003c/p>\n\u003cp>A few basics: This is not a full film adaptation such as the movie versions of \u003cem>Grease \u003c/em>or \u003cem>Rent \u003c/em>or whatever. It’s a high-quality recording of the stage production, like the ones they would show on PBS’ \u003cem>Great Performances \u003c/em>(where some of us thought this might end up when they announced they were filming the show back in 2016). It’s directed by Thomas Kail, who also directed the musical onstage, and for the most part, it does a good job of translating the show for a home audience.\u003c/p>\n\u003cp>One reason to watch the film is to better appreciate the acting. Close-ups of theater actors can be a little distracting because acting for theater is sometimes exaggerated for the benefit of an audience that’s far away. When you see it from a foot away, it can look a little much. (Miranda is probably the performer who’s most negatively affected by that problem in this film. Well, Miranda and Jonathan Groff, whose tendency to spit is legendary. You shall see.) Fortunately, in most cases, the opportunity to see the actors up close brings out nuance and performance choices that aren’t discernible on the cast album \u003cem>and \u003c/em>wouldn’t even be fully obvious live. Phillipa Soo, playing Eliza, brings great warmth to some scenes that could be hard to take given the long-suffering nature of the character, and you get more of that when you see it up close.\u003c/p>\n\u003cp>Another reason is that the staging has a tendency to bring out different elements—additional elements—of what a song represents in a scene. One example is “My Shot.” On the album, it’s a song where Hamilton is bonding with John Laurens (Anthony Ramos), Lafayette (Daveed Diggs) and Hercules Mulligan (Okieriete Odaodowan). But in the film, you can more easily see how it serves to introduce Hamilton’s magnetism; it’s not only his new friends who are persuaded; he’s pulling in a whole bar full of listeners while Aaron Burr (Odom) sits, disapproving, nearby.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DSCKfXpAGHc&feature=emb_logo\u003c/p>\n\u003cp>You also really have to see it to appreciate the quality of the very best performances in it, particularly the work of Odom and Diggs. Aaron Burr is a confounding, complicated character, and seeing Odom operate in different parts of the stage and in clearly different performance modes reminds you that just like Diggs is playing Jefferson and also Lafayette and Ramos is playing Laurens and also Hamilton’s son Philip, Odom is also really playing two roles. He’s playing Burr in the moment, as Hamilton’s contemporary. But he’s also playing an older, reflective Burr—the one who’s able to explain at the end the profound effects of his having shot Hamilton. This older Burr is an intimately involved narrator, almost like the Leading Player in \u003cem>Pippin \u003c/em>or the narrator in \u003cem>Into the Woods \u003c/em>(or, for the matter, the Emcee in \u003cem>Cabaret\u003c/em>), and his performance there swells to “The World Was Wide Enough,” which contains the duel and Hamilton’s death.\u003c/p>\n\u003cp>But Odom’s performance as that contemporary Burr centers on two of the show’s best songs: “Wait For It” and “The Room Where it Happens.”\u003c/p>\n\u003cp>In the first, he’s a study in stillness, in the projection of restrained, coiled-spring tension. It’s a song of both great energy and enormous discipline, and seeing him perform it gives a better idea of how he holds those performance notes in balance. In “The Room Where it Happens,” you see that energy overwhelm him. This is where he abandons his existing ideas of patience, and the physicality of the performance—this is really the first time he fully joins in a dance—brings home the moment of transformation in a way that the music certainly supports but doesn’t fully communicate. When you see the performance, it is jazz, it’s Cab Calloway, it’s ecstatic, it’s church. It’s thrilling, and he’s losing himself.\u003c/p>\n\u003cp>As for Diggs, a true fact might say more than any description I can muster: I couldn’t stop watching his entrance as Lafayette in the song “Guns and Ships.” I kept rewinding it. I’ve heard the cast album more times than I can count (my phone might know, but I’m afraid to ask), and I still was so blown away by the charismatic sonic boom of that Lafayette entrance that I replayed those 45 seconds or so probably 10 times before I moved on, and then 10 more times at the end of the movie, and then 10 more times since.\u003c/p>\n\u003cp>There is something about a perfect marriage of writing and performance—that’s not to say there haven’t been and won’t be lots and lots of good Lafayettes, but it’s pretty hard to hear anybody else sing \u003ca href=\"https://www.youtube.com/watch?v=uQEeTe6nPX4\" target=\"_blank\" rel=\"noopener noreferrer\">“Blow, Gabriel, Blow”\u003c/a> after you hear Ethel Merman do it, you know? The same could be said about Diggs’ little hopping dance when he first enters as Jefferson, in his gaudy and somehow perfect purple suit, flapping the tails while he dances to “What’d I Miss?” He is an electric, charismatic, athletic performer, and when you see the physical choices, you get closer to understanding the full weight of the work he did.\u003c/p>\n\u003cp>It’s also worth seeing the film, as an effort to document the live show, because the musical performances are a little less polished. A cast album is … well, it’s a cast album, meant to be listenable by the broadest possible audience without reference to the action. And because that’s the case, the live performances of the music tend to be a little more ragged—more raucous, to use a more positive adjective—while the ones on the album are neater. Specifically with hip-hop and rap, the cast album documents those elements with the most rigorous adherence to the beat, while in the live show, there’s a little bit more of a tendency for the performers to bend the vocal a bit more around the rhythms, sometimes a bit more ahead of the beat or behind it, which you also hear in the performance of “My Shot” credited to the Roots that plays over the end credits. [aside postid='arts_13882671']\u003c/p>\n\u003cp>The last thing I’d mention that comes into focus much better when you see how it’s staged is the creative use of the company. There’s a relatively small ensemble outside the main cast, and they have to represent armies and wedding guests, and they provide the chorus, and they are the dancers. The way they’re used is both sparing and imaginative, with limited but emphatic costuming changes transforming them between scenes. And similarly, it’s worth noticing how the members of the main cast linger on the catwalk above the stage, sometimes singing or speaking from there and sometimes simply observing, often augmenting the ensemble. It’s a clever and sometimes quite touching way to continue the theme, which begins in the double-casting, of connections between the people in a life, how they are in the background at one time and prominent at another.\u003c/p>\n\u003cp>I do think there are a couple of missteps: Rather than simply showing the unconventional staging of “Satisfied,” which is the most creatively staged number—alongside perhaps the duel in the finale—Kail seems to have tried to come up with a filming technique that would provide, via filming and editing, the disorienting effect that staging had. They should’ve just filmed it, with its tremendous performance by Renée Elise Goldsberry; you lose something here that’s special. I would say the same about the side-by-side two-chair staging of “Dear Theodosia,” in that I’d have messed with it a little less.\u003c/p>\n\u003cp>But these are small nitpicks. On the whole, absolutely, positively, there is new insight and new excitement here for people who already know that they love this show, and even for those who have stayed away from the album. \u003cem>Hamilton\u003c/em> is a piece whose status as art is constantly threatened by its status as a phenomenon and a status symbol; the cultural exhaustion has been, at times, very real and beyond understandable. This is a good reset, and a good chance to put a fresh eye on it. You will notice new things (there are a few clever stage tricks I don’t want to spoil), you will marvel at little wonders like the perfectly still way Groff holds his head when he sings, and you will likely not be bothered by a couple of f-bombs that are garbled to avoid an R rating. (Most aren’t. But the rules are strict, so a couple had to be.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And if Sondheim is right, there will be plenty of people waiting for the next Lin-Manuel Miranda musical to go over like \u003cem>Merrily We Roll Along\u003c/em>. The film, I think, will not.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Hamilton%27+Comes+Home%2C+Just+In+Time+For+The+Fourth+Of+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote>\u003cp>We committed the unpardonable crime of being mavericks who were successful, and everybody hated us. It would’ve been fine if we’d been just hacks and made a lot of money, that’s okay. Or to be really original and starve, that’s okay. But it’s not okay to do both, and they didn’t forgive us.\u003c/p>\u003c/blockquote>\n\u003cp>That’s what Stephen Sondheim says in the 2016 documentary \u003cem>Best Worst Thing That Ever Could’ve Happened\u003c/em>. He’s speaking about the glee and meanness in the press and elsewhere over the commercial failure and quick closure of the 1981 musical \u003cem>Merrily We Roll Along\u003c/em>, which he created with producer and director Hal Prince after the successes they’d had with \u003cem>Follies \u003c/em>and especially \u003cem>Sweeney Todd\u003c/em>. Sondheim isn’t saying that’s why people didn’t like the show; he’s saying that’s why they took such pleasure in not liking it.\u003c/p>\n\u003cp>Talking about \u003cem>Hamilton \u003c/em>now can, if Sondheim is right, provoke a similar reaction. The film version of \u003cem>Hamilton\u003c/em> that arrives Friday on Disney+ is a film of the stage musical, assembled from three days of performances when the show was at its hottest, in June 2016, just before the original cast began to leave. \u003cem>Hamilton\u003c/em> was a juggernaut by then, and it’s a Disney movie now, but it was also “really original” and, let’s be honest: pretty high-risk.\u003c/p>\n\u003cp>It’s not just that it’s a race-bent hip-hop musical about the Founding Fathers. It’s almost entirely sung-through, meaning there’s little dialogue to flesh out the story. The company, outside the main characters, dresses in plain white and cream in what often looks like underwear. The staging plays with time, both by spinning it backward and forward and by stopping it entirely. And arguably its most humane, deeply felt performance is by Leslie Odom Jr. playing Aaron Burr, the man who kills the title character. And who reminds you in the opening number that that’s how this all ends: “I’m the damn fool that shot him.”\u003c/p>\n\u003cp>It’s easy to forget now how much people struggled with what to make of it. In a \u003ca href=\"https://www.youtube.com/watch?v=WNFf7nMIGnE\" target=\"_blank\" rel=\"noopener noreferrer\">now-famous clip from 2009\u003c/a>, filmed when Barack Obama had been president only a few months, 29-year-old Lin-Manuel Miranda appears at a White House event called “An Evening of Poetry, Music & the Spoken Word.” He announces, in front of an audience that is not terribly different from the big-ticket Broadway audience he’ll one day have to impress, that he’s working on a hip-hop concept album about Alexander Hamilton, and they laugh at him. Gently, appreciatively, but they laugh. Even by the end, though they give him a big ovation, they don’t seem entirely sure it’s not a joke.\u003c/p>\n\u003cp>Can you imagine what it must have been like to continue working on this for another \u003cem>five years\u003c/em>, having taken something you see as an epic American tragedy for a spin at the White House and having them laugh? And continuing, and persuading your collaborators to continue, in the conviction that this was your \u003cem>Sweeney Todd\u003c/em>, and not your \u003cem>Merrily We Roll Along\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But here we are, 11 years later, and the film adaptation is a marvelous and welcome addition to the show’s legacy in spite of a few imperfections. Even for those who know the celebrated cast album backward and forward. Even for those who have seen it live. Even for those who have seen it live with this cast.\u003c/p>\n\u003cp>A few basics: This is not a full film adaptation such as the movie versions of \u003cem>Grease \u003c/em>or \u003cem>Rent \u003c/em>or whatever. It’s a high-quality recording of the stage production, like the ones they would show on PBS’ \u003cem>Great Performances \u003c/em>(where some of us thought this might end up when they announced they were filming the show back in 2016). It’s directed by Thomas Kail, who also directed the musical onstage, and for the most part, it does a good job of translating the show for a home audience.\u003c/p>\n\u003cp>One reason to watch the film is to better appreciate the acting. Close-ups of theater actors can be a little distracting because acting for theater is sometimes exaggerated for the benefit of an audience that’s far away. When you see it from a foot away, it can look a little much. (Miranda is probably the performer who’s most negatively affected by that problem in this film. Well, Miranda and Jonathan Groff, whose tendency to spit is legendary. You shall see.) Fortunately, in most cases, the opportunity to see the actors up close brings out nuance and performance choices that aren’t discernible on the cast album \u003cem>and \u003c/em>wouldn’t even be fully obvious live. Phillipa Soo, playing Eliza, brings great warmth to some scenes that could be hard to take given the long-suffering nature of the character, and you get more of that when you see it up close.\u003c/p>\n\u003cp>Another reason is that the staging has a tendency to bring out different elements—additional elements—of what a song represents in a scene. One example is “My Shot.” On the album, it’s a song where Hamilton is bonding with John Laurens (Anthony Ramos), Lafayette (Daveed Diggs) and Hercules Mulligan (Okieriete Odaodowan). But in the film, you can more easily see how it serves to introduce Hamilton’s magnetism; it’s not only his new friends who are persuaded; he’s pulling in a whole bar full of listeners while Aaron Burr (Odom) sits, disapproving, nearby.\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/DSCKfXpAGHc'\n title='//www.youtube.com/embed/DSCKfXpAGHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You also really have to see it to appreciate the quality of the very best performances in it, particularly the work of Odom and Diggs. Aaron Burr is a confounding, complicated character, and seeing Odom operate in different parts of the stage and in clearly different performance modes reminds you that just like Diggs is playing Jefferson and also Lafayette and Ramos is playing Laurens and also Hamilton’s son Philip, Odom is also really playing two roles. He’s playing Burr in the moment, as Hamilton’s contemporary. But he’s also playing an older, reflective Burr—the one who’s able to explain at the end the profound effects of his having shot Hamilton. This older Burr is an intimately involved narrator, almost like the Leading Player in \u003cem>Pippin \u003c/em>or the narrator in \u003cem>Into the Woods \u003c/em>(or, for the matter, the Emcee in \u003cem>Cabaret\u003c/em>), and his performance there swells to “The World Was Wide Enough,” which contains the duel and Hamilton’s death.\u003c/p>\n\u003cp>But Odom’s performance as that contemporary Burr centers on two of the show’s best songs: “Wait For It” and “The Room Where it Happens.”\u003c/p>\n\u003cp>In the first, he’s a study in stillness, in the projection of restrained, coiled-spring tension. It’s a song of both great energy and enormous discipline, and seeing him perform it gives a better idea of how he holds those performance notes in balance. In “The Room Where it Happens,” you see that energy overwhelm him. This is where he abandons his existing ideas of patience, and the physicality of the performance—this is really the first time he fully joins in a dance—brings home the moment of transformation in a way that the music certainly supports but doesn’t fully communicate. When you see the performance, it is jazz, it’s Cab Calloway, it’s ecstatic, it’s church. It’s thrilling, and he’s losing himself.\u003c/p>\n\u003cp>As for Diggs, a true fact might say more than any description I can muster: I couldn’t stop watching his entrance as Lafayette in the song “Guns and Ships.” I kept rewinding it. I’ve heard the cast album more times than I can count (my phone might know, but I’m afraid to ask), and I still was so blown away by the charismatic sonic boom of that Lafayette entrance that I replayed those 45 seconds or so probably 10 times before I moved on, and then 10 more times at the end of the movie, and then 10 more times since.\u003c/p>\n\u003cp>There is something about a perfect marriage of writing and performance—that’s not to say there haven’t been and won’t be lots and lots of good Lafayettes, but it’s pretty hard to hear anybody else sing \u003ca href=\"https://www.youtube.com/watch?v=uQEeTe6nPX4\" target=\"_blank\" rel=\"noopener noreferrer\">“Blow, Gabriel, Blow”\u003c/a> after you hear Ethel Merman do it, you know? The same could be said about Diggs’ little hopping dance when he first enters as Jefferson, in his gaudy and somehow perfect purple suit, flapping the tails while he dances to “What’d I Miss?” He is an electric, charismatic, athletic performer, and when you see the physical choices, you get closer to understanding the full weight of the work he did.\u003c/p>\n\u003cp>It’s also worth seeing the film, as an effort to document the live show, because the musical performances are a little less polished. A cast album is … well, it’s a cast album, meant to be listenable by the broadest possible audience without reference to the action. And because that’s the case, the live performances of the music tend to be a little more ragged—more raucous, to use a more positive adjective—while the ones on the album are neater. Specifically with hip-hop and rap, the cast album documents those elements with the most rigorous adherence to the beat, while in the live show, there’s a little bit more of a tendency for the performers to bend the vocal a bit more around the rhythms, sometimes a bit more ahead of the beat or behind it, which you also hear in the performance of “My Shot” credited to the Roots that plays over the end credits. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last thing I’d mention that comes into focus much better when you see how it’s staged is the creative use of the company. There’s a relatively small ensemble outside the main cast, and they have to represent armies and wedding guests, and they provide the chorus, and they are the dancers. The way they’re used is both sparing and imaginative, with limited but emphatic costuming changes transforming them between scenes. And similarly, it’s worth noticing how the members of the main cast linger on the catwalk above the stage, sometimes singing or speaking from there and sometimes simply observing, often augmenting the ensemble. It’s a clever and sometimes quite touching way to continue the theme, which begins in the double-casting, of connections between the people in a life, how they are in the background at one time and prominent at another.\u003c/p>\n\u003cp>I do think there are a couple of missteps: Rather than simply showing the unconventional staging of “Satisfied,” which is the most creatively staged number—alongside perhaps the duel in the finale—Kail seems to have tried to come up with a filming technique that would provide, via filming and editing, the disorienting effect that staging had. They should’ve just filmed it, with its tremendous performance by Renée Elise Goldsberry; you lose something here that’s special. I would say the same about the side-by-side two-chair staging of “Dear Theodosia,” in that I’d have messed with it a little less.\u003c/p>\n\u003cp>But these are small nitpicks. On the whole, absolutely, positively, there is new insight and new excitement here for people who already know that they love this show, and even for those who have stayed away from the album. \u003cem>Hamilton\u003c/em> is a piece whose status as art is constantly threatened by its status as a phenomenon and a status symbol; the cultural exhaustion has been, at times, very real and beyond understandable. This is a good reset, and a good chance to put a fresh eye on it. You will notice new things (there are a few clever stage tricks I don’t want to spoil), you will marvel at little wonders like the perfectly still way Groff holds his head when he sings, and you will likely not be bothered by a couple of f-bombs that are garbled to avoid an R rating. (Most aren’t. But the rules are strict, so a couple had to be.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And if Sondheim is right, there will be plenty of people waiting for the next Lin-Manuel Miranda musical to go over like \u003cem>Merrily We Roll Along\u003c/em>. The film, I think, will not.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Hamilton%27+Comes+Home%2C+Just+In+Time+For+The+Fourth+Of+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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