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"content": "\u003cp>As it has annually for 17 years, the Library of Congress picked out a wide-ranging set of recordings — songs, albums, speeches, monologues, field recordings and some very old phonograph cylinders — to add to the National Recording Registry, bringing the total number of works within it to 525.\u003c/p>\n\u003cp>“The National Recording Registry honors the music that enriches our souls, the voices that tell our stories and the sounds that mirror our lives,” said Librarian of Congress Carla Hayden, who in 2016 \u003ca href=\"https://www.npr.org/2016/09/14/493965815/first-woman-and-african-american-sworn-in-as-librarian-of-congress\">became the first woman and the first African-American\u003c/a> to lead the Library.\u003c/p>\n\u003cp>The most modern of this year’s 25 selections is \u003cem>The Blueprint\u003c/em>, Jay-Z’s 2001 album that solidified the now-mogul’s place in history and boosted the rise of Kanye West, who produced several of its songs. In 2002, Grandmaster Flash and The Furious Five’s epochal single “The Message” became the first hip-hop recording included in the Registry, as part of its inaugural list. Since then, works from hip-hop luminaries Public Enemy, 2Pac, The Sugarhill Gang, N.W.A and Run-D.M.C. have been included in its catalog.\u003c/p>\n\u003cp>Nina Simone’s lament “Mississippi Goddam,” released in 1964 \u003ca href=\"https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem\">in response\u003c/a> to the murder of civil rights activist Medgar Evers by a Klansman and the bombing of a church in Birmingham, Ala. that killed four young girls, was also added to the rolls. (Simone would later say some of her songs from the civil rights era had \u003ca href=\"https://books.google.com/books?id=C7EDAAAAMBAJ&pg=PA54&dq=%22mississippi+goddam%22&hl=en&sa=X&ei=o_kDT6rhKIivgweo5_GfAg&ved=0CDAQ6AEwAA#v=onepage&q=%22mississippi%20goddam%22&f=false\">hurt her career\u003c/a>).\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - Mississippi Goddam (Live in Netherlands)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/ghhaREDM3X8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Richie Valens’ “La Bamba,” the Chicano rock pioneer’s \u003ca href=\"https://www.npr.org/2000/07/15/1079558/npr-100-la-bamba\">adaptation\u003c/a> of a Mexican folk song, made the young Valens’ legacy just before he died in a plane crash at the age of 17. (A biopic of the same title \u003ca href=\"https://www.loc.gov/item/prn-17-178/\">was named\u003c/a> to the National Film Registry in 2017). The song “continues to be a hallmark in American music and an influence on all Latino music that followed,” says Louie Pérez, whose band Los Lobos famously covered the song in the 1980s, in a statement issued by the Library of Congress.\u003c/p>\n\u003cp>Two heavily grooved, disco-era classics from 1978 also made the list — Earth, Wind & Fire’s song “September” (the date celebrated in the song, for what it’s worth, \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">has no meaning beyond its satisfying sound\u003c/a>) and Sylvester’s “\u003ca href=\"https://www.npr.org/2018/10/08/651794925/sylvester-you-make-me-feel-mighty-real-american-anthem-disco-celebration\">You Make Me Feel (Mighty Real)\u003c/a>.” Another album intrinsic to that decade’s sound, Curtis Mayfield’s soundtrack album for \u003cem>Super Fly\u003c/em>, was added as well.\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/bDWSemTCV40\">http://youtu.be/bDWSemTCV40\u003c/a>\u003c/p>\n\u003cp>Non-musical entries include Robert F. Kennedy’s April 4, 1968 speech, given in response to the assassination of Dr. Martin Luther King, Jr.; the monologues of Ruth Draper, whose theatrical performances brought her, by request, to \u003ca href=\"https://www.britannica.com/biography/Ruth-Draper\">Windsor Castle\u003c/a> to perform; the comedy-history album \u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years \u003c/em>from 1961; and documentation of 23 tribal languages of Native Americans from the Northwest of the country.\u003c/p>\n\u003cp>The Registry has added recordings every year \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\">since 2002\u003c/a> as part of the National Recording Preservation Act, which \u003ca href=\"https://www.congress.gov/bill/106th-congress/house-bill/4846\">passed\u003c/a> in 2000 and called for the establishment of the National Recording Registry and the use of the National Audio-Visual Conservation Center in Culpeper, Va., to “ensure proper storage of preserved sound recordings” — a resource that should be appreciated by all those who have \u003ca href=\"https://www.npr.org/2019/03/18/704458168/myspace-says-it-lost-years-of-user-uploaded-music\">reportedly lost\u003c/a> the music they uploaded to MySpace.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Full list of recordings added:\u003c/em>\u003c/p>\n\u003cul>\n\u003cli style=\"list-style-type: none\">\n\u003cul>\n\u003cli>Yiddish Cylinders from the Standard Phonograph Company of New York and the Thomas Lambert Company (c. 1901-1905)\u003c/li>\n\u003cli>“Memphis Blues,” Victor Military Band (1914)\u003c/li>\n\u003cli>Melville Jacobs Collection of Native Americans of the American Northwest (1929-1939)\u003c/li>\n\u003cli>“Minnie the Moocher,” Cab Calloway (1931)\u003c/li>\n\u003cli>Bach Six Cello Suites, Pablo Casals (c. 1939)\u003c/li>\n\u003cli>“They Look Like Men of War,” Deep River Boys (1941)\u003c/li>\n\u003cli>\u003cem>Gunsmoke\u003c/em> episode: “The Cabin” (Dec. 27, 1952)\u003c/li>\n\u003cli>Various monologues, Ruth Draper (1954-1956)\u003c/li>\n\u003cli>“La Bamba,” Ritchie Valens (1958)\u003c/li>\n\u003cli>“Long Black Veil,” Lefty Frizzell (1959)\u003c/li>\n\u003cli>\u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years\u003c/em>, Stan Freberg (1961)\u003c/li>\n\u003cli>\u003cem>GO\u003c/em>, Dexter Gordon (1962)\u003c/li>\n\u003cli>\u003cem>War Requiem\u003c/em>, Benjamin Britten (1963)\u003c/li>\n\u003cli>“Mississippi Goddam,” Nina Simone (1964)\u003c/li>\n\u003cli>“Soul Man,” Sam & Dave (1967)\u003c/li>\n\u003cli>\u003cem>Hair\u003c/em> (original Broadway cast album) (1968)\u003c/li>\n\u003cli>Speech on the death of Dr. Martin Luther King, Jr., Robert F. Kennedy (April 4, 1968)\u003c/li>\n\u003cli>“Sweet Caroline,” Neil Diamond (1969)\u003c/li>\n\u003cli>\u003cem>Super Fly\u003c/em>, Curtis Mayfield (1972)\u003c/li>\n\u003cli>\u003cem>Ola Belle Reed\u003c/em>, Ola Belle Reed (1973)\u003c/li>\n\u003cli>“September,” Earth, Wind & Fire (1978)\u003c/li>\n\u003cli>“You Make Me Feel (Mighty Real),” Sylvester (1978)\u003c/li>\n\u003cli>\u003cem>She’s So Unusual\u003c/em>, Cyndi Lauper (1983)\u003c/li>\n\u003cli>\u003cem>Schoolhouse Rock!: The Box Set\u003c/em> (1998)\u003c/li>\n\u003cli>\u003cem>The Blueprint\u003c/em>, Jay-Z (2001)\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jay-Z%2C+%27Super+Fly%2C%27+%27La+Bamba%27+Added+To+National+Recording+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As it has annually for 17 years, the Library of Congress picked out a wide-ranging set of recordings — songs, albums, speeches, monologues, field recordings and some very old phonograph cylinders — to add to the National Recording Registry, bringing the total number of works within it to 525.\u003c/p>\n\u003cp>“The National Recording Registry honors the music that enriches our souls, the voices that tell our stories and the sounds that mirror our lives,” said Librarian of Congress Carla Hayden, who in 2016 \u003ca href=\"https://www.npr.org/2016/09/14/493965815/first-woman-and-african-american-sworn-in-as-librarian-of-congress\">became the first woman and the first African-American\u003c/a> to lead the Library.\u003c/p>\n\u003cp>The most modern of this year’s 25 selections is \u003cem>The Blueprint\u003c/em>, Jay-Z’s 2001 album that solidified the now-mogul’s place in history and boosted the rise of Kanye West, who produced several of its songs. In 2002, Grandmaster Flash and The Furious Five’s epochal single “The Message” became the first hip-hop recording included in the Registry, as part of its inaugural list. Since then, works from hip-hop luminaries Public Enemy, 2Pac, The Sugarhill Gang, N.W.A and Run-D.M.C. have been included in its catalog.\u003c/p>\n\u003cp>Nina Simone’s lament “Mississippi Goddam,” released in 1964 \u003ca href=\"https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem\">in response\u003c/a> to the murder of civil rights activist Medgar Evers by a Klansman and the bombing of a church in Birmingham, Ala. that killed four young girls, was also added to the rolls. (Simone would later say some of her songs from the civil rights era had \u003ca href=\"https://books.google.com/books?id=C7EDAAAAMBAJ&pg=PA54&dq=%22mississippi+goddam%22&hl=en&sa=X&ei=o_kDT6rhKIivgweo5_GfAg&ved=0CDAQ6AEwAA#v=onepage&q=%22mississippi%20goddam%22&f=false\">hurt her career\u003c/a>).\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - Mississippi Goddam (Live in Netherlands)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/ghhaREDM3X8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Richie Valens’ “La Bamba,” the Chicano rock pioneer’s \u003ca href=\"https://www.npr.org/2000/07/15/1079558/npr-100-la-bamba\">adaptation\u003c/a> of a Mexican folk song, made the young Valens’ legacy just before he died in a plane crash at the age of 17. (A biopic of the same title \u003ca href=\"https://www.loc.gov/item/prn-17-178/\">was named\u003c/a> to the National Film Registry in 2017). The song “continues to be a hallmark in American music and an influence on all Latino music that followed,” says Louie Pérez, whose band Los Lobos famously covered the song in the 1980s, in a statement issued by the Library of Congress.\u003c/p>\n\u003cp>Two heavily grooved, disco-era classics from 1978 also made the list — Earth, Wind & Fire’s song “September” (the date celebrated in the song, for what it’s worth, \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">has no meaning beyond its satisfying sound\u003c/a>) and Sylvester’s “\u003ca href=\"https://www.npr.org/2018/10/08/651794925/sylvester-you-make-me-feel-mighty-real-american-anthem-disco-celebration\">You Make Me Feel (Mighty Real)\u003c/a>.” Another album intrinsic to that decade’s sound, Curtis Mayfield’s soundtrack album for \u003cem>Super Fly\u003c/em>, was added as well.\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/bDWSemTCV40\">http://youtu.be/bDWSemTCV40\u003c/a>\u003c/p>\n\u003cp>Non-musical entries include Robert F. Kennedy’s April 4, 1968 speech, given in response to the assassination of Dr. Martin Luther King, Jr.; the monologues of Ruth Draper, whose theatrical performances brought her, by request, to \u003ca href=\"https://www.britannica.com/biography/Ruth-Draper\">Windsor Castle\u003c/a> to perform; the comedy-history album \u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years \u003c/em>from 1961; and documentation of 23 tribal languages of Native Americans from the Northwest of the country.\u003c/p>\n\u003cp>The Registry has added recordings every year \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\">since 2002\u003c/a> as part of the National Recording Preservation Act, which \u003ca href=\"https://www.congress.gov/bill/106th-congress/house-bill/4846\">passed\u003c/a> in 2000 and called for the establishment of the National Recording Registry and the use of the National Audio-Visual Conservation Center in Culpeper, Va., to “ensure proper storage of preserved sound recordings” — a resource that should be appreciated by all those who have \u003ca href=\"https://www.npr.org/2019/03/18/704458168/myspace-says-it-lost-years-of-user-uploaded-music\">reportedly lost\u003c/a> the music they uploaded to MySpace.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Full list of recordings added:\u003c/em>\u003c/p>\n\u003cul>\n\u003cli style=\"list-style-type: none\">\n\u003cul>\n\u003cli>Yiddish Cylinders from the Standard Phonograph Company of New York and the Thomas Lambert Company (c. 1901-1905)\u003c/li>\n\u003cli>“Memphis Blues,” Victor Military Band (1914)\u003c/li>\n\u003cli>Melville Jacobs Collection of Native Americans of the American Northwest (1929-1939)\u003c/li>\n\u003cli>“Minnie the Moocher,” Cab Calloway (1931)\u003c/li>\n\u003cli>Bach Six Cello Suites, Pablo Casals (c. 1939)\u003c/li>\n\u003cli>“They Look Like Men of War,” Deep River Boys (1941)\u003c/li>\n\u003cli>\u003cem>Gunsmoke\u003c/em> episode: “The Cabin” (Dec. 27, 1952)\u003c/li>\n\u003cli>Various monologues, Ruth Draper (1954-1956)\u003c/li>\n\u003cli>“La Bamba,” Ritchie Valens (1958)\u003c/li>\n\u003cli>“Long Black Veil,” Lefty Frizzell (1959)\u003c/li>\n\u003cli>\u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years\u003c/em>, Stan Freberg (1961)\u003c/li>\n\u003cli>\u003cem>GO\u003c/em>, Dexter Gordon (1962)\u003c/li>\n\u003cli>\u003cem>War Requiem\u003c/em>, Benjamin Britten (1963)\u003c/li>\n\u003cli>“Mississippi Goddam,” Nina Simone (1964)\u003c/li>\n\u003cli>“Soul Man,” Sam & Dave (1967)\u003c/li>\n\u003cli>\u003cem>Hair\u003c/em> (original Broadway cast album) (1968)\u003c/li>\n\u003cli>Speech on the death of Dr. Martin Luther King, Jr., Robert F. Kennedy (April 4, 1968)\u003c/li>\n\u003cli>“Sweet Caroline,” Neil Diamond (1969)\u003c/li>\n\u003cli>\u003cem>Super Fly\u003c/em>, Curtis Mayfield (1972)\u003c/li>\n\u003cli>\u003cem>Ola Belle Reed\u003c/em>, Ola Belle Reed (1973)\u003c/li>\n\u003cli>“September,” Earth, Wind & Fire (1978)\u003c/li>\n\u003cli>“You Make Me Feel (Mighty Real),” Sylvester (1978)\u003c/li>\n\u003cli>\u003cem>She’s So Unusual\u003c/em>, Cyndi Lauper (1983)\u003c/li>\n\u003cli>\u003cem>Schoolhouse Rock!: The Box Set\u003c/em> (1998)\u003c/li>\n\u003cli>\u003cem>The Blueprint\u003c/em>, Jay-Z (2001)\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jay-Z%2C+%27Super+Fly%2C%27+%27La+Bamba%27+Added+To+National+Recording+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "u-s-accuses-actresses-others-of-fraud-in-massive-college-admissions-scandal",
"title": "Massive College Admissions Scandal Includes Bay Area Parents, Hollywood Actors",
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"headTitle": "Massive College Admissions Scandal Includes Bay Area Parents, Hollywood Actors | KQED",
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"content": "\u003cp>\u003cstrong>Updated at 4:00 p.m., Wednesday:\u003c/strong>\u003c/p>\n\u003cp>BOSTON (AP) — The latest on a college admissions bribery scandal that has led to charges against coaches and celebrities:\u003c/p>\n\u003cp>A federal judge says “Full House” actress Lori Loughlin (LAWK’-lin) can be released after posting $1 million bond in a case in which she and her husband are accused of paying bribes to get their daughters into college.\u003c/p>\n\u003cp>Loughlin stood with her lawyer in the Los Angeles courtroom Wednesday and didn’t speak except to answer “yes” to the judge’s questions. Magistrate Judge Steve Kim said Loughlin must limit her travel to the continental U.S. and areas around Vancouver, Canada, for work.\u003c/p>\n\u003cp>Dozens of defendants in the alleged nationwide scheme, including Loughlin’s husband fashion designer Mossimo Giannulli, were arrested Tuesday. Giannulli posted bond and was released Tuesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prosecutors allege the couple paid $500,000 to have their daughters labeled as crew-team recruits at the University of Southern California, even though neither is a rower.\u003c/p>\n\u003cp>Federal officials have charged dozens of well-heeled parents, including actresses Felicity Huffman and Lori Loughlin, in what the Justice Department says was a multimillion-dollar scheme to cheat college admissions standards. The parents allegedly paid a consultant who then fabricated academic and athletic credentials and arranged bribes to help get their children into prestigious universities.\u003c/p>\n\u003cp>“We’re talking about deception and fraud — fake test scores, fake credentials, fake photographs, bribed college officials,” Andrew Lelling, U.S. attorney for the District of Massachusetts, said at a news conference Tuesday in Boston.\u003c/p>\n\u003cp>Lelling said 33 parents “paid enormous sums” to try to ensure that their children got into universities such as Stanford and Yale, sending money to entities controlled by a California man named William Rick Singer in return for obtaining false records and false scores on important tests such as the SAT and ACT.\u003c/p>\n\u003cp>Singer also presented his clients’ children as elite athletes, Lelling said. “In many instances, Singer helped parents take staged photographs of their children engaged in particular sports,” he said. “Other times, Singer and his associates used stock photos that they pulled off the Internet — sometimes photoshopping the face of the child onto the picture of the athlete” and submitting them to desirable schools.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.justice.gov/file/1142876/download\">a report\u003c/a> submitted to the U.S. Department of Justice, Agustin Huneeus Jr., 53, of San Francisco, Calif., owner of Huneeus Vinters, allegedly paid for fraudulent SAT scores and a fabricated athletic profile that falsely identified her as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with the following photograph, which is of another individual.\u003c/p>\n\u003cfigure id=\"attachment_13852782\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg\" alt=\"A fabricated athletic profile falsely identified Augustin Huneeus Jr.'s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual.\" width=\"664\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter-160x132.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">A fabricated athletic profile falsely identified Augustin Huneeus Jr.’s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual. \u003ccite>(U.S. Department of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Singer’s clients paid him anywhere between $200,000 and $6.5 million for this service,” Lelling said. The alleged scheme, he noted, was uncovered after his office got a lead from someone who “was a target of an entirely separate investigation, who gave us a tip that this activity might be going on.”\u003c/p>\n\u003cp>The scope of the case is massive — a total of 50 people have been charged in the admissions scheme. More than three dozen people in multiple states were taken into custody Tuesday as part of “Operation Varsity Blues,” said Joseph Bonavolonta, special agent in charge of the FBI’s Boston division, at the news conference.\u003c/p>\n\u003cp>A judge in Los Angeles ruled Tuesday that Huffman could be released on $250,000 bond and Loughlin’s husband, fashion designer Mossimo Giannulli, could be released on $1 million bond. Loughlin has not yet been arrested.\u003c/p>\n\u003cp>The scheme operated from 2011 through February 2019, Lelling said, adding that in most cases, parents paid Singer between $250,000 and $400,000 per student.\u003c/p>\n\u003cp>[documentcloud url=”https://www.documentcloud.org/documents/5766750-Complaint.html” width=800 height=800]\u003c/p>\n\u003cp>“These parents are a catalog of wealth and privilege,” Lelling said. “They include, for example, CEOs of private and public companies, successful securities and real estate investors, two well-known actresses, a famous fashion designer and the co-chairman of a global law firm.”\u003c/p>\n\u003cp>The parents were already able to give their children “every legitimate advantage,” but instead they “chose to corrupt and illegally manipulate the system for their benefit,” Lelling said.\u003c/p>\n\u003cp>“There will not be a separate admissions system for the wealthy,” he added. “And there will not be a separate criminal justice system either.”\u003c/p>\n\u003cp>The parents were charged with conspiracy to commit mail fraud and honest-services mail fraud. Other defendants in the case include university athletic coaches and college exam administrators — some of whom are accused of accepting bribes.\u003c/p>\n\u003cp>The charges are part of a complex case that has been kept under seal. Documents related to the case were revealed Tuesday, as Singer pleaded guilty to a number of federal crimes from conspiracy to commit racketeering and money laundering to obstruction of justice, according to Lelling. A former head sailing coach at Stanford, John Vandemoer, also pleaded guilty Tuesday.\u003c/p>\n\u003cp>Singer “owned and operated the Edge College & Career Network LLC (‘The Key’) – a for-profit college counseling and preparation business – and served as the CEO of the Key Worldwide Foundation (KWF) – a non-profit corporation that he established as a purported charity,” the Justice Department \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>On \u003ca href=\"http://thekeyworldwide.com/getintocollege/why_the_key.html\">its website\u003c/a>, The Key promises to “unlock the door to academic, social, personal and career success.” The \u003ca href=\"http://thekeyworldwide.com/foundation/the_key_foundation.html\">foundation says\u003c/a> it “has touched the lives of hundreds of students that would never have been exposed to what higher education could do for them.”\u003c/p>\n\u003cp>Court documents state that the following schools were targeted as part of a “student-athlete recruitment scam”: Yale University, the University of Southern California, Georgetown University, UCLA, Wake Forest University, Stanford University, the University of San Diego and the \u003ca href=\"https://www.kut.org/post/ut-austin-tennis-coach-accepted-nearly-100000-college-admission-scheme-authorities-say\">University of Texas, Austin\u003c/a>.\u003c/p>\n\u003cp>Parents allegedly paid Singer a total of about $25 million that was then funneled into bribes for coaches and a university athletic administrator, according to court documents. In return, the students were allegedly designated as “recruited athletes,” which could increase their chances at gaining admission.\u003c/p>\n\u003cp>For example, the indictment states that “Singer and his co-conspirators made payments totaling $250,000 to a bank account at USC that funded [then USC head water polo coach Jovan Vavic’s] water polo team.” Vavic then allegedly designated two students as water polo recruits. The complaint also says that Singer contributed to the private school tuition for Vavic’s children in exchange for his “commitment to designate Singer’s clients as recruits for the USC water polo team in the future.”\u003c/p>\n\u003cp>USC said in a statement that it is carrying out an internal investigation into Vavic and other current and former employees who have been charged “and will take employment actions as appropriate.”\u003c/p>\n\u003cp>In another example of the scam, Lelling said former Yale women’s soccer coach Rudy Meredith took $400,000 to designate a potential student as a recruit for the team — boosting the student’s admission prospects — despite knowing that the student didn’t play the sport competitively.\u003c/p>\n\u003cp>Once the student was accepted to Yale, her relatives paid Singer approximately $1.2 million, including $900,000 to one of KWF’s charitable accounts, according to court documents.\u003c/p>\n\u003cp>Last April, Meredith allegedly met with the father of a second prospective student in a hotel room in Boston — a meeting that was secretly recorded by the FBI. In it, Meredith offered to designate the man’s daughter as a soccer recruit in exchange for $450,000, court documents state.\u003c/p>\n\u003cp>Meredith resigned his long-held post in November. In a statement to NPR, a Yale representative said: “As the indictment makes clear, the Department of Justice believes that Yale has been the victim of a crime perpetrated by its former women’s soccer coach. The university has cooperated fully in the investigation and will continue to cooperate as the case moves forward.”\u003c/p>\n\u003cp>The court documents also detail numerous examples of how the test score scheme worked.\u003c/p>\n\u003cp>The Justice Department said Singer sought to manipulate college entrance exams either by gaining extra time for his clients’ children to take the SAT and ACT through bogus claims of learning disabilities or by bribing test officials outright.\u003c/p>\n\u003cp>Singer also orchestrated scenarios under which students took tests overseen by test administrators at two locations, at a public high school in Houston and at a private college prep school in West Hollywood, Calif. Federal prosecutors say Singer paid administrators Niki Williams (in Houston) and Igor Dvorskiy (in California) bribes of as much as $10,000 per test.\u003c/p>\n\u003cp>To ensure a high score, Singer allegedly arranged for a third person “to take the exams in place of the students, to give the students the correct answers during the exams, or to correct the students’ answers” after they took the test, the \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department said\u003c/a>. That role allegedly was often played by 36-year-old Mark Riddell of Palmetto, Fla.\u003c/p>\n\u003cp>“Singer’s clients paid him between $15,000 and $75,000 per test, with the payments structured as purported donations” to a purported charity that Singer controlled, the Justice Department said. “In many instances, the students taking the exams were unaware that their parents had arranged for the cheating.”\u003c/p>\n\u003cp>Bribe payments were allegedly disguised as charitable payments to Singer’s foundation, the KWF, the Justice Department says — an arrangement that enabled the clients to “deduct the bribes from their federal income taxes.”\u003c/p>\n\u003cp>On its website, KWF describes many of the students it has helped as having “only known life on the streets, surrounded by the gang violence of the inner-city.”\u003c/p>\n\u003cp>The foundation says it has worked with a number of groups, from Los Angeles-based LadyLike Foundation to the Houston Hoops youth basketball program.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department’s statement \u003c/a>lists each of the 50 defendants, along with some basic facts about them and the charges they face:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>William Rick Singer\u003c/strong>, 58, of Newport Beach, Calif., owner of the Edge College & Career Network and CEO of the Key Worldwide Foundation, was charged in an Information with racketeering conspiracy, money laundering conspiracy, conspiracy to defraud the United States, and obstruction of justice. … [Singer pleaded guilty on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>Mark Riddell\u003c/strong>, 36, of Palmetto, Fla., was charged in an Information with conspiracy to commit mail fraud and honest services mail fraud as well as conspiracy to commit money laundering;\u003c/li>\n\u003cli>\u003cstrong>Rudolph “Rudy” Meredith\u003c/strong>, 51, of Madison, Conn., the former head women’s soccer coach at Yale University, was charged in an Information with conspiracy to commit wire fraud and honest services wire fraud as well as honest services wire fraud;\u003c/li>\n\u003cli>\u003cstrong>John Vandemoer\u003c/strong>, 41, of Stanford, Calif., the former sailing coach at Stanford University, was charged in an Information with racketeering conspiracy. [Vandemoer pleaded guilty before a federal court in Boston on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>David Sidoo\u003c/strong>, 59, of Vancouver, Canada, was charged in an indictment with conspiracy to commit mail and wire fraud. Sidoo was arrested on Friday, March 8\u003csup>th\u003c/sup> in San Jose, Calif., and appeared in U.S. District Court for the Northern District of California [on Monday]. A date for his initial appearance in federal court in Boston has not yet been scheduled.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendants were charged in an indictment with racketeering conspiracy:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Igor Dvorskiy\u003c/strong>, 52, of Sherman Oaks, Calif., director of a private elementary and high school in Los Angeles and a test administrator for the College Board and ACT;\u003c/li>\n\u003cli>\u003cstrong>Gordon Ernst\u003c/strong>, 52, of Chevy Chase, Md., former head coach of men and women’s tennis at Georgetown University;\u003c/li>\n\u003cli>\u003cstrong>William Ferguson\u003c/strong>, 48, of Winston-Salem, N.C., former women’s volleyball coach at Wake Forest University;\u003c/li>\n\u003cli>\u003cstrong>Martin Fox\u003c/strong>, 62, of Houston, Texas, president of a private tennis academy in Houston;\u003c/li>\n\u003cli>\u003cstrong>Donna Heinel\u003c/strong>, 57, of Long Beach, Calif., the senior associate athletic director at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Laura Janke\u003c/strong>, 36, of North Hollywood, Calif., former assistant coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Ali Kho[s]roshahin\u003c/strong>, 49, of Fountain Valley, Calif., former head coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Steven Masera\u003c/strong>, 69, of Folsom, Calif., accountant and financial officer for the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jorge Salcedo\u003c/strong>, 46, of Los Angeles, Calif., former head coach of men’s soccer at the University of California at Los Angeles;\u003c/li>\n\u003cli>\u003cstrong>Mikaela Sanford\u003c/strong>, 32, of Folsom, Calif., employee of the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jovan Vavic\u003c/strong>, 57, of Rancho Palos Verdes, Calif., former water polo coach at the University of Southern California; and\u003c/li>\n\u003cli>\u003cstrong>Niki Williams\u003c/strong>, 44, of Houston, Texas, assistant teacher at a Houston high school and test administrator for the College Board and ACT.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendant was charged in a criminal complaint with conspiracy to commit mail fraud and honest services mail fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Michael Center\u003c/strong>, 54, of Austin Texas, head coach of men’s tennis at the University of Texas at Austin\u003c/li>\n\u003c/ol>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The following defendants were charged in a criminal complaint with conspiracy to commit mail and wire fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Gregory Abbott\u003c/strong>, 68, of New York, N.Y., the founder and chairman of a food and beverage packaging company;\u003c/li>\n\u003cli>\u003cstrong>Marcia Abbott\u003c/strong>, 59, of New York, N.Y.;\u003c/li>\n\u003cli>\u003cstrong>Gamal Abdelaziz\u003c/strong>, 62, of Las Vegas, Nev., the former senior executive of a resort and casino operator in Macau, China;\u003c/li>\n\u003cli>\u003cstrong>Diane Blake\u003c/strong>, 55, of San Francisco, Calif., an executive at a retail merchandising firm;\u003c/li>\n\u003cli>\u003cstrong>Todd Blake\u003c/strong>, 53, of San Francisco, Calif., an entrepreneur and investor;\u003c/li>\n\u003cli>\u003cstrong>Jane Buckingham\u003c/strong>, 50, of Beverly Hills, Calif., the CEO of a boutique marketing company;\u003c/li>\n\u003cli>\u003cstrong>Gordon Caplan\u003c/strong>, 52, of Greenwich, Conn., co-chairman of an international law firm based in New York City;\u003c/li>\n\u003cli>\u003cstrong>I-Hin “Joey” Chen\u003c/strong>, 64, of Newport Beach, Calif., operates a provider of warehousing and related services for the shipping industry;\u003c/li>\n\u003cli>\u003cstrong>Amy Colburn\u003c/strong>, 59, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Gregory Colburn\u003c/strong>, 61, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Robert Flaxman\u003c/strong>, 62, of Laguna Beach, Calif., founder and CEO of real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Mossimo Giannulli\u003c/strong>, 55, of Los Angeles, Calif., fashion designer;\u003c/li>\n\u003cli>\u003cstrong>Elizabeth Henriquez\u003c/strong>, 56, of Atherton, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Manuel Henriquez\u003c/strong>, 55, of Atherton, Calif., founder, chairman and CEO of a publicly traded specialty finance company;\u003c/li>\n\u003cli>\u003cstrong>Douglas Hodge\u003c/strong>, 61, of Laguna Beach, Calif., former CEO of investment management company;\u003c/li>\n\u003cli>\u003cstrong>Felicity Huffman\u003c/strong>, 56, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Agustin Huneeus Jr.\u003c/strong>, 53, of San Francisco, Calif., owner of wine vineyards;\u003c/li>\n\u003cli>\u003cstrong>Bruce Isackson\u003c/strong>, 61, of Hillsborough, Calif., president of a real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Davina Isackson\u003c/strong>, 55, of Hillsborough, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Michelle Janavs\u003c/strong>, 48, of Newport Coast, Calif., former executive of a large food manufacturer;\u003c/li>\n\u003cli>\u003cstrong>Elisabeth Kimmel\u003c/strong>, 54, of Las Vegas, Nev., owner and president of a media company;\u003c/li>\n\u003cli>\u003cstrong>Marjorie Klapper\u003c/strong>, 50, of Menlo Park, Calif., co-owner of jewelry business;\u003c/li>\n\u003cli>\u003cstrong>Lori Loughlin\u003c/strong>, 54, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Toby MacFarlane\u003c/strong>, 56, of Del Mar, Calif., former senior executive at a title insurance company;\u003c/li>\n\u003cli>\u003cstrong>William McGlashan Jr.\u003c/strong>, 55, of Mill Valley, Calif., senior executive at a global equity firm;\u003c/li>\n\u003cli>\u003cstrong>Marci Palatella\u003c/strong>, 63, of Healdsburg, Calif., CEO of a liquor distribution company;\u003c/li>\n\u003cli>\u003cstrong>Peter Jan Sartorio\u003c/strong>, 53, of Menlo Park, Calif., packaged food entrepreneur;\u003c/li>\n\u003cli>\u003cstrong>Stephen Semprevivo\u003c/strong>, 53, of Los Angeles, Calif., executive at privately held provider of outsourced sales teams;\u003c/li>\n\u003cli>\u003cstrong>Devin Sloane\u003c/strong>, 53, of Los Angeles, Calif., founder and CEO of provider of drinking and wastewater systems;\u003c/li>\n\u003cli>\u003cstrong>John Wilson\u003c/strong>, 59, of Hyannis Port, Mass., founder and CEO of private equity and real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Homayoun Zadeh\u003c/strong>, 57, of Calabasas, Calif., an associate professor of dentistry; and\u003c/li>\n\u003cli>\u003cstrong>Robert Zangrillo\u003c/strong>, 52, of Miami, Fla., founder and CEO of private investment firm.\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">\n\u003cp>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=U.S.+Charges+Dozens+Of+Parents%2C+Coaches+In+Massive+College+Admissions+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This story includes reporting from The Associated Press\u003c/em>\u003c/p>\n\u003c/div>\n\n",
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"excerpt": "Actresses Felicity Huffman and Lori Loughlin are among 33 parents who paid large sums of money to cheat admissions standards at prestigious schools, federal prosecutors say. ",
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"title": "Massive College Admissions Scandal Includes Bay Area Parents, Hollywood Actors | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 4:00 p.m., Wednesday:\u003c/strong>\u003c/p>\n\u003cp>BOSTON (AP) — The latest on a college admissions bribery scandal that has led to charges against coaches and celebrities:\u003c/p>\n\u003cp>A federal judge says “Full House” actress Lori Loughlin (LAWK’-lin) can be released after posting $1 million bond in a case in which she and her husband are accused of paying bribes to get their daughters into college.\u003c/p>\n\u003cp>Loughlin stood with her lawyer in the Los Angeles courtroom Wednesday and didn’t speak except to answer “yes” to the judge’s questions. Magistrate Judge Steve Kim said Loughlin must limit her travel to the continental U.S. and areas around Vancouver, Canada, for work.\u003c/p>\n\u003cp>Dozens of defendants in the alleged nationwide scheme, including Loughlin’s husband fashion designer Mossimo Giannulli, were arrested Tuesday. Giannulli posted bond and was released Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prosecutors allege the couple paid $500,000 to have their daughters labeled as crew-team recruits at the University of Southern California, even though neither is a rower.\u003c/p>\n\u003cp>Federal officials have charged dozens of well-heeled parents, including actresses Felicity Huffman and Lori Loughlin, in what the Justice Department says was a multimillion-dollar scheme to cheat college admissions standards. The parents allegedly paid a consultant who then fabricated academic and athletic credentials and arranged bribes to help get their children into prestigious universities.\u003c/p>\n\u003cp>“We’re talking about deception and fraud — fake test scores, fake credentials, fake photographs, bribed college officials,” Andrew Lelling, U.S. attorney for the District of Massachusetts, said at a news conference Tuesday in Boston.\u003c/p>\n\u003cp>Lelling said 33 parents “paid enormous sums” to try to ensure that their children got into universities such as Stanford and Yale, sending money to entities controlled by a California man named William Rick Singer in return for obtaining false records and false scores on important tests such as the SAT and ACT.\u003c/p>\n\u003cp>Singer also presented his clients’ children as elite athletes, Lelling said. “In many instances, Singer helped parents take staged photographs of their children engaged in particular sports,” he said. “Other times, Singer and his associates used stock photos that they pulled off the Internet — sometimes photoshopping the face of the child onto the picture of the athlete” and submitting them to desirable schools.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.justice.gov/file/1142876/download\">a report\u003c/a> submitted to the U.S. Department of Justice, Agustin Huneeus Jr., 53, of San Francisco, Calif., owner of Huneeus Vinters, allegedly paid for fraudulent SAT scores and a fabricated athletic profile that falsely identified her as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with the following photograph, which is of another individual.\u003c/p>\n\u003cfigure id=\"attachment_13852782\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg\" alt=\"A fabricated athletic profile falsely identified Augustin Huneeus Jr.'s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual.\" width=\"664\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter-160x132.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">A fabricated athletic profile falsely identified Augustin Huneeus Jr.’s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual. \u003ccite>(U.S. Department of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Singer’s clients paid him anywhere between $200,000 and $6.5 million for this service,” Lelling said. The alleged scheme, he noted, was uncovered after his office got a lead from someone who “was a target of an entirely separate investigation, who gave us a tip that this activity might be going on.”\u003c/p>\n\u003cp>The scope of the case is massive — a total of 50 people have been charged in the admissions scheme. More than three dozen people in multiple states were taken into custody Tuesday as part of “Operation Varsity Blues,” said Joseph Bonavolonta, special agent in charge of the FBI’s Boston division, at the news conference.\u003c/p>\n\u003cp>A judge in Los Angeles ruled Tuesday that Huffman could be released on $250,000 bond and Loughlin’s husband, fashion designer Mossimo Giannulli, could be released on $1 million bond. Loughlin has not yet been arrested.\u003c/p>\n\u003cp>The scheme operated from 2011 through February 2019, Lelling said, adding that in most cases, parents paid Singer between $250,000 and $400,000 per student.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These parents are a catalog of wealth and privilege,” Lelling said. “They include, for example, CEOs of private and public companies, successful securities and real estate investors, two well-known actresses, a famous fashion designer and the co-chairman of a global law firm.”\u003c/p>\n\u003cp>The parents were already able to give their children “every legitimate advantage,” but instead they “chose to corrupt and illegally manipulate the system for their benefit,” Lelling said.\u003c/p>\n\u003cp>“There will not be a separate admissions system for the wealthy,” he added. “And there will not be a separate criminal justice system either.”\u003c/p>\n\u003cp>The parents were charged with conspiracy to commit mail fraud and honest-services mail fraud. Other defendants in the case include university athletic coaches and college exam administrators — some of whom are accused of accepting bribes.\u003c/p>\n\u003cp>The charges are part of a complex case that has been kept under seal. Documents related to the case were revealed Tuesday, as Singer pleaded guilty to a number of federal crimes from conspiracy to commit racketeering and money laundering to obstruction of justice, according to Lelling. A former head sailing coach at Stanford, John Vandemoer, also pleaded guilty Tuesday.\u003c/p>\n\u003cp>Singer “owned and operated the Edge College & Career Network LLC (‘The Key’) – a for-profit college counseling and preparation business – and served as the CEO of the Key Worldwide Foundation (KWF) – a non-profit corporation that he established as a purported charity,” the Justice Department \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>On \u003ca href=\"http://thekeyworldwide.com/getintocollege/why_the_key.html\">its website\u003c/a>, The Key promises to “unlock the door to academic, social, personal and career success.” The \u003ca href=\"http://thekeyworldwide.com/foundation/the_key_foundation.html\">foundation says\u003c/a> it “has touched the lives of hundreds of students that would never have been exposed to what higher education could do for them.”\u003c/p>\n\u003cp>Court documents state that the following schools were targeted as part of a “student-athlete recruitment scam”: Yale University, the University of Southern California, Georgetown University, UCLA, Wake Forest University, Stanford University, the University of San Diego and the \u003ca href=\"https://www.kut.org/post/ut-austin-tennis-coach-accepted-nearly-100000-college-admission-scheme-authorities-say\">University of Texas, Austin\u003c/a>.\u003c/p>\n\u003cp>Parents allegedly paid Singer a total of about $25 million that was then funneled into bribes for coaches and a university athletic administrator, according to court documents. In return, the students were allegedly designated as “recruited athletes,” which could increase their chances at gaining admission.\u003c/p>\n\u003cp>For example, the indictment states that “Singer and his co-conspirators made payments totaling $250,000 to a bank account at USC that funded [then USC head water polo coach Jovan Vavic’s] water polo team.” Vavic then allegedly designated two students as water polo recruits. The complaint also says that Singer contributed to the private school tuition for Vavic’s children in exchange for his “commitment to designate Singer’s clients as recruits for the USC water polo team in the future.”\u003c/p>\n\u003cp>USC said in a statement that it is carrying out an internal investigation into Vavic and other current and former employees who have been charged “and will take employment actions as appropriate.”\u003c/p>\n\u003cp>In another example of the scam, Lelling said former Yale women’s soccer coach Rudy Meredith took $400,000 to designate a potential student as a recruit for the team — boosting the student’s admission prospects — despite knowing that the student didn’t play the sport competitively.\u003c/p>\n\u003cp>Once the student was accepted to Yale, her relatives paid Singer approximately $1.2 million, including $900,000 to one of KWF’s charitable accounts, according to court documents.\u003c/p>\n\u003cp>Last April, Meredith allegedly met with the father of a second prospective student in a hotel room in Boston — a meeting that was secretly recorded by the FBI. In it, Meredith offered to designate the man’s daughter as a soccer recruit in exchange for $450,000, court documents state.\u003c/p>\n\u003cp>Meredith resigned his long-held post in November. In a statement to NPR, a Yale representative said: “As the indictment makes clear, the Department of Justice believes that Yale has been the victim of a crime perpetrated by its former women’s soccer coach. The university has cooperated fully in the investigation and will continue to cooperate as the case moves forward.”\u003c/p>\n\u003cp>The court documents also detail numerous examples of how the test score scheme worked.\u003c/p>\n\u003cp>The Justice Department said Singer sought to manipulate college entrance exams either by gaining extra time for his clients’ children to take the SAT and ACT through bogus claims of learning disabilities or by bribing test officials outright.\u003c/p>\n\u003cp>Singer also orchestrated scenarios under which students took tests overseen by test administrators at two locations, at a public high school in Houston and at a private college prep school in West Hollywood, Calif. Federal prosecutors say Singer paid administrators Niki Williams (in Houston) and Igor Dvorskiy (in California) bribes of as much as $10,000 per test.\u003c/p>\n\u003cp>To ensure a high score, Singer allegedly arranged for a third person “to take the exams in place of the students, to give the students the correct answers during the exams, or to correct the students’ answers” after they took the test, the \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department said\u003c/a>. That role allegedly was often played by 36-year-old Mark Riddell of Palmetto, Fla.\u003c/p>\n\u003cp>“Singer’s clients paid him between $15,000 and $75,000 per test, with the payments structured as purported donations” to a purported charity that Singer controlled, the Justice Department said. “In many instances, the students taking the exams were unaware that their parents had arranged for the cheating.”\u003c/p>\n\u003cp>Bribe payments were allegedly disguised as charitable payments to Singer’s foundation, the KWF, the Justice Department says — an arrangement that enabled the clients to “deduct the bribes from their federal income taxes.”\u003c/p>\n\u003cp>On its website, KWF describes many of the students it has helped as having “only known life on the streets, surrounded by the gang violence of the inner-city.”\u003c/p>\n\u003cp>The foundation says it has worked with a number of groups, from Los Angeles-based LadyLike Foundation to the Houston Hoops youth basketball program.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department’s statement \u003c/a>lists each of the 50 defendants, along with some basic facts about them and the charges they face:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>William Rick Singer\u003c/strong>, 58, of Newport Beach, Calif., owner of the Edge College & Career Network and CEO of the Key Worldwide Foundation, was charged in an Information with racketeering conspiracy, money laundering conspiracy, conspiracy to defraud the United States, and obstruction of justice. … [Singer pleaded guilty on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>Mark Riddell\u003c/strong>, 36, of Palmetto, Fla., was charged in an Information with conspiracy to commit mail fraud and honest services mail fraud as well as conspiracy to commit money laundering;\u003c/li>\n\u003cli>\u003cstrong>Rudolph “Rudy” Meredith\u003c/strong>, 51, of Madison, Conn., the former head women’s soccer coach at Yale University, was charged in an Information with conspiracy to commit wire fraud and honest services wire fraud as well as honest services wire fraud;\u003c/li>\n\u003cli>\u003cstrong>John Vandemoer\u003c/strong>, 41, of Stanford, Calif., the former sailing coach at Stanford University, was charged in an Information with racketeering conspiracy. [Vandemoer pleaded guilty before a federal court in Boston on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>David Sidoo\u003c/strong>, 59, of Vancouver, Canada, was charged in an indictment with conspiracy to commit mail and wire fraud. Sidoo was arrested on Friday, March 8\u003csup>th\u003c/sup> in San Jose, Calif., and appeared in U.S. District Court for the Northern District of California [on Monday]. A date for his initial appearance in federal court in Boston has not yet been scheduled.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendants were charged in an indictment with racketeering conspiracy:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Igor Dvorskiy\u003c/strong>, 52, of Sherman Oaks, Calif., director of a private elementary and high school in Los Angeles and a test administrator for the College Board and ACT;\u003c/li>\n\u003cli>\u003cstrong>Gordon Ernst\u003c/strong>, 52, of Chevy Chase, Md., former head coach of men and women’s tennis at Georgetown University;\u003c/li>\n\u003cli>\u003cstrong>William Ferguson\u003c/strong>, 48, of Winston-Salem, N.C., former women’s volleyball coach at Wake Forest University;\u003c/li>\n\u003cli>\u003cstrong>Martin Fox\u003c/strong>, 62, of Houston, Texas, president of a private tennis academy in Houston;\u003c/li>\n\u003cli>\u003cstrong>Donna Heinel\u003c/strong>, 57, of Long Beach, Calif., the senior associate athletic director at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Laura Janke\u003c/strong>, 36, of North Hollywood, Calif., former assistant coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Ali Kho[s]roshahin\u003c/strong>, 49, of Fountain Valley, Calif., former head coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Steven Masera\u003c/strong>, 69, of Folsom, Calif., accountant and financial officer for the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jorge Salcedo\u003c/strong>, 46, of Los Angeles, Calif., former head coach of men’s soccer at the University of California at Los Angeles;\u003c/li>\n\u003cli>\u003cstrong>Mikaela Sanford\u003c/strong>, 32, of Folsom, Calif., employee of the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jovan Vavic\u003c/strong>, 57, of Rancho Palos Verdes, Calif., former water polo coach at the University of Southern California; and\u003c/li>\n\u003cli>\u003cstrong>Niki Williams\u003c/strong>, 44, of Houston, Texas, assistant teacher at a Houston high school and test administrator for the College Board and ACT.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendant was charged in a criminal complaint with conspiracy to commit mail fraud and honest services mail fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Michael Center\u003c/strong>, 54, of Austin Texas, head coach of men’s tennis at the University of Texas at Austin\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The following defendants were charged in a criminal complaint with conspiracy to commit mail and wire fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Gregory Abbott\u003c/strong>, 68, of New York, N.Y., the founder and chairman of a food and beverage packaging company;\u003c/li>\n\u003cli>\u003cstrong>Marcia Abbott\u003c/strong>, 59, of New York, N.Y.;\u003c/li>\n\u003cli>\u003cstrong>Gamal Abdelaziz\u003c/strong>, 62, of Las Vegas, Nev., the former senior executive of a resort and casino operator in Macau, China;\u003c/li>\n\u003cli>\u003cstrong>Diane Blake\u003c/strong>, 55, of San Francisco, Calif., an executive at a retail merchandising firm;\u003c/li>\n\u003cli>\u003cstrong>Todd Blake\u003c/strong>, 53, of San Francisco, Calif., an entrepreneur and investor;\u003c/li>\n\u003cli>\u003cstrong>Jane Buckingham\u003c/strong>, 50, of Beverly Hills, Calif., the CEO of a boutique marketing company;\u003c/li>\n\u003cli>\u003cstrong>Gordon Caplan\u003c/strong>, 52, of Greenwich, Conn., co-chairman of an international law firm based in New York City;\u003c/li>\n\u003cli>\u003cstrong>I-Hin “Joey” Chen\u003c/strong>, 64, of Newport Beach, Calif., operates a provider of warehousing and related services for the shipping industry;\u003c/li>\n\u003cli>\u003cstrong>Amy Colburn\u003c/strong>, 59, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Gregory Colburn\u003c/strong>, 61, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Robert Flaxman\u003c/strong>, 62, of Laguna Beach, Calif., founder and CEO of real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Mossimo Giannulli\u003c/strong>, 55, of Los Angeles, Calif., fashion designer;\u003c/li>\n\u003cli>\u003cstrong>Elizabeth Henriquez\u003c/strong>, 56, of Atherton, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Manuel Henriquez\u003c/strong>, 55, of Atherton, Calif., founder, chairman and CEO of a publicly traded specialty finance company;\u003c/li>\n\u003cli>\u003cstrong>Douglas Hodge\u003c/strong>, 61, of Laguna Beach, Calif., former CEO of investment management company;\u003c/li>\n\u003cli>\u003cstrong>Felicity Huffman\u003c/strong>, 56, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Agustin Huneeus Jr.\u003c/strong>, 53, of San Francisco, Calif., owner of wine vineyards;\u003c/li>\n\u003cli>\u003cstrong>Bruce Isackson\u003c/strong>, 61, of Hillsborough, Calif., president of a real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Davina Isackson\u003c/strong>, 55, of Hillsborough, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Michelle Janavs\u003c/strong>, 48, of Newport Coast, Calif., former executive of a large food manufacturer;\u003c/li>\n\u003cli>\u003cstrong>Elisabeth Kimmel\u003c/strong>, 54, of Las Vegas, Nev., owner and president of a media company;\u003c/li>\n\u003cli>\u003cstrong>Marjorie Klapper\u003c/strong>, 50, of Menlo Park, Calif., co-owner of jewelry business;\u003c/li>\n\u003cli>\u003cstrong>Lori Loughlin\u003c/strong>, 54, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Toby MacFarlane\u003c/strong>, 56, of Del Mar, Calif., former senior executive at a title insurance company;\u003c/li>\n\u003cli>\u003cstrong>William McGlashan Jr.\u003c/strong>, 55, of Mill Valley, Calif., senior executive at a global equity firm;\u003c/li>\n\u003cli>\u003cstrong>Marci Palatella\u003c/strong>, 63, of Healdsburg, Calif., CEO of a liquor distribution company;\u003c/li>\n\u003cli>\u003cstrong>Peter Jan Sartorio\u003c/strong>, 53, of Menlo Park, Calif., packaged food entrepreneur;\u003c/li>\n\u003cli>\u003cstrong>Stephen Semprevivo\u003c/strong>, 53, of Los Angeles, Calif., executive at privately held provider of outsourced sales teams;\u003c/li>\n\u003cli>\u003cstrong>Devin Sloane\u003c/strong>, 53, of Los Angeles, Calif., founder and CEO of provider of drinking and wastewater systems;\u003c/li>\n\u003cli>\u003cstrong>John Wilson\u003c/strong>, 59, of Hyannis Port, Mass., founder and CEO of private equity and real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Homayoun Zadeh\u003c/strong>, 57, of Calabasas, Calif., an associate professor of dentistry; and\u003c/li>\n\u003cli>\u003cstrong>Robert Zangrillo\u003c/strong>, 52, of Miami, Fla., founder and CEO of private investment firm.\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">\n\u003cp>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=U.S.+Charges+Dozens+Of+Parents%2C+Coaches+In+Massive+College+Admissions+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This story includes reporting from The Associated Press\u003c/em>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Luke Perry, who gained instant heartthrob status as wealthy rebel Dylan McKay on “Beverly Hills, 90210,” died Monday after suffering a massive stroke, his publicist said. He was 52.\u003c/p>\n\u003cp>Perry was surrounded by family and friends when he died, publicist Arnold Robinson said. The actor had been hospitalized since last Wednesday, after a 911 call summoned medical help to his home in the Sherman Oaks section of Los Angeles.\u003c/p>\n\u003cp>“The family appreciates the outpouring of support and prayers that have been extended to Luke from around the world, and respectfully request privacy in this time of great mourning,” Robinson said in a statement. Those at Perry’s bedside included his children, Jake and Sophie; fiancée Wendy Madison Bauer; former wife, Minnie Sharp, and mother Ann Bennett.\u003c/p>\n\u003cp>Perry had played construction company owner Fred Andrews, father of main character Archie Andrews, for three seasons on “Riverdale,” the CW series that gives a dark take on “Archie” comics. A fourth season has been slated.\u003c/p>\n\u003cp>“90210” co-star Ian Ziering \u003ca href=\"https://twitter.com/IanZiering/status/1102636324903927808\" rel=\"noopener\" target=\"_blank\">paid tribute\u003c/a> to his co-star on Twitter. “I will forever bask in the loving memories we’ve shared over the last thirty years,” Ziering said. “May your journey forward be enriched by the magnificent souls who have passed before you, just like you have done here, for those you leave behind.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born and raised in rural Fredericktown, Ohio, Perry gained fame on “Beverly Hills, 90210,” which ran from 1990 to 2000. In a 2006 interview with The Associated Press, he recounted being partly inspired to pursue acting by a photo of Paul Newman his mother kept on her mirror.\u003c/p>\n\u003cp>He played out the memory of hearing his mother say, “He’s the most beautiful man in the world, honey … he’s a movie star.”\u003c/p>\n\u003cp>“I thought, ‘OK, that’s cool.’ I watched him and, yeah, man, who didn’t want to be Paul Newman?”\u003c/p>\n\u003cp>But Perry expanded his interests far beyond acting, identifying history as a passion and family a priority.\u003c/p>\n\u003cp>“When you are younger you can have only work, and I did for a long time,” he told the AP in 2006. “But it doesn’t command my attention that way anymore. A lot of the mysteries and the questions I had about it I’ve figured out, but life offers up mysteries every day.”\u003c/p>\n\u003cp>He had roles in a handful of films, including “The Fifth Element,” ″Buffy the Vampire Slayer,” ″8 Seconds” and “American Strays,” appeared in HBO’s prison drama “Oz” as a televangelist convicted of fraud, and voiced cartoons including “The Incredible Hulk” and “Mortal Kombat.”\u003c/p>\n\u003cp>He made his Broadway musical debut as Brad in the “The Rocky Horror Picture Show,” and starred on London’s West End in another stage adaptation of a film, “When Harry Met Sally.” In recent years he starred in the series “Ties That Bind” and “Body of Proof.”\u003c/p>\n\u003cp>The same day he was hospitalized, Fox TV announced that it would be running a six-episode return of “90210” featuring most of the original cast, but Perry was not among those announced.\u003c/p>\n\u003cp>On the original series, Perry’s character went from loner to part of a close-knit circle that included twins Brenda and Brandon Walsh (Shannen Doherty, Jason Priestley), but also endured a string of romantic, family and other setbacks, including drug addiction. Perry left the series in 1995 to pursue other roles, returning in 1998 for the rest of the show’s run as a guest star.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a 2011 interview with the AP, Perry said he and his male co-stars were a “really good strong core group” while the show aired and maintained close ties. The friendship and trust he shared with Priestley created a sort of “shorthand” when it came to filming, Perry said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Luke Perry, who gained instant heartthrob status as wealthy rebel Dylan McKay on “Beverly Hills, 90210,” died Monday after suffering a massive stroke, his publicist said. He was 52.\u003c/p>\n\u003cp>Perry was surrounded by family and friends when he died, publicist Arnold Robinson said. The actor had been hospitalized since last Wednesday, after a 911 call summoned medical help to his home in the Sherman Oaks section of Los Angeles.\u003c/p>\n\u003cp>“The family appreciates the outpouring of support and prayers that have been extended to Luke from around the world, and respectfully request privacy in this time of great mourning,” Robinson said in a statement. Those at Perry’s bedside included his children, Jake and Sophie; fiancée Wendy Madison Bauer; former wife, Minnie Sharp, and mother Ann Bennett.\u003c/p>\n\u003cp>Perry had played construction company owner Fred Andrews, father of main character Archie Andrews, for three seasons on “Riverdale,” the CW series that gives a dark take on “Archie” comics. A fourth season has been slated.\u003c/p>\n\u003cp>“90210” co-star Ian Ziering \u003ca href=\"https://twitter.com/IanZiering/status/1102636324903927808\" rel=\"noopener\" target=\"_blank\">paid tribute\u003c/a> to his co-star on Twitter. “I will forever bask in the loving memories we’ve shared over the last thirty years,” Ziering said. “May your journey forward be enriched by the magnificent souls who have passed before you, just like you have done here, for those you leave behind.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born and raised in rural Fredericktown, Ohio, Perry gained fame on “Beverly Hills, 90210,” which ran from 1990 to 2000. In a 2006 interview with The Associated Press, he recounted being partly inspired to pursue acting by a photo of Paul Newman his mother kept on her mirror.\u003c/p>\n\u003cp>He played out the memory of hearing his mother say, “He’s the most beautiful man in the world, honey … he’s a movie star.”\u003c/p>\n\u003cp>“I thought, ‘OK, that’s cool.’ I watched him and, yeah, man, who didn’t want to be Paul Newman?”\u003c/p>\n\u003cp>But Perry expanded his interests far beyond acting, identifying history as a passion and family a priority.\u003c/p>\n\u003cp>“When you are younger you can have only work, and I did for a long time,” he told the AP in 2006. “But it doesn’t command my attention that way anymore. A lot of the mysteries and the questions I had about it I’ve figured out, but life offers up mysteries every day.”\u003c/p>\n\u003cp>He had roles in a handful of films, including “The Fifth Element,” ″Buffy the Vampire Slayer,” ″8 Seconds” and “American Strays,” appeared in HBO’s prison drama “Oz” as a televangelist convicted of fraud, and voiced cartoons including “The Incredible Hulk” and “Mortal Kombat.”\u003c/p>\n\u003cp>He made his Broadway musical debut as Brad in the “The Rocky Horror Picture Show,” and starred on London’s West End in another stage adaptation of a film, “When Harry Met Sally.” In recent years he starred in the series “Ties That Bind” and “Body of Proof.”\u003c/p>\n\u003cp>The same day he was hospitalized, Fox TV announced that it would be running a six-episode return of “90210” featuring most of the original cast, but Perry was not among those announced.\u003c/p>\n\u003cp>On the original series, Perry’s character went from loner to part of a close-knit circle that included twins Brenda and Brandon Walsh (Shannen Doherty, Jason Priestley), but also endured a string of romantic, family and other setbacks, including drug addiction. Perry left the series in 1995 to pursue other roles, returning in 1998 for the rest of the show’s run as a guest star.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a 2011 interview with the AP, Perry said he and his male co-stars were a “really good strong core group” while the show aired and maintained close ties. The friendship and trust he shared with Priestley created a sort of “shorthand” when it came to filming, Perry said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Two-and-a-half years after the release of \u003cem>A Seat At The\u003c/em> \u003cem>Table\u003c/em>, Solange shares her surprise CQ visual album \u003cem>When I Get Home. \u003c/em>On Solange’s fourth full-length album since her 2002 debut, \u003cem>Solo Star, \u003c/em>the artist takes listeners on an “exploration of origin” across 19 tracks and a film meshing together static R&B, funk, Zydeco and blues. To accompany the release, Solange \u003ca href=\"https://whenigethome.solangemusic.com/\">announced\u003c/a> nine “album events” in her hometown of Houston, all taking place on March 3.\u003c/p>\n\u003cp>The release was preceded by a takeover of the early-aughts social networking site \u003ca href=\"http://blackplanet.com/solange/\">BlackPlanet.com\u003c/a>, where the 32-year-old artist shared photographs and snippets of video depicting contrasting facets of Southern black life, presented in her signature, simultaneously avant-garde and down-home demeanor; chromed-out cowboy boots paired with bustiers, cornrowed black beauties, vintage Cadillacs, perfectly laid and purposely wack wigs, strippers busting splits on the pole, cowboys waiting on the rails of the bullpen.\u003c/p>\n\u003cp>\u003cem>When I Get Home \u003c/em>is, at face value, an undeniable ode to Solange’s own hometown of Houston, Tx., where it was recorded alongside a long list of notable collaborators. Keeping the theme Houston-as-hell, samples on the album include Devin The Dude, Scarface and Mike Jones. Other contributions on the album include Tyler, The Creator (“Down With The Clique”), Cassie (“Way To The Show”) The-Dream (“Binz”), Gucci Mane (“My Skin My Logo”) and more.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Solange - Things I Imagined (Official Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/upp6RAVaIN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A4WF4HvVT7VjGnVjxjoCR6w\" width=\"600\" height=\"400\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The slow burn of Solange’s previous album, \u003cem>A Seat At The Table\u003c/em>, included a months-long, festival-hopping world tour with a grandiose \u003ca href=\"#v\">stage design\u003c/a> inspired by the iconic sets of Earth, Wind & Fire, a commemorative \u003ca href=\"https://www.anteism.com/shop/a-seat-at-the-table-solange\">book\u003c/a>, and earning numerous accolades and awards. Off of first impressions, there seems little reason to expect any less with \u003cem>When I Get Home. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Solange+Goes+On+An+Exploration+Of+Origin+With+%27When+I+Get+Home%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two-and-a-half years after the release of \u003cem>A Seat At The\u003c/em> \u003cem>Table\u003c/em>, Solange shares her surprise CQ visual album \u003cem>When I Get Home. \u003c/em>On Solange’s fourth full-length album since her 2002 debut, \u003cem>Solo Star, \u003c/em>the artist takes listeners on an “exploration of origin” across 19 tracks and a film meshing together static R&B, funk, Zydeco and blues. To accompany the release, Solange \u003ca href=\"https://whenigethome.solangemusic.com/\">announced\u003c/a> nine “album events” in her hometown of Houston, all taking place on March 3.\u003c/p>\n\u003cp>The release was preceded by a takeover of the early-aughts social networking site \u003ca href=\"http://blackplanet.com/solange/\">BlackPlanet.com\u003c/a>, where the 32-year-old artist shared photographs and snippets of video depicting contrasting facets of Southern black life, presented in her signature, simultaneously avant-garde and down-home demeanor; chromed-out cowboy boots paired with bustiers, cornrowed black beauties, vintage Cadillacs, perfectly laid and purposely wack wigs, strippers busting splits on the pole, cowboys waiting on the rails of the bullpen.\u003c/p>\n\u003cp>\u003cem>When I Get Home \u003c/em>is, at face value, an undeniable ode to Solange’s own hometown of Houston, Tx., where it was recorded alongside a long list of notable collaborators. Keeping the theme Houston-as-hell, samples on the album include Devin The Dude, Scarface and Mike Jones. Other contributions on the album include Tyler, The Creator (“Down With The Clique”), Cassie (“Way To The Show”) The-Dream (“Binz”), Gucci Mane (“My Skin My Logo”) and more.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Solange - Things I Imagined (Official Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/upp6RAVaIN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A4WF4HvVT7VjGnVjxjoCR6w\" width=\"600\" height=\"400\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>R. Kelly was charged Friday with 10 counts of aggravated sexual abuse, after decades of lurid rumors and allegations that the R&B star was sexually abusing women and underage girls.\u003c/p>\n\u003cp>Tandra Simonton, spokeswoman for the Cook County State’s Attorney’s Office, confirmed to The Associated Press the charges had been filed against the 52-year-old Grammy winner but declined to say the specific number. Media reports said there were 10 counts, all involving underage victims.\u003c/p>\n\u003cp>Over the years, he has consistently denied any sexual misconduct.\u003c/p>\n\u003cp>Kelly, whose legal name is Robert Kelly, is one of the top-selling recording artists of all time, with hits such as “I Believe I Can Fly,” and his arrest sets the stage for another #MeToo-era celebrity trial. Bill Cosby went to prison last year, and former Hollywood studio boss Harvey Weinstein is awaiting trial.\u003c/p>\n\u003cp>Kelly was charged a day after Michael Avenatti, the attorney whose clients have included porn star Stormy Daniels, said he recently gave Chicago prosecutors new video evidence of the singer having sex with an underage girl. It was not immediately clear if the charges were connected to that video.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2008, a jury acquitted Kelly of child pornography charges over a graphic video that prosecutors said showed him having sex with a girl as young as 13. He and the young woman allegedly depicted with him denied they were in the 27-minute video, even though the picture quality was good and witnesses testified it was them, and she did not take the stand. Kelly could have gotten 15 years in prison.\u003c/p>\n\u003cp>Legally and professionally, the walls began closing in on Kelly more recently after the release of a BBC documentary about him last year and, last month, the multipart Lifetime documentary “Surviving R. Kelly.” Together they detailed allegations he was holding women against their will and running a “sex cult.”\u003c/p>\n\u003cp>After the latest documentary, Chicago’s top prosecutor, Cook County State’s Attorney Kim Foxx, said she was “sickened” by the allegations and asked potential victims to come forward.\u003c/p>\n\u003cp>#MeToo activists and a social media movement using the hashtag #MuteRKelly called on streaming services to drop Kelly’s music and promoters not to book any more concerts. And protesters demonstrated outside Kelly’s Chicago studio.\u003c/p>\n\u003cp>Kelly’s attorney, Steve Greenberg, said earlier this year that his client was the victim of a TV hit piece and that Kelly “never knowingly had sex with an underage woman, he never forced anyone to do anything, he never held anyone captive, he never abused anyone.”\u003c/p>\n\u003cp>Avenatti said his office was retained last April by people regarding allegations of sexual assault of minors by Kelly. He said the video surfaced during a 10-month investigation. He told the Associated Press that the person who provided the VHS tape knew both Kelly and the female in the video.\u003c/p>\n\u003cp>Despite accusations that span decades, the singer and songwriter who rose from poverty on Chicago’s South Side has retained a sizable following. He has written numerous hits for himself and other artists, including Celine Dion, Michael Jackson and Lady Gaga. His collaborators have included Jay-Z and Usher.\u003c/p>\n\u003cp>Kelly broke into the R&B scene in 1993 with his first solo album, “12 Play,” which produced such popular sex-themed songs as “Bump N’ Grind” and “Your Body’s Callin’.”\u003c/p>\n\u003cp>Months after those successes, the then-27-year-old Kelly faced allegations he married 15-year-old Aaliyah, the R&B star who later died in a plane crash in the Bahamas. Kelly was the lead songwriter and producer of Aaliyah’s 1994 debut album.\u003c/p>\n\u003cp>Kelly and Aaliyah never confirmed the marriage, though Vibe magazine published a copy of the purported marriage license. Court documents later obtained by the Chicago Sun-Times showed Aaliyah admitted lying about her age on the license.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jim DeRogatis, a longtime music critic for the Chicago Sun-Times, played a key role in drawing the attention of law enforcement to Kelly. In 2002, he received the sex tape in the mail that was central to Kelly’s 2008 trial. He turned it over to prosecutors. In 2017, DeRogatis wrote a story for BuzzFeed about the allegations Kelly was holding women against their will in Georgia.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2008, a jury acquitted Kelly of child pornography charges over a graphic video that prosecutors said showed him having sex with a girl as young as 13. He and the young woman allegedly depicted with him denied they were in the 27-minute video, even though the picture quality was good and witnesses testified it was them, and she did not take the stand. Kelly could have gotten 15 years in prison.\u003c/p>\n\u003cp>Legally and professionally, the walls began closing in on Kelly more recently after the release of a BBC documentary about him last year and, last month, the multipart Lifetime documentary “Surviving R. Kelly.” Together they detailed allegations he was holding women against their will and running a “sex cult.”\u003c/p>\n\u003cp>After the latest documentary, Chicago’s top prosecutor, Cook County State’s Attorney Kim Foxx, said she was “sickened” by the allegations and asked potential victims to come forward.\u003c/p>\n\u003cp>#MeToo activists and a social media movement using the hashtag #MuteRKelly called on streaming services to drop Kelly’s music and promoters not to book any more concerts. And protesters demonstrated outside Kelly’s Chicago studio.\u003c/p>\n\u003cp>Kelly’s attorney, Steve Greenberg, said earlier this year that his client was the victim of a TV hit piece and that Kelly “never knowingly had sex with an underage woman, he never forced anyone to do anything, he never held anyone captive, he never abused anyone.”\u003c/p>\n\u003cp>Avenatti said his office was retained last April by people regarding allegations of sexual assault of minors by Kelly. He said the video surfaced during a 10-month investigation. He told the Associated Press that the person who provided the VHS tape knew both Kelly and the female in the video.\u003c/p>\n\u003cp>Despite accusations that span decades, the singer and songwriter who rose from poverty on Chicago’s South Side has retained a sizable following. He has written numerous hits for himself and other artists, including Celine Dion, Michael Jackson and Lady Gaga. His collaborators have included Jay-Z and Usher.\u003c/p>\n\u003cp>Kelly broke into the R&B scene in 1993 with his first solo album, “12 Play,” which produced such popular sex-themed songs as “Bump N’ Grind” and “Your Body’s Callin’.”\u003c/p>\n\u003cp>Months after those successes, the then-27-year-old Kelly faced allegations he married 15-year-old Aaliyah, the R&B star who later died in a plane crash in the Bahamas. Kelly was the lead songwriter and producer of Aaliyah’s 1994 debut album.\u003c/p>\n\u003cp>Kelly and Aaliyah never confirmed the marriage, though Vibe magazine published a copy of the purported marriage license. Court documents later obtained by the Chicago Sun-Times showed Aaliyah admitted lying about her age on the license.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jim DeRogatis, a longtime music critic for the Chicago Sun-Times, played a key role in drawing the attention of law enforcement to Kelly. In 2002, he received the sex tape in the mail that was central to Kelly’s 2008 trial. He turned it over to prosecutors. In 2017, DeRogatis wrote a story for BuzzFeed about the allegations Kelly was holding women against their will in Georgia.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Dear Ex': A Man Dies, Leaving Behind A Wife, A Son And A Secret Gay Lover",
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"content": "\u003cp>Domestic dramas have to walk a fine line between sweetness and pathos, and the shaggy-yet-lovable new film \u003cem>Dear Ex\u003c/em> succeeds at this balance more than others. The Taiwanese heartstring-tugger, now available on Netflix after only being acquired by the service a week ago, circles around three complicated, hard-to-love characters, allowing their complexities to cloud their better natures. As in last year’s lovely Israeli drama \u003ca href=\"https://www.npr.org/2018/06/28/624046119/in-the-cakemaker-grieving-is-baked-in\">\u003cem>The Cakemaker\u003c/em>\u003c/a>, the film links these figures via a closeted, recently deceased family man: a specter of authenticity cloaked in secrecy, who forces a reckoning for the loved ones he left behind.\u003c/p>\n\u003cp>The film opens with 13-year-old Chengxi (Joseph Huang) claiming he always knew his dad was gay. It has been three months since his professor father’s death from cancer, and Chengxi learns he’s been written out of his insurance policy. His prone-to-hysterics mother Sanlian (Ying-Xuan Hsieh) knows the truth: that her deceased husband Zhangyuan secretly named his longtime male lover as his benefactor, but that the claim can’t go through unless she signs off on it. So Sanlian drags Chengxi along to the mystery man’s ramshackle apartment, hoping to spur a confrontation that will somehow put the lid back on the wreckage of their lives.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dear Ex Trailer | SGIFF 2018\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/r94pd519Jf4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The first third of \u003cem>Dear Ex\u003c/em> is told from Chengxi’s perspective, and it’s the strongest chunk of the film by far: a strange blend of sullen teen angst and the shock of an uncovered secret. The kid is utterly fascinated by his father’s lover Jay, a thirtysomething community theater director who can be furious one minute and tender the next. (He’s played by a terrific Roy Chiu, whose raw, prickly performance has no trace of the mincing-younger-gay-lover onscreen stereotype.) To escape his mother’s needling, Chengxi moves himself into Jay’s life without asking permission, and the two develop a wary bond as they putter through the city on Jay’s moped, trying to figure out what they mean to each other. Writer-director Mag Hsu and her co-director Chih-Yen Hsu stage these scenes in bright, brilliant hues, with long shots of the characters maneuvering around each other in hallways that bring to mind some of the early work of pioneering Taiwanese auteur Tsai Ming-Liang.\u003c/p>\n\u003cp>As the film broadens in scope, incorporating flashbacks and new dynamics like Jay’s traditionalist mother, it also shifts perspective: first to Sanlian, and then to Jay. But along the way, it loses the spark that came with a teenager’s incomplete-yet-restless worldview, instead entering a world of full-bore melodrama. Sanlian’s storyline, in particular, feels retrograde, both in her views on gay men and in her cartoonish attempts to keep a handle on her son by any means necessary – including an obsession with sending him off to college in Canada.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jay is the one character who defies easy categorization, because even through his slovenly nature and clear distrust of this family intrusion, his genuine devotion to the man he loved shines through. His flashback scenes with Zhangyuan (Spark Chen) are affectionate and sad, particularly when the two men discuss why they must keep their affair a secret to their families. “Not letting them be sad or worried is our responsibility,” Zhangyuan says.\u003c/p>\n\u003cp>A nice bit of linguistic detail: Though Sanlian tries to emasculate Jay by calling him a “mistress,” we quickly learn Zhangyuan, in fact, called him “hubby”… prompting Chengxi to instead refer to his mother as the true “mistress.” Identities shift like this throughout the story, as the three leads develop newfound compassion for each other despite their initial reservations. (As is required by law with every teen movie these days, some of this development must come with onscreen notebook doodles and scribbles to illustrate obvious points.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taiwan is \u003ca href=\"https://qz.com/1470193/how-taiwan-became-the-most-lgbt-friendly-country-in-asia/\">often recognized\u003c/a> as the most LGBT-friendly region in Asia, making the existence and wide availability of films like \u003cem>Dear Ex\u003c/em> a welcome cultural development. Considering the U.S.’s own mainstream movie industry has been remarkably slow to tell similar stories without patronizing characters like Jay, perhaps American filmmakers could learn something here, as well. The film may pale in comparison to \u003cem>The Cakemaker\u003c/em>, which told its story with more nuance and sensory detail. But\u003cem> Dear Ex\u003c/em>‘s narrative hiccups and tonal missteps seem less blaring by the time it enters its affecting homestretch, which involves Jay taking on large amounts of debt to stage a revival of a play with great emotional significance. Love in this movie is expressed in odd ways, but it is still genuine.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Domestic dramas have to walk a fine line between sweetness and pathos, and the shaggy-yet-lovable new film \u003cem>Dear Ex\u003c/em> succeeds at this balance more than others. The Taiwanese heartstring-tugger, now available on Netflix after only being acquired by the service a week ago, circles around three complicated, hard-to-love characters, allowing their complexities to cloud their better natures. As in last year’s lovely Israeli drama \u003ca href=\"https://www.npr.org/2018/06/28/624046119/in-the-cakemaker-grieving-is-baked-in\">\u003cem>The Cakemaker\u003c/em>\u003c/a>, the film links these figures via a closeted, recently deceased family man: a specter of authenticity cloaked in secrecy, who forces a reckoning for the loved ones he left behind.\u003c/p>\n\u003cp>The film opens with 13-year-old Chengxi (Joseph Huang) claiming he always knew his dad was gay. It has been three months since his professor father’s death from cancer, and Chengxi learns he’s been written out of his insurance policy. His prone-to-hysterics mother Sanlian (Ying-Xuan Hsieh) knows the truth: that her deceased husband Zhangyuan secretly named his longtime male lover as his benefactor, but that the claim can’t go through unless she signs off on it. So Sanlian drags Chengxi along to the mystery man’s ramshackle apartment, hoping to spur a confrontation that will somehow put the lid back on the wreckage of their lives.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dear Ex Trailer | SGIFF 2018\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/r94pd519Jf4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The first third of \u003cem>Dear Ex\u003c/em> is told from Chengxi’s perspective, and it’s the strongest chunk of the film by far: a strange blend of sullen teen angst and the shock of an uncovered secret. The kid is utterly fascinated by his father’s lover Jay, a thirtysomething community theater director who can be furious one minute and tender the next. (He’s played by a terrific Roy Chiu, whose raw, prickly performance has no trace of the mincing-younger-gay-lover onscreen stereotype.) To escape his mother’s needling, Chengxi moves himself into Jay’s life without asking permission, and the two develop a wary bond as they putter through the city on Jay’s moped, trying to figure out what they mean to each other. Writer-director Mag Hsu and her co-director Chih-Yen Hsu stage these scenes in bright, brilliant hues, with long shots of the characters maneuvering around each other in hallways that bring to mind some of the early work of pioneering Taiwanese auteur Tsai Ming-Liang.\u003c/p>\n\u003cp>As the film broadens in scope, incorporating flashbacks and new dynamics like Jay’s traditionalist mother, it also shifts perspective: first to Sanlian, and then to Jay. But along the way, it loses the spark that came with a teenager’s incomplete-yet-restless worldview, instead entering a world of full-bore melodrama. Sanlian’s storyline, in particular, feels retrograde, both in her views on gay men and in her cartoonish attempts to keep a handle on her son by any means necessary – including an obsession with sending him off to college in Canada.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jay is the one character who defies easy categorization, because even through his slovenly nature and clear distrust of this family intrusion, his genuine devotion to the man he loved shines through. His flashback scenes with Zhangyuan (Spark Chen) are affectionate and sad, particularly when the two men discuss why they must keep their affair a secret to their families. “Not letting them be sad or worried is our responsibility,” Zhangyuan says.\u003c/p>\n\u003cp>A nice bit of linguistic detail: Though Sanlian tries to emasculate Jay by calling him a “mistress,” we quickly learn Zhangyuan, in fact, called him “hubby”… prompting Chengxi to instead refer to his mother as the true “mistress.” Identities shift like this throughout the story, as the three leads develop newfound compassion for each other despite their initial reservations. (As is required by law with every teen movie these days, some of this development must come with onscreen notebook doodles and scribbles to illustrate obvious points.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taiwan is \u003ca href=\"https://qz.com/1470193/how-taiwan-became-the-most-lgbt-friendly-country-in-asia/\">often recognized\u003c/a> as the most LGBT-friendly region in Asia, making the existence and wide availability of films like \u003cem>Dear Ex\u003c/em> a welcome cultural development. Considering the U.S.’s own mainstream movie industry has been remarkably slow to tell similar stories without patronizing characters like Jay, perhaps American filmmakers could learn something here, as well. The film may pale in comparison to \u003cem>The Cakemaker\u003c/em>, which told its story with more nuance and sensory detail. But\u003cem> Dear Ex\u003c/em>‘s narrative hiccups and tonal missteps seem less blaring by the time it enters its affecting homestretch, which involves Jay taking on large amounts of debt to stage a revival of a play with great emotional significance. Love in this movie is expressed in odd ways, but it is still genuine.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Complete Play-by-Play of the 2019 Grammy Awards",
"headTitle": "A Complete Play-by-Play of the 2019 Grammy Awards | KQED",
"content": "\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[contextly_sidebar id=”NOsRsKhC4dv9SK8p8eDhnDdOqxRkohH3″]\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"excerpt": "The Recording Academy is spreading its prizes widely this year. No artist is dominating, but Lady Gaga, Cardi B, Kacey Musgraves and Brandi Carlile have all won awards.",
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"description": "The Recording Academy is spreading its prizes widely this year. No artist is dominating, but Lady Gaga, Cardi B, Kacey Musgraves and Brandi Carlile have all won awards.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "2019 Grammy Awards: Predictions And Considerations",
"headTitle": "2019 Grammy Awards: Predictions And Considerations | KQED",
"content": "\u003cp>Whatever you think of the Grammy Awards, they do provide an intriguing snapshot of how the music industry wishes to see itself — particularly in terms of its chosen standard-bearers. In one three-and-a-half-hour flurry of awards and performances, you’ll get a cross-genre infomercial and, if you curate your Twitter feed right, an evening-long feast of social-media jokes and commentary.\u003c/p>\n\u003cp>By the end of the night, you may well find yourself shouting your own strongly worded opinions from the virtual mountaintop. But for now, we can only take a few educated stabs at the joys and outrages that await. Here are five storylines to watch as Music’s Biggest Night™ approaches.\u003c/p>\n\u003cp>[contextly_sidebar id=”7eUtSw3O3ZIIvJQn4I0q51c5u0YGVq7R”]\u003c/p>\n\u003cp>\u003cstrong>1) So many nominees. \u003c/strong>The Grammys’ four biggest categories — album of the year, song of the year, record of the year and best new artist — have traditionally been a hash of oddly matched genres, with pop, rock, hip-hop, R&B, country and jazz artists vying for only five nomination slots. This year, the hash naturally remains, but the number of slots has increased from five to eight to accommodate more diversity among the nominees.\u003c/p>\n\u003cp>This year’s nominations bear that out; in album of the year, for example, Cardi B, Brandi Carlile, Drake, H.E.R., Post Malone, Janelle Monáe, Kacey Musgraves and the \u003cem>Black Panther\u003c/em> soundtrack are all in contention. Record of the year will go to a song by either Cardi B; Carlile; Childish Gambino; Drake; Lady Gaga and Bradley Cooper; Kendrick Lamar and SZA; or Zedd, Maren Morris and Grey. (Here’s \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">a fuller rundown\u003c/a> of this year’s nominees.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clutter of names makes gaming out winners trickier than ever. Vote-splitting among similar artists and genres could be a major factor. For example, rootsy singers Brandi Carlile and Kacey Musgraves might siphon off each other’s album of the year votes, leaving an open lane for… it’s hard to tell, really. Monáe’s \u003cem>Dirty Computer\u003c/em> was adored by critics, \u003cem>Black Panther\u003c/em> was a commercial juggernaut spearheaded by Kendrick Lamar (who’s due after a few high-profile snubs in the category), Cardi B dominated both the 2018 pop charts and the cultural conversation. And so on.\u003c/p>\n\u003cp>Traditionally, the Grammys have skewed toward safe and/or legacy artists in the major categories, as evidenced by a quarter-century’s worth of album of the year wins for the likes of Tony Bennett, Celine Dion, Steely Dan, U2, Herbie Hancock, Mumford & Sons, Adele (over Beyoncé’s \u003cem>Lemonade\u003c/em>!), Beck (over Beyoncé’s \u003cem>Beyoncé\u003c/em>!), Taylor Swift (over Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em>!), Bruno Mars (over Kendrick Lamar’s \u003cem>DAMN.\u003c/em>!) and so on. Before this year, Beyoncé, Kendrick Lamar and Kanye West have been nominated in the album of the year category three times apiece, and each has come up empty. Generally speaking, hip-hop has fared poorly in the category over the years — Eminem is also 0-for-3 — so a win for Cardi B, Drake or \u003cem>Black Panther\u003c/em> would represent a notable shift. (A win for Monáe would qualify, as well.)\u003c/p>\n\u003cp>\u003cstrong>2) “Women need to step up.”\u003c/strong> A year ago, Grammys president Neil Portnow spoke those five profoundly stupid words, shoving both loafers straight into his gullet as he opined on what turned out to be a heavily male-dominated slate of Grammy winners. (To refresh your memory on that controversy, here’s some of Anastasia Tsioulcas’ indispensable reporting, from last \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">February\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">November\u003c/a>.)\u003c/p>\n\u003cp>The Recording Academy — the voting body that chooses each year’s Grammy winners — has attempted to broaden and diversify its membership since last year’s debacle, when best new artist winner Alessia Cara was the only woman to pick up her own Grammy during the night’s Bruno Mars-intensive telecast. Portnow announced last year that he will step down this summer, and the Grammys have a history of pivoting immediately after public-relations fiascoes. (See: Kendrick Lamar winning heavily in the hip-hop categories after getting swept by Macklemore in 2014, or Metallica dominating the heavy-metal category after losing to Jethro Tull in 1989.) How and whether those correctives translate to the actual awards this year is and will remain a major Grammy storyline this year.\u003c/p>\n\u003cp>\u003cstrong>3) Whither on-stage activism?\u003c/strong> In 2018, against a backdrop of sexual-misconduct allegations in the entertainment industry (and more wide-ranging objections to Donald Trump and his administration), the Grammys mostly stayed muted, politically speaking. With Alicia Keys replacing genial James Corden, the host’s commentary could certainly get bolder and more cutting this time around. (The name of former Keys collaborator R. Kelly might pop up, for example.) And several of the scheduled A-list performers — the increasingly outspoken Cardi B, for one, as well as Monáe, among others — are unlikely to keep their musical contributions entirely commentary-free.\u003c/p>\n\u003cp>\u003cstrong>4) Which moments will resonate?\u003c/strong> Last year’s Grammys were pretty limp overall, but they still served up a few tableaux that dominated “The Conversation” for a handful of minutes. Kesha’s powerful, choir-backed “Praying” stood out, as did Kendrick Lamar’s show-opening performance. (And remember how they kept trotting out Sting for some reason?)\u003c/p>\n\u003cp>This year, in addition to the aforementioned Cardi B and Monáe, announced performers include Camila Cabello, Brandi Carlile, Miley Cyrus, Dan + Shay, H.E.R., Little Big Town, Post Malone, Ricky Martin, Shawn Mendes, Maren Morris, Kacey Musgraves, Red Hot Chili Peppers, Diana Ross, Chloe x Halle, Lady Gaga, Mark Ronson, Travis Scott, Dua Lipa and St. Vincent, and Yolanda Adams, Fantasia and Andra Day. It’s hard to predict which performers will pop — some artists share the stage and wind up getting far less face time than others — but Cyrus and Gaga have a long history of using awards-show performances to get people talking.\u003c/p>\n\u003cp>\u003cstrong>5) Who, if anyone, will sweep?\u003c/strong> Last year’s telecast was a slog of repeat winners (hello again, Bruno Mars! back already, Chris Stapleton?), as well as prominent shutouts (Jay-Z famously went 0-for-8, SZA went 0-for-5, “Despacito” went 0-for-3, and so on). The Grammys often dole out their trophies in bunches — remember those photos of \u003ca href=\"https://www.gettyimages.com/detail/news-photo/norah-jones-holds-her-five-awards-backstage-at-the-45th-news-photo/97327714\">Norah Jones clutching a giant pile of statuettes\u003c/a> she’d just won? — so we might get a sense of a dominant night early on. Likeliest future pile-clutchers? Cardi B, Kacey Musgraves and Janelle Monáe are all beyond plausible, but don’t be surprised by a string of big wins for Brandi Carlile, a solid dark horse for a Recording Academy that loves sturdy veteran artists.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 2019 Grammy Awards will air Sunday, Feb. 10 at 8 p.m. ET on CBS.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whatever you think of the Grammy Awards, they do provide an intriguing snapshot of how the music industry wishes to see itself — particularly in terms of its chosen standard-bearers. In one three-and-a-half-hour flurry of awards and performances, you’ll get a cross-genre infomercial and, if you curate your Twitter feed right, an evening-long feast of social-media jokes and commentary.\u003c/p>\n\u003cp>By the end of the night, you may well find yourself shouting your own strongly worded opinions from the virtual mountaintop. But for now, we can only take a few educated stabs at the joys and outrages that await. Here are five storylines to watch as Music’s Biggest Night™ approaches.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1) So many nominees. \u003c/strong>The Grammys’ four biggest categories — album of the year, song of the year, record of the year and best new artist — have traditionally been a hash of oddly matched genres, with pop, rock, hip-hop, R&B, country and jazz artists vying for only five nomination slots. This year, the hash naturally remains, but the number of slots has increased from five to eight to accommodate more diversity among the nominees.\u003c/p>\n\u003cp>This year’s nominations bear that out; in album of the year, for example, Cardi B, Brandi Carlile, Drake, H.E.R., Post Malone, Janelle Monáe, Kacey Musgraves and the \u003cem>Black Panther\u003c/em> soundtrack are all in contention. Record of the year will go to a song by either Cardi B; Carlile; Childish Gambino; Drake; Lady Gaga and Bradley Cooper; Kendrick Lamar and SZA; or Zedd, Maren Morris and Grey. (Here’s \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">a fuller rundown\u003c/a> of this year’s nominees.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clutter of names makes gaming out winners trickier than ever. Vote-splitting among similar artists and genres could be a major factor. For example, rootsy singers Brandi Carlile and Kacey Musgraves might siphon off each other’s album of the year votes, leaving an open lane for… it’s hard to tell, really. Monáe’s \u003cem>Dirty Computer\u003c/em> was adored by critics, \u003cem>Black Panther\u003c/em> was a commercial juggernaut spearheaded by Kendrick Lamar (who’s due after a few high-profile snubs in the category), Cardi B dominated both the 2018 pop charts and the cultural conversation. And so on.\u003c/p>\n\u003cp>Traditionally, the Grammys have skewed toward safe and/or legacy artists in the major categories, as evidenced by a quarter-century’s worth of album of the year wins for the likes of Tony Bennett, Celine Dion, Steely Dan, U2, Herbie Hancock, Mumford & Sons, Adele (over Beyoncé’s \u003cem>Lemonade\u003c/em>!), Beck (over Beyoncé’s \u003cem>Beyoncé\u003c/em>!), Taylor Swift (over Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em>!), Bruno Mars (over Kendrick Lamar’s \u003cem>DAMN.\u003c/em>!) and so on. Before this year, Beyoncé, Kendrick Lamar and Kanye West have been nominated in the album of the year category three times apiece, and each has come up empty. Generally speaking, hip-hop has fared poorly in the category over the years — Eminem is also 0-for-3 — so a win for Cardi B, Drake or \u003cem>Black Panther\u003c/em> would represent a notable shift. (A win for Monáe would qualify, as well.)\u003c/p>\n\u003cp>\u003cstrong>2) “Women need to step up.”\u003c/strong> A year ago, Grammys president Neil Portnow spoke those five profoundly stupid words, shoving both loafers straight into his gullet as he opined on what turned out to be a heavily male-dominated slate of Grammy winners. (To refresh your memory on that controversy, here’s some of Anastasia Tsioulcas’ indispensable reporting, from last \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">February\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">November\u003c/a>.)\u003c/p>\n\u003cp>The Recording Academy — the voting body that chooses each year’s Grammy winners — has attempted to broaden and diversify its membership since last year’s debacle, when best new artist winner Alessia Cara was the only woman to pick up her own Grammy during the night’s Bruno Mars-intensive telecast. Portnow announced last year that he will step down this summer, and the Grammys have a history of pivoting immediately after public-relations fiascoes. (See: Kendrick Lamar winning heavily in the hip-hop categories after getting swept by Macklemore in 2014, or Metallica dominating the heavy-metal category after losing to Jethro Tull in 1989.) How and whether those correctives translate to the actual awards this year is and will remain a major Grammy storyline this year.\u003c/p>\n\u003cp>\u003cstrong>3) Whither on-stage activism?\u003c/strong> In 2018, against a backdrop of sexual-misconduct allegations in the entertainment industry (and more wide-ranging objections to Donald Trump and his administration), the Grammys mostly stayed muted, politically speaking. With Alicia Keys replacing genial James Corden, the host’s commentary could certainly get bolder and more cutting this time around. (The name of former Keys collaborator R. Kelly might pop up, for example.) And several of the scheduled A-list performers — the increasingly outspoken Cardi B, for one, as well as Monáe, among others — are unlikely to keep their musical contributions entirely commentary-free.\u003c/p>\n\u003cp>\u003cstrong>4) Which moments will resonate?\u003c/strong> Last year’s Grammys were pretty limp overall, but they still served up a few tableaux that dominated “The Conversation” for a handful of minutes. Kesha’s powerful, choir-backed “Praying” stood out, as did Kendrick Lamar’s show-opening performance. (And remember how they kept trotting out Sting for some reason?)\u003c/p>\n\u003cp>This year, in addition to the aforementioned Cardi B and Monáe, announced performers include Camila Cabello, Brandi Carlile, Miley Cyrus, Dan + Shay, H.E.R., Little Big Town, Post Malone, Ricky Martin, Shawn Mendes, Maren Morris, Kacey Musgraves, Red Hot Chili Peppers, Diana Ross, Chloe x Halle, Lady Gaga, Mark Ronson, Travis Scott, Dua Lipa and St. Vincent, and Yolanda Adams, Fantasia and Andra Day. It’s hard to predict which performers will pop — some artists share the stage and wind up getting far less face time than others — but Cyrus and Gaga have a long history of using awards-show performances to get people talking.\u003c/p>\n\u003cp>\u003cstrong>5) Who, if anyone, will sweep?\u003c/strong> Last year’s telecast was a slog of repeat winners (hello again, Bruno Mars! back already, Chris Stapleton?), as well as prominent shutouts (Jay-Z famously went 0-for-8, SZA went 0-for-5, “Despacito” went 0-for-3, and so on). The Grammys often dole out their trophies in bunches — remember those photos of \u003ca href=\"https://www.gettyimages.com/detail/news-photo/norah-jones-holds-her-five-awards-backstage-at-the-45th-news-photo/97327714\">Norah Jones clutching a giant pile of statuettes\u003c/a> she’d just won? — so we might get a sense of a dominant night early on. Likeliest future pile-clutchers? Cardi B, Kacey Musgraves and Janelle Monáe are all beyond plausible, but don’t be surprised by a string of big wins for Brandi Carlile, a solid dark horse for a Recording Academy that loves sturdy veteran artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2019 Grammy Awards will air Sunday, Feb. 10 at 8 p.m. ET on CBS.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Look, I don’t know how it happened, but somewhere along the way, the people decided that Jeff Goldblum was worthy of \u003ca href=\"https://www.youtube.com/watch?v=wJelEXaPhJ8&t=29s\" target=\"_blank\" rel=\"noopener noreferrer\">viral remixes\u003c/a>, enormous \u003ca href=\"https://www.instagram.com/p/BlYvP0sH9Oq/\" target=\"_blank\" rel=\"noopener noreferrer\">shirtless statues\u003c/a> and \u003ca href=\"https://www.inprnt.com/gallery/jlarriva/ian-malcolm-from-chaos/\" target=\"_blank\" rel=\"noopener noreferrer\">sensual oil paintings\u003c/a>. He of the oddly clipped delivery, the casual aside, the perfect pecs—he is no longer an actor, the world has now voted. He is \u003cem>irony’s figurehead\u003c/em>.\u003c/p>\n\u003cp>If I’ve witnessed anything on the internet in the past 20 years, it’s how easily we can elevate someone only to knock them down. Sometimes it’s simple overexposure, sometimes it’s “problematic” revelations, but sometimes it’s just that the joke has run its course and the subject material is out of gas. That’s where we sit with Jeff Goldblum now.\u003c/p>\n\u003cp>Look, I’d ordinarily say that I could revel in Jeff Goldblum infinitely. He sings jazz cabaret! He \u003ca href=\"https://www.kqed.org/arts/11220123/the-gold-standard-jeff-goldblum-talks-fatherhood-jazz-and-aliens-of-course\" target=\"_blank\" rel=\"noopener noreferrer\">genuinely seems like a good guy\u003c/a>! He has an approach to method acting that appears to be based on, I dunno, his past life as a cereal box!\u003c/p>\n\u003cp>But folks, we are approaching a saturation point. We are in danger of turning Jeff Goldblum into that most fragile of cultural creatures: the human meme.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which is why it’s important to kick back, unfollow your Jeff Goldblum fan accounts, and return to what’s important by watching some of the guy’s damn movies. This Sunday, Feb. 3, the Alamo Drafthouse allows you to do just that with \u003cem>\u003ca href=\"https://drafthouse.com/sf/show/the-goldblum-standard-a-jeff-goldblum-mystery-marathon\" target=\"_blank\" rel=\"noopener noreferrer\">The Goldblum Standard\u003c/a>\u003c/em>, a collection of four of the master’s films.\u003c/p>\n\u003cp>In a twist, you won’t know which ones until you get there, but you know what? Unlike the merciless churning cycle of internet celebrity, the man’s movies have never let me down.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>‘The Goldblum Standard: A Jeff Goldblum Mystery Marathon’ runs Sunday, Feb. 3, at the Alamo Drafthouse in San Francisco. \u003ca href=\"https://drafthouse.com/sf/show/the-goldblum-standard-a-jeff-goldblum-mystery-marathon\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Look, I don’t know how it happened, but somewhere along the way, the people decided that Jeff Goldblum was worthy of \u003ca href=\"https://www.youtube.com/watch?v=wJelEXaPhJ8&t=29s\" target=\"_blank\" rel=\"noopener noreferrer\">viral remixes\u003c/a>, enormous \u003ca href=\"https://www.instagram.com/p/BlYvP0sH9Oq/\" target=\"_blank\" rel=\"noopener noreferrer\">shirtless statues\u003c/a> and \u003ca href=\"https://www.inprnt.com/gallery/jlarriva/ian-malcolm-from-chaos/\" target=\"_blank\" rel=\"noopener noreferrer\">sensual oil paintings\u003c/a>. He of the oddly clipped delivery, the casual aside, the perfect pecs—he is no longer an actor, the world has now voted. He is \u003cem>irony’s figurehead\u003c/em>.\u003c/p>\n\u003cp>If I’ve witnessed anything on the internet in the past 20 years, it’s how easily we can elevate someone only to knock them down. Sometimes it’s simple overexposure, sometimes it’s “problematic” revelations, but sometimes it’s just that the joke has run its course and the subject material is out of gas. That’s where we sit with Jeff Goldblum now.\u003c/p>\n\u003cp>Look, I’d ordinarily say that I could revel in Jeff Goldblum infinitely. He sings jazz cabaret! He \u003ca href=\"https://www.kqed.org/arts/11220123/the-gold-standard-jeff-goldblum-talks-fatherhood-jazz-and-aliens-of-course\" target=\"_blank\" rel=\"noopener noreferrer\">genuinely seems like a good guy\u003c/a>! He has an approach to method acting that appears to be based on, I dunno, his past life as a cereal box!\u003c/p>\n\u003cp>But folks, we are approaching a saturation point. We are in danger of turning Jeff Goldblum into that most fragile of cultural creatures: the human meme.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which is why it’s important to kick back, unfollow your Jeff Goldblum fan accounts, and return to what’s important by watching some of the guy’s damn movies. This Sunday, Feb. 3, the Alamo Drafthouse allows you to do just that with \u003cem>\u003ca href=\"https://drafthouse.com/sf/show/the-goldblum-standard-a-jeff-goldblum-mystery-marathon\" target=\"_blank\" rel=\"noopener noreferrer\">The Goldblum Standard\u003c/a>\u003c/em>, a collection of four of the master’s films.\u003c/p>\n\u003cp>In a twist, you won’t know which ones until you get there, but you know what? Unlike the merciless churning cycle of internet celebrity, the man’s movies have never let me down.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>‘The Goldblum Standard: A Jeff Goldblum Mystery Marathon’ runs Sunday, Feb. 3, at the Alamo Drafthouse in San Francisco. \u003ca href=\"https://drafthouse.com/sf/show/the-goldblum-standard-a-jeff-goldblum-mystery-marathon\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "oh-yes-son-theyre-talking-to-you-20-years-of-no-scrubs",
"title": "Oh Yes Son, They're Talking To You: 20 Years Of 'No Scrubs'",
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"headTitle": "Oh Yes Son, They’re Talking To You: 20 Years Of ‘No Scrubs’ | KQED",
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"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>In 1998, songwriter Kandi Burruss — on hiatus from her R&B group, Xscape — took a drive around Atlanta with a girlfriend, looking for inspiration. In the car, Burruss was playing tracks she’d gotten from a fellow songwriter, Kevin “She’kspere” Briggs, a few days earlier.\u003c/p>\n\u003cp>“No lyrics, no melody, just the music,” Burruss says. “I always like to listen to tracks in my car because I come up with my best ideas when I’m driving.”\u003c/p>\n\u003cp>As Burruss tells it, she and her friend were also trash-talking the guys they were dating at the time. “So I started freestylin’ over the track,” she says. “And I was just like, ‘\u003cem>A scrub is a guy who thinks he’s fly, and is also known as a busta / Always talking about what he wants, and just sits on his fat ass\u003c/em>.’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”JZv1mmAiy8qO5eD59P5YMiOuSBAKIk8z”]\u003c/p>\n\u003cp>She knew she had something there. For a title, she remembered something she’d scribbled in her songwriting notebook. The phrase “No Scrubs” came from a term popular in Atlanta at the time, slang for a guy with no purpose, no prospects, no couth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burruss took her idea to fellow Xscape member Tameka “Tiny” Cottle, who loved the freestyle. Together, they quickly fleshed out the entire song and recorded a demo, thinking they’d keep it for their own upcoming joint project. But once the demo was passed to a few other industry figures, the two were persuaded to sell the song to a bigger group — who would end up running with it.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"TLC - No Scrubs (Official HD Video)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/FrLequ6dUdM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15807876/tlc\">TLC\u003c/a>, also from Atlanta, already had its own formula for success. Early hits like “\u003ca href=\"https://www.youtube.com/watch?v=LlZydtG3xqI\">Creep\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=8WEtxJ4-sh4\">Waterfalls\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=XmH4_pr6mH0\">Ain’t 2 Proud 2 Beg\u003c/a>” cultivated an image of being socially aware, and Rozonda “Chilli” Thomas, Tionne “T-Boz” Watkins and Lisa “Left Eye” Lopes were known as bold, confident, independent young women. So when “No Scrubs” landed in their court, a few words were changed to suit that image and make the song their own. (Among them, “fat ass” became “broke ass,” making clear the group’s problem was with men who lacked not just coin, but ambition.)\u003c/p>\n\u003cp>“No Scrubs” was released in early 1999 as the lead single of TLC’s third studio album, \u003cem>FanMail\u003c/em>. The track locked up the No. 1 position on Billboard’s Hot 100 for four weeks and stayed on the chart for months. Chilli Thomas says she knew it would be a hit the first time she heard it, because even though the term was regional, the idea was universal. “A scrub is just a bum guy, you know?” she says. “You don’t want to bring him home.”\u003c/p>\n\u003cp>[contextly_sidebar id=”xuLhWTJpOFn0gzJRyeRcgiHk38kJye3Y”]\u003c/p>\n\u003cp>At the time TLC hadn’t dropped an album in over four years, but two things helped “No Scrubs” take off commercially. For one, it was bolstered by a dope, futuristic \u003ca href=\"https://www.youtube.com/watch?v=FrLequ6dUdM\">video\u003c/a> helmed by director Hype Williams. The visual found the trio in a cruising spaceship and each lady, decked out in a swishy space suit, got the chance to show her individual personality. Chilli remembers the challenges of that now-iconic shoot, in which she performed her verses on a giant swinging platform.\u003c/p>\n\u003cp>“I was looking at it and it’s ginormous — I’m like, ‘Who’s supposed to get on the swing?’ ” Chilli says. “I was so intimidated, but eventually, I did it. I mean, I got on there and I got comfortable, and then I got \u003cem>real\u003c/em> comfortable.” The video would earn TLC a MTV Video Music Award for best group video, \u003ca href=\"https://www.youtube.com/watch?v=4TYosRJA0FU\">beating out\u003c/a> the all-male competition in a category that included both ‘NSync and the Backstreet Boys at their height.\u003c/p>\n\u003cp>Second, LaFace Records was smart about marketing the single. “No Scrubs” was released in two versions, one with Left Eye’s rap verse and one without. This strategy ensured the song would get airplay on a variety of radio stations, regardless of format.\u003c/p>\n\u003cp>[contextly_sidebar id=”lE9sp0yLHtaDLT7BQNVfMGlWTArlXtSH”]\u003c/p>\n\u003cp>While some of the most popular late ’90s hip-hop and R&B tracks were saturated with misogyny and damsel-in-distress plotlines, Burruss says, “No Scrubs” helped flip the script. “This song almost made it to where guys felt they couldn’t ride to an event together anymore,” she remembers.\u003c/p>\n\u003cp>And men weren’t just stopping short of carpooling to the club. “No Scrubs” was a wake-up call for guys like Sean Armstrong, aka DJ Face of the radio station \u003ca href=\"https://mymajicdc.com/\">Majic 102.3\u003c/a>. He remembers hearing the song for the first time at a Baltimore record store and spinning it at D.C.-area clubs when it first came out.\u003c/p>\n\u003cp>“Guys started checking themselves, like, ‘Am I a scrub?,’ ” Face remembers. “You had to really think: ‘I don’t really lean out the window, you know, hollerin’ at women. I have my own car. I got a job. I’m not a scrub.’ Like, you had to take yourself off the list.”\u003c/p>\n\u003cp>Chilli says it’s not guys like DJ Face who have to worry. “I always say, the guys getting upset are the scrubs. If you’re not a scrub, then … a hit dog will holler, right?” she laughs. “So, if that’s not who you are, then you shouldn’t be getting upset.”\u003c/p>\n\u003cp>The feathers of Yonkers, N.Y. rap group Sporty Thievz were so ruffled, the trio released its own response track, “No Pigeons,” in May 1999, a month after “No Scrubs” hit No. 1. But even if some perceived “No Pigeons” as a diss to the song’s originators, it used the same melody as “No Scrubs” — so Burruss, Briggs and Cottle still got paid.\u003c/p>\n\u003cp>“That was a check,” Burruss says. “I thought it was clever. I love the fact that they flipped the song and gave the male point of view. And plus, we ended up getting all the royalties from it.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sporty Thievz - No Pigeons (Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/pP33_uFlzTM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the two decades since the song was released, it’s never really gone away. In 2017, Ed Sheeran added the songwriters of “No Scrubs” to the credits of his own No. 1 hit, “Shape of You,” after some \u003ca href=\"https://www.billboard.com/articles/columns/pop/7735550/ed-sheeran-tlc-no-scrubs-writers-shape-of-you-credits\">drew comparisons\u003c/a> between the two songs’ \u003ca href=\"https://www.youtube.com/watch?v=8OrT52ZToUk\">melodies\u003c/a>. And it’s inspired covers across all genres. British R&B singer Jorja Smith keeps her version \u003ca href=\"https://www.youtube.com/watch?v=XoD8smiAXPI\">stripped down\u003c/a>, while country star Kacey Musgraves adds \u003ca href=\"https://www.youtube.com/watch?v=kdlAZHdAfZc\">a bit of twang\u003c/a>. In January, the four men of Weezer released a \u003ca href=\"https://www.youtube.com/watch?v=55UtG-1os_s\">rock cover\u003c/a>, with all gender pronouns left intact.\u003c/p>\n\u003cp>But at the end of the day, the original is still popular. On Spotify, “No Scrubs” has over 300 million streams to date. NPR intern Sophie Fouladi was born in the early 2000s and says the song was a hit at her junior prom in Northern Virginia just last spring.\u003c/p>\n\u003cp>“I thought it was really interesting that a throwback song was something that got everyone really excited,” Fouladi says. “There was just screams of recognition from a bunch of girls, and they were pulling each other to the dance floor. These are people who were born after the song was released.”\u003c/p>\n\u003cp>[contextly_sidebar id=”05CiLETtYYTrisZV6xEJxG5nBa6jYZQj”]\u003c/p>\n\u003cp>Will Eastman hosts a recurring \u003ca href=\"https://www.930.com/event/1717617-no-scrubs-90s-dance-party-washington/\">90’s dance party\u003c/a> called “No Scrubs” at Washington, D.C.’s 9:30 Club, and says he knows exactly the response he’ll get when he drops the song. “There’s an electricity that exists in the room,” he says. “You can feel it wash over the crowd, and for that three or four minutes, we’re all in it together.”\u003c/p>\n\u003cp>After playing the song for years, Eastman says he finally gets its message: “It’s a pop song, it’s an R&B song, but there’s also a subversive element to ‘No Scrubs’ which is taken from a position of, ‘Look, you are not in charge here. I’m in charge. I have agency here.’ That resonates with people.’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”JWY1bRLv8Jd3JIZYbWKW5i0sQKHllZ7Z”]\u003c/p>\n\u003cp>Chilli says she recognized the power of “No Scrubs” back when TLC first recorded it, and she’s proud of its legacy. “I feel really happy because I know that — even though you can jam to it, you dance to it — lyrically, I know that the girls are listening, you know? And the guys are, too,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Kandi Burruss agrees. “As women, we go through things every day, \u003cem>all day\u003c/em>,” she says. “No matter where we go, somebody is gonna try to push up or try to holler at you, and they’re not always a gentleman about it. So I feel like this song put it out there … and it just made women be a little bit more outspoken.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oh+Yes+Son%2C+They%27re+Talking+To+You%3A+20+Years+Of+%27No+Scrubs%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "TLC's 1999 smash was a song women loved about the men they wouldn't put up with. Two decades later, fans still take its message to heart when scrubs run amok.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>In 1998, songwriter Kandi Burruss — on hiatus from her R&B group, Xscape — took a drive around Atlanta with a girlfriend, looking for inspiration. In the car, Burruss was playing tracks she’d gotten from a fellow songwriter, Kevin “She’kspere” Briggs, a few days earlier.\u003c/p>\n\u003cp>“No lyrics, no melody, just the music,” Burruss says. “I always like to listen to tracks in my car because I come up with my best ideas when I’m driving.”\u003c/p>\n\u003cp>As Burruss tells it, she and her friend were also trash-talking the guys they were dating at the time. “So I started freestylin’ over the track,” she says. “And I was just like, ‘\u003cem>A scrub is a guy who thinks he’s fly, and is also known as a busta / Always talking about what he wants, and just sits on his fat ass\u003c/em>.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She knew she had something there. For a title, she remembered something she’d scribbled in her songwriting notebook. The phrase “No Scrubs” came from a term popular in Atlanta at the time, slang for a guy with no purpose, no prospects, no couth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burruss took her idea to fellow Xscape member Tameka “Tiny” Cottle, who loved the freestyle. Together, they quickly fleshed out the entire song and recorded a demo, thinking they’d keep it for their own upcoming joint project. But once the demo was passed to a few other industry figures, the two were persuaded to sell the song to a bigger group — who would end up running with it.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"TLC - No Scrubs (Official HD Video)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/FrLequ6dUdM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15807876/tlc\">TLC\u003c/a>, also from Atlanta, already had its own formula for success. Early hits like “\u003ca href=\"https://www.youtube.com/watch?v=LlZydtG3xqI\">Creep\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=8WEtxJ4-sh4\">Waterfalls\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=XmH4_pr6mH0\">Ain’t 2 Proud 2 Beg\u003c/a>” cultivated an image of being socially aware, and Rozonda “Chilli” Thomas, Tionne “T-Boz” Watkins and Lisa “Left Eye” Lopes were known as bold, confident, independent young women. So when “No Scrubs” landed in their court, a few words were changed to suit that image and make the song their own. (Among them, “fat ass” became “broke ass,” making clear the group’s problem was with men who lacked not just coin, but ambition.)\u003c/p>\n\u003cp>“No Scrubs” was released in early 1999 as the lead single of TLC’s third studio album, \u003cem>FanMail\u003c/em>. The track locked up the No. 1 position on Billboard’s Hot 100 for four weeks and stayed on the chart for months. Chilli Thomas says she knew it would be a hit the first time she heard it, because even though the term was regional, the idea was universal. “A scrub is just a bum guy, you know?” she says. “You don’t want to bring him home.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the time TLC hadn’t dropped an album in over four years, but two things helped “No Scrubs” take off commercially. For one, it was bolstered by a dope, futuristic \u003ca href=\"https://www.youtube.com/watch?v=FrLequ6dUdM\">video\u003c/a> helmed by director Hype Williams. The visual found the trio in a cruising spaceship and each lady, decked out in a swishy space suit, got the chance to show her individual personality. Chilli remembers the challenges of that now-iconic shoot, in which she performed her verses on a giant swinging platform.\u003c/p>\n\u003cp>“I was looking at it and it’s ginormous — I’m like, ‘Who’s supposed to get on the swing?’ ” Chilli says. “I was so intimidated, but eventually, I did it. I mean, I got on there and I got comfortable, and then I got \u003cem>real\u003c/em> comfortable.” The video would earn TLC a MTV Video Music Award for best group video, \u003ca href=\"https://www.youtube.com/watch?v=4TYosRJA0FU\">beating out\u003c/a> the all-male competition in a category that included both ‘NSync and the Backstreet Boys at their height.\u003c/p>\n\u003cp>Second, LaFace Records was smart about marketing the single. “No Scrubs” was released in two versions, one with Left Eye’s rap verse and one without. This strategy ensured the song would get airplay on a variety of radio stations, regardless of format.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While some of the most popular late ’90s hip-hop and R&B tracks were saturated with misogyny and damsel-in-distress plotlines, Burruss says, “No Scrubs” helped flip the script. “This song almost made it to where guys felt they couldn’t ride to an event together anymore,” she remembers.\u003c/p>\n\u003cp>And men weren’t just stopping short of carpooling to the club. “No Scrubs” was a wake-up call for guys like Sean Armstrong, aka DJ Face of the radio station \u003ca href=\"https://mymajicdc.com/\">Majic 102.3\u003c/a>. He remembers hearing the song for the first time at a Baltimore record store and spinning it at D.C.-area clubs when it first came out.\u003c/p>\n\u003cp>“Guys started checking themselves, like, ‘Am I a scrub?,’ ” Face remembers. “You had to really think: ‘I don’t really lean out the window, you know, hollerin’ at women. I have my own car. I got a job. I’m not a scrub.’ Like, you had to take yourself off the list.”\u003c/p>\n\u003cp>Chilli says it’s not guys like DJ Face who have to worry. “I always say, the guys getting upset are the scrubs. If you’re not a scrub, then … a hit dog will holler, right?” she laughs. “So, if that’s not who you are, then you shouldn’t be getting upset.”\u003c/p>\n\u003cp>The feathers of Yonkers, N.Y. rap group Sporty Thievz were so ruffled, the trio released its own response track, “No Pigeons,” in May 1999, a month after “No Scrubs” hit No. 1. But even if some perceived “No Pigeons” as a diss to the song’s originators, it used the same melody as “No Scrubs” — so Burruss, Briggs and Cottle still got paid.\u003c/p>\n\u003cp>“That was a check,” Burruss says. “I thought it was clever. I love the fact that they flipped the song and gave the male point of view. And plus, we ended up getting all the royalties from it.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sporty Thievz - No Pigeons (Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/pP33_uFlzTM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the two decades since the song was released, it’s never really gone away. In 2017, Ed Sheeran added the songwriters of “No Scrubs” to the credits of his own No. 1 hit, “Shape of You,” after some \u003ca href=\"https://www.billboard.com/articles/columns/pop/7735550/ed-sheeran-tlc-no-scrubs-writers-shape-of-you-credits\">drew comparisons\u003c/a> between the two songs’ \u003ca href=\"https://www.youtube.com/watch?v=8OrT52ZToUk\">melodies\u003c/a>. And it’s inspired covers across all genres. British R&B singer Jorja Smith keeps her version \u003ca href=\"https://www.youtube.com/watch?v=XoD8smiAXPI\">stripped down\u003c/a>, while country star Kacey Musgraves adds \u003ca href=\"https://www.youtube.com/watch?v=kdlAZHdAfZc\">a bit of twang\u003c/a>. In January, the four men of Weezer released a \u003ca href=\"https://www.youtube.com/watch?v=55UtG-1os_s\">rock cover\u003c/a>, with all gender pronouns left intact.\u003c/p>\n\u003cp>But at the end of the day, the original is still popular. On Spotify, “No Scrubs” has over 300 million streams to date. NPR intern Sophie Fouladi was born in the early 2000s and says the song was a hit at her junior prom in Northern Virginia just last spring.\u003c/p>\n\u003cp>“I thought it was really interesting that a throwback song was something that got everyone really excited,” Fouladi says. “There was just screams of recognition from a bunch of girls, and they were pulling each other to the dance floor. These are people who were born after the song was released.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Will Eastman hosts a recurring \u003ca href=\"https://www.930.com/event/1717617-no-scrubs-90s-dance-party-washington/\">90’s dance party\u003c/a> called “No Scrubs” at Washington, D.C.’s 9:30 Club, and says he knows exactly the response he’ll get when he drops the song. “There’s an electricity that exists in the room,” he says. “You can feel it wash over the crowd, and for that three or four minutes, we’re all in it together.”\u003c/p>\n\u003cp>After playing the song for years, Eastman says he finally gets its message: “It’s a pop song, it’s an R&B song, but there’s also a subversive element to ‘No Scrubs’ which is taken from a position of, ‘Look, you are not in charge here. I’m in charge. I have agency here.’ That resonates with people.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Chilli says she recognized the power of “No Scrubs” back when TLC first recorded it, and she’s proud of its legacy. “I feel really happy because I know that — even though you can jam to it, you dance to it — lyrically, I know that the girls are listening, you know? And the guys are, too,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kandi Burruss agrees. “As women, we go through things every day, \u003cem>all day\u003c/em>,” she says. “No matter where we go, somebody is gonna try to push up or try to holler at you, and they’re not always a gentleman about it. So I feel like this song put it out there … and it just made women be a little bit more outspoken.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oh+Yes+Son%2C+They%27re+Talking+To+You%3A+20+Years+Of+%27No+Scrubs%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Instant Photos Capture Tiny Desk Artists Offstage, 'Flaws, Dust Specks and All'",
"headTitle": "Instant Photos Capture Tiny Desk Artists Offstage, ‘Flaws, Dust Specks and All’ | KQED",
"content": "\u003cp>\u003cem>When musicians visit NPR to perform in our Tiny Desk concert series, we occasionally use the opportunity to have a little fun. Eslah Attar created this series of instant film portraits during her time working at NPR in 2018.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Creating a moment of connection is often the most difficult part of making a photograph: It has to happen in the instant the shutter clicks. Photographing performers can be even harder, since they naturally create personas as part of their work. So in photographing some of the musicians who have come to NPR to play \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk concerts\u003c/a>, I wanted to find a way to capture them in a more natural state.\u003c/p>\n\u003cfigure id=\"attachment_13849828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/myoussef1_polaroidportrait043_custom-e6622b2964a4f592292ba2b7fddae286ce1f691d-800x506.jpg\" alt=\"Maimouna Youssef aka Mumu Fresh.\" width=\"800\" height=\"506\">\u003cfigcaption class=\"wp-caption-text\">Maimouna Youssef aka Mumu Fresh. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I find that using an instant film camera often disarms the people I photograph. It’s familiar, nostalgic, almost a toy, so it doesn’t intimidate in the same way a professional camera does — which helps break down some of the barriers that usually exist between photographers and their subjects. It is also limiting: For these portraits I took only one or two shots of each artist, leaving little time to warm up to the situation or try out different poses. The moment happens quickly, and the imperfections are part of the result.\u003c/p>\n\u003cfigure id=\"attachment_13849824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-2_custom-59bcddf6758649fe93b5fa58a36667a6c91b441b-800x1246.jpg\" alt=\"Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018's Tiny Desk Contest).\" width=\"800\" height=\"1246\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018’s Tiny Desk Contest). \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing these artists perform at the Tiny Desk before I photographed them helped me get a more intimate idea of who they were. The setting is so simple — no bright lights or huge crowds, just the artist and a few onlookers — and through it I was able to see more of their personalities: sometimes awkward, sometimes confident, sometimes quiet, sometimes very normal.\u003c/p>\n\u003cfigure id=\"attachment_13849825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/rhye_polaroidportrait065_custom-8d8f000c58c068ec8f52389b2d3c909584383688-800x1254.jpg\" alt=\"Mike Milosh of Rhye.\" width=\"800\" height=\"1254\">\u003cfigcaption class=\"wp-caption-text\">Mike Milosh of Rhye. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the desk, \u003ca href=\"https://www.npr.org/2018/06/11/618198232/jorja-smith-tiny-desk-concert\">Jorja Smith\u003c/a> was reserved and thoughtful. In front of the camera she needed no direction, immediately tilting her head back and staring directly into the lens, confident and sophisticated. \u003ca href=\"https://www.npr.org/2018/06/18/619945249/khalid-tiny-desk-concert\">Khalid\u003c/a> gave a gentle and soft-spoken performance at the desk, hands resting in his lap, sometimes chatting quietly with his guitarist. In his portrait he stands with his eyes closed, leaves from a nearby plant spilling gently over his shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13849829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg\" alt=\"Mac Miller.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1200x768.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Miller. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/08/06/635054748/mac-miller-tiny-desk-concert\">Mac Miller\u003c/a>, who visited the Tiny Desk just two months before his death on Sept. 7, 2018, had a playfulness to him that spread throughout the audience the minute his set began, and he filled the silence between songs with warm, self-deprecating chatter. He doesn’t engage the camera here: Instead, he looks down with his hands on his head, showing his arms full of dark tattoos and a hat reading “Don’t Trip.”\u003c/p>\n\u003cfigure id=\"attachment_13849826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-3_custom-ef19e060fb4941a9cce5af9b25810f685a28a585-800x637.jpg\" alt=\"Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans, we are often so familiar with an artist’s public self that we sometimes forget there’s a real person underneath. I hope these images — flaws, dust specks and all — help the viewer see those real people a little more clearly.\u003c/p>\n\u003cfigure id=\"attachment_13849830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849830 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg\" alt=\"Left to right: Big K.R.I.T., DAWN, PJ Morton.\" width=\"800\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1200x628.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1920x1005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Big K.R.I.T., DAWN, PJ Morton. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Instant+Photos+Capture+Tiny+Desk+Artists+Offstage%2C+%27Flaws%2C+Dust+Specks+and+All%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "See intimate moments with Thundercat, Jorja Smith, the late Mac Miller and other musicians from NPR's Tiny Desk concert series, captured just moments after they performed.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>When musicians visit NPR to perform in our Tiny Desk concert series, we occasionally use the opportunity to have a little fun. Eslah Attar created this series of instant film portraits during her time working at NPR in 2018.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Creating a moment of connection is often the most difficult part of making a photograph: It has to happen in the instant the shutter clicks. Photographing performers can be even harder, since they naturally create personas as part of their work. So in photographing some of the musicians who have come to NPR to play \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk concerts\u003c/a>, I wanted to find a way to capture them in a more natural state.\u003c/p>\n\u003cfigure id=\"attachment_13849828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/myoussef1_polaroidportrait043_custom-e6622b2964a4f592292ba2b7fddae286ce1f691d-800x506.jpg\" alt=\"Maimouna Youssef aka Mumu Fresh.\" width=\"800\" height=\"506\">\u003cfigcaption class=\"wp-caption-text\">Maimouna Youssef aka Mumu Fresh. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I find that using an instant film camera often disarms the people I photograph. It’s familiar, nostalgic, almost a toy, so it doesn’t intimidate in the same way a professional camera does — which helps break down some of the barriers that usually exist between photographers and their subjects. It is also limiting: For these portraits I took only one or two shots of each artist, leaving little time to warm up to the situation or try out different poses. The moment happens quickly, and the imperfections are part of the result.\u003c/p>\n\u003cfigure id=\"attachment_13849824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-2_custom-59bcddf6758649fe93b5fa58a36667a6c91b441b-800x1246.jpg\" alt=\"Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018's Tiny Desk Contest).\" width=\"800\" height=\"1246\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018’s Tiny Desk Contest). \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing these artists perform at the Tiny Desk before I photographed them helped me get a more intimate idea of who they were. The setting is so simple — no bright lights or huge crowds, just the artist and a few onlookers — and through it I was able to see more of their personalities: sometimes awkward, sometimes confident, sometimes quiet, sometimes very normal.\u003c/p>\n\u003cfigure id=\"attachment_13849825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/rhye_polaroidportrait065_custom-8d8f000c58c068ec8f52389b2d3c909584383688-800x1254.jpg\" alt=\"Mike Milosh of Rhye.\" width=\"800\" height=\"1254\">\u003cfigcaption class=\"wp-caption-text\">Mike Milosh of Rhye. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the desk, \u003ca href=\"https://www.npr.org/2018/06/11/618198232/jorja-smith-tiny-desk-concert\">Jorja Smith\u003c/a> was reserved and thoughtful. In front of the camera she needed no direction, immediately tilting her head back and staring directly into the lens, confident and sophisticated. \u003ca href=\"https://www.npr.org/2018/06/18/619945249/khalid-tiny-desk-concert\">Khalid\u003c/a> gave a gentle and soft-spoken performance at the desk, hands resting in his lap, sometimes chatting quietly with his guitarist. In his portrait he stands with his eyes closed, leaves from a nearby plant spilling gently over his shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13849829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg\" alt=\"Mac Miller.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1200x768.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Miller. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/08/06/635054748/mac-miller-tiny-desk-concert\">Mac Miller\u003c/a>, who visited the Tiny Desk just two months before his death on Sept. 7, 2018, had a playfulness to him that spread throughout the audience the minute his set began, and he filled the silence between songs with warm, self-deprecating chatter. He doesn’t engage the camera here: Instead, he looks down with his hands on his head, showing his arms full of dark tattoos and a hat reading “Don’t Trip.”\u003c/p>\n\u003cfigure id=\"attachment_13849826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-3_custom-ef19e060fb4941a9cce5af9b25810f685a28a585-800x637.jpg\" alt=\"Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans, we are often so familiar with an artist’s public self that we sometimes forget there’s a real person underneath. I hope these images — flaws, dust specks and all — help the viewer see those real people a little more clearly.\u003c/p>\n\u003cfigure id=\"attachment_13849830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849830 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg\" alt=\"Left to right: Big K.R.I.T., DAWN, PJ Morton.\" width=\"800\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1200x628.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1920x1005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Big K.R.I.T., DAWN, PJ Morton. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Instant+Photos+Capture+Tiny+Desk+Artists+Offstage%2C+%27Flaws%2C+Dust+Specks+and+All%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>\u003cem>Update Jan. 30: \u003c/em>\u003c/strong>\u003cem>The National Association for the Advancement of Colored People (NAACP) \u003ca href=\"https://naacp.org/latest/naacp-statement-racist-homophobic-attack-jussie-smollett/\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> calling the attack on Smollett an act of “hate-based terrorism.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update Jan. 29: \u003c/strong>TMZ \u003ca href=\"https://www.tmz.com/2019/01/29/empire-star-jussie-smollett-attacked-hospitalized-homophobic-hate-crime/\" target=\"_blank\" rel=\"noopener\">confirmed\u003c/a> Smollett received treatment at Northwestern Memorial Hospital and has since been discharged. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update Feb. 20: \u003c/strong>Jussie Smollett \u003ca href=\"https://www.npr.org/2019/02/20/695974164/chicago-police-jussie-smollett-under-suspicion-of-filing-false-police-report\" rel=\"noopener\" target=\"_blank\">has been arrested\u003c/a> on charges of filing a false police report. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Empire\u003c/em> cast member Jussie Smollett suffered injuries in Chicago around 2am Tuesday morning in a possible hate crime. The 35-year-old Santa Rosa-born actor and singer is best known for his role as Jamal Lyon in the hit Fox drama, and critics have hailed his performance as “\u003ca href=\"https://www.buzzfeed.com/kelleylcarter/being-gay-and-black-on-tv-will-never-be-the-same\" target=\"_blank\" rel=\"noopener\">groundbreaking\u003c/a>” for his positive and nuanced depiction of a black gay man on television.\u003c/p>\n\u003cp>The Chicago Police Department is calling the incident a possible “racially-charged assault and battery.” A statement released early Tuesday outlines the attack. The two perpetrators reportedly yelled racial and homophobic slurs at Smollett and wrapped a rope around his neck.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://twitter.com/Phil_Lewis_/status/1090282533516906496\u003c/p>\n\u003cp>\u003ca href=\"https://www.tmz.com/2019/01/29/empire-star-jussie-smollett-attacked-hospitalized-homophobic-hate-crime/\" target=\"_blank\" rel=\"noopener\">TMZ \u003c/a>reports that the attackers also yelled, “This is MAGA country.”\u003c/p>\n\u003cp>Fellow celebrities and friends have shared their thoughts and wishes on social media for the Empire star’s recovery.\u003c/p>\n\u003cp>http://twitter.com/Zendaya/status/1090324824252133376\u003c/p>\n\u003cp>http://twitter.com/Devonte_Riley/status/1090305712864051200\u003c/p>\n\u003cp>Even Kamala Harris shared her thoughts: “This was an attempted modern day lynching. No one should have to fear for their life because of their sexuality or color of their skin.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-width=\"550\" data-dnt=\"true\">\n\u003cp lang=\"en\" dir=\"ltr\">.\u003ca href=\"https://twitter.com/JussieSmollett?ref_src=twsrc%5Etfw\">@JussieSmollett\u003c/a> is one of the kindest, most gentle human beings I know. I’m praying for his quick recovery. \u003c/p>\n\u003cp>This was an attempted modern day lynching. No one should have to fear for their life because of their sexuality or color of their skin. We must confront this hate.\u003c/p>\n\u003cp>— Kamala Harris (@KamalaHarris) \u003ca href=\"https://twitter.com/KamalaHarris/status/1090361495119187969?ref_src=twsrc%5Etfw\">January 29, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cscript async src=\"https://platform.twitter.com/widgets.js\" charset=\"utf-8\">\u003c/script>\u003c/p>\n\u003cp>http://twitter.com/shondarhimes/status/1090318501254840320\u003c/p>\n\u003cp>On Wednesday, Jan. 30, the NAACP \u003ca href=\"https://naacp.org/latest/naacp-statement-racist-homophobic-attack-jussie-smollett/\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> calling the attack on Smollett an act of “hate-based terrorism.”\u003c/p>\n\u003cblockquote>\u003cp>“The recent racist and homophobic attack on acclaimed actor and activist Jussie Smollett is troubling. The rise in hate crimes is directly linked to President Donald J. Trump’s racist and xenophobic rhetoric. It is dangerous for any society to allow a tone of divisiveness and hatred to dominate the political discourse. As this rhetoric continues to bleed into our everyday lives, dangerous behavior will continue to place many law-abiding individuals at risk. We pray for a full physical and mental recovery Jussie Smollett and many unnamed victims of this forum of hate based terrorism.”\u003c/p>\n\u003cp>— Derrick Johnson, NAACP President and CEO\u003c/p>\u003c/blockquote>\n\u003cp>While the Chicago police have confirmed the attack on an \u003cem>Empire\u003c/em> cast member, they have not yet released his name.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is developing and will be updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Update Jan. 30: \u003c/em>\u003c/strong>\u003cem>The National Association for the Advancement of Colored People (NAACP) \u003ca href=\"https://naacp.org/latest/naacp-statement-racist-homophobic-attack-jussie-smollett/\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> calling the attack on Smollett an act of “hate-based terrorism.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update Jan. 29: \u003c/strong>TMZ \u003ca href=\"https://www.tmz.com/2019/01/29/empire-star-jussie-smollett-attacked-hospitalized-homophobic-hate-crime/\" target=\"_blank\" rel=\"noopener\">confirmed\u003c/a> Smollett received treatment at Northwestern Memorial Hospital and has since been discharged. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update Feb. 20: \u003c/strong>Jussie Smollett \u003ca href=\"https://www.npr.org/2019/02/20/695974164/chicago-police-jussie-smollett-under-suspicion-of-filing-false-police-report\" rel=\"noopener\" target=\"_blank\">has been arrested\u003c/a> on charges of filing a false police report. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Empire\u003c/em> cast member Jussie Smollett suffered injuries in Chicago around 2am Tuesday morning in a possible hate crime. The 35-year-old Santa Rosa-born actor and singer is best known for his role as Jamal Lyon in the hit Fox drama, and critics have hailed his performance as “\u003ca href=\"https://www.buzzfeed.com/kelleylcarter/being-gay-and-black-on-tv-will-never-be-the-same\" target=\"_blank\" rel=\"noopener\">groundbreaking\u003c/a>” for his positive and nuanced depiction of a black gay man on television.\u003c/p>\n\u003cp>The Chicago Police Department is calling the incident a possible “racially-charged assault and battery.” A statement released early Tuesday outlines the attack. The two perpetrators reportedly yelled racial and homophobic slurs at Smollett and wrapped a rope around his neck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Even Kamala Harris shared her thoughts: “This was an attempted modern day lynching. No one should have to fear for their life because of their sexuality or color of their skin.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-width=\"550\" data-dnt=\"true\">\n\u003cp lang=\"en\" dir=\"ltr\">.\u003ca href=\"https://twitter.com/JussieSmollett?ref_src=twsrc%5Etfw\">@JussieSmollett\u003c/a> is one of the kindest, most gentle human beings I know. I’m praying for his quick recovery. \u003c/p>\n\u003cp>This was an attempted modern day lynching. No one should have to fear for their life because of their sexuality or color of their skin. We must confront this hate.\u003c/p>\n\u003cp>— Kamala Harris (@KamalaHarris) \u003ca href=\"https://twitter.com/KamalaHarris/status/1090361495119187969?ref_src=twsrc%5Etfw\">January 29, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cscript async src=\"https://platform.twitter.com/widgets.js\" charset=\"utf-8\">\u003c/script>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On Wednesday, Jan. 30, the NAACP \u003ca href=\"https://naacp.org/latest/naacp-statement-racist-homophobic-attack-jussie-smollett/\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> calling the attack on Smollett an act of “hate-based terrorism.”\u003c/p>\n\u003cblockquote>\u003cp>“The recent racist and homophobic attack on acclaimed actor and activist Jussie Smollett is troubling. The rise in hate crimes is directly linked to President Donald J. Trump’s racist and xenophobic rhetoric. It is dangerous for any society to allow a tone of divisiveness and hatred to dominate the political discourse. As this rhetoric continues to bleed into our everyday lives, dangerous behavior will continue to place many law-abiding individuals at risk. We pray for a full physical and mental recovery Jussie Smollett and many unnamed victims of this forum of hate based terrorism.”\u003c/p>\n\u003cp>— Derrick Johnson, NAACP President and CEO\u003c/p>\u003c/blockquote>\n\u003cp>While the Chicago police have confirmed the attack on an \u003cem>Empire\u003c/em> cast member, they have not yet released his name.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is developing and will be updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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