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"content": "\u003cp>Actress and singer Doris Day made nearly three dozen films and more than 600 recordings. At the height of her career, she topped both the billboard and the box office charts. Day died of pneumonia on Monday at the age of 97.\u003c/p>\n\u003cp>Day remains one of the most successful female movie stars of all time. She embodied the “girl next door” even in her 40s, which is probably why her films with Rock Hudson were so successful. A scene from 1959’s \u003cem>Pillow Talk\u003c/em> shows a split screen with Day and Hudson in their separate bathtubs, only it \u003cem>looks\u003c/em> like they’re in the same one — with their feet touching. Kind of risqué for 1959.\u003c/p>\n\u003cp>That was Day at the height of her film success, but her career began as a big band “girl singer,” and with Les Brown’s big band she had one of the biggest hits of World War II: “\u003ca href=\"http://www.youtube.com/watch?v=PUw125JMVFI\">A Sentimental Journey\u003c/a>.” For many GIs, Doris Day represented the kind of girl you’d want to fight for and come home to.\u003c/p>\n\u003cp>The end of the war brought the end of the big band era and the beginning of Day’s film career. Alfred Hitchcock used Day’s voice as a plot device in \u003cem>The Man Who Knew Too Much\u003c/em>, in which a distraught Day sings a distress signal, “\u003ca href=\"https://www.youtube.com/watch?v=xZbKHDPPrrc\">Que Sera, Sera\u003c/a>,” to her kidnapped son. It became her signature tune and went to the No. 2 spot on the charts.\u003c/p>\n\u003cp>Will Friedwald wrote \u003ca href=\"http://www.npr.org/2010/12/12/131972175/whether-famous-or-forgotten-they-all-sang-standards\">a book\u003c/a> on jazz singing. He said Day’s success with pop and novelty songs overshadowed a simple fact: She was a phenomenal singer, both technically and artistically.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She really is sort of the mother of all tuneful, sunny blondes,” he said, “but at the same time there’s definitely a dark side to her. You know, she can explore that kind of emotion very effectively in song.”\u003c/p>\n\u003cp>In the musical drama \u003cem>Love Me or Leave Me\u003c/em>, Day played ’30s torch singer Ruth Etting opposite Jimmy Cagney, who plays her jilted mobster husband. And throughout the ’50s, Day took on similarly meaty roles in films like \u003cem>Calamity Jane\u003c/em>, \u003cem>The Pajama Game\u003c/em> and \u003cem>The Man Who Knew Too Much\u003c/em>. But at the end of the decade, she settled into romantic comedies and a persona that would stick — the girl next door.\u003c/p>\n\u003cp>But David Kaufman, one of Day’s biographers, said the real Day was anything but the girl next door.\u003c/p>\n\u003cp>“She’s was a woman who was an extremely sensual woman,” he said. “She had affairs with a number of people. She was never happily married. She had a son but was never really a mother; he was more like a brother to her. She in many ways was the opposite to the girl next door.”\u003c/p>\n\u003cp>Day’s husband and manager, Martin Melcher, died suddenly in 1968. But before that, he lost her entire fortune and signed her to a television series without her knowledge. Day slogged through the five seasons of \u003cem>The Doris Day Show\u003c/em> and then left Hollywood. And after a very long legal battle, she eventually won back some of her money.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tabloids often caught Day doing simple things in retirement: going to the grocery store, caring for scores of abandoned pets or dining out with friends. And it seems if she couldn’t be the girl next door in her youth, as the years passed, she came close — sort of.\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>Actress and singer Doris Day made nearly three dozen films and more than 600 recordings. At the height of her career, she topped both the billboard and the box office charts. Day died of pneumonia on Monday at the age of 97.\u003c/p>\n\u003cp>Day remains one of the most successful female movie stars of all time. She embodied the “girl next door” even in her 40s, which is probably why her films with Rock Hudson were so successful. A scene from 1959’s \u003cem>Pillow Talk\u003c/em> shows a split screen with Day and Hudson in their separate bathtubs, only it \u003cem>looks\u003c/em> like they’re in the same one — with their feet touching. Kind of risqué for 1959.\u003c/p>\n\u003cp>That was Day at the height of her film success, but her career began as a big band “girl singer,” and with Les Brown’s big band she had one of the biggest hits of World War II: “\u003ca href=\"http://www.youtube.com/watch?v=PUw125JMVFI\">A Sentimental Journey\u003c/a>.” For many GIs, Doris Day represented the kind of girl you’d want to fight for and come home to.\u003c/p>\n\u003cp>The end of the war brought the end of the big band era and the beginning of Day’s film career. Alfred Hitchcock used Day’s voice as a plot device in \u003cem>The Man Who Knew Too Much\u003c/em>, in which a distraught Day sings a distress signal, “\u003ca href=\"https://www.youtube.com/watch?v=xZbKHDPPrrc\">Que Sera, Sera\u003c/a>,” to her kidnapped son. It became her signature tune and went to the No. 2 spot on the charts.\u003c/p>\n\u003cp>Will Friedwald wrote \u003ca href=\"http://www.npr.org/2010/12/12/131972175/whether-famous-or-forgotten-they-all-sang-standards\">a book\u003c/a> on jazz singing. He said Day’s success with pop and novelty songs overshadowed a simple fact: She was a phenomenal singer, both technically and artistically.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She really is sort of the mother of all tuneful, sunny blondes,” he said, “but at the same time there’s definitely a dark side to her. You know, she can explore that kind of emotion very effectively in song.”\u003c/p>\n\u003cp>In the musical drama \u003cem>Love Me or Leave Me\u003c/em>, Day played ’30s torch singer Ruth Etting opposite Jimmy Cagney, who plays her jilted mobster husband. And throughout the ’50s, Day took on similarly meaty roles in films like \u003cem>Calamity Jane\u003c/em>, \u003cem>The Pajama Game\u003c/em> and \u003cem>The Man Who Knew Too Much\u003c/em>. But at the end of the decade, she settled into romantic comedies and a persona that would stick — the girl next door.\u003c/p>\n\u003cp>But David Kaufman, one of Day’s biographers, said the real Day was anything but the girl next door.\u003c/p>\n\u003cp>“She’s was a woman who was an extremely sensual woman,” he said. “She had affairs with a number of people. She was never happily married. She had a son but was never really a mother; he was more like a brother to her. She in many ways was the opposite to the girl next door.”\u003c/p>\n\u003cp>Day’s husband and manager, Martin Melcher, died suddenly in 1968. But before that, he lost her entire fortune and signed her to a television series without her knowledge. Day slogged through the five seasons of \u003cem>The Doris Day Show\u003c/em> and then left Hollywood. And after a very long legal battle, she eventually won back some of her money.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tabloids often caught Day doing simple things in retirement: going to the grocery store, caring for scores of abandoned pets or dining out with friends. And it seems if she couldn’t be the girl next door in her youth, as the years passed, she came close — sort of.\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>\u003cem>Actress and singer Doris Day made nearly three dozen films and more than 600 recordings. At the height of her career, she topped both the billboard and the box office charts. Day died of pneumonia on Monday at the age of 97. This \u003c/em>Fresh Air\u003cem> interview was first broadcast on April 2, 2012. \u003c/em>\u003c/p>\n\u003cp>The biggest female box-office star in Hollywood history, Doris Day started singing and dancing when she was a teenager, and made her first film when she was 24. After nearly 40 movies, she walked away from that part of her life in 1968, and started rescuing and caring for animals.\u003c/p>\n\u003cp>Now 87, the actress lives in Carmel-by-the-Sea, Calif. Last year, she released \u003cem>My Heart\u003c/em>, her first record since 1967’s \u003cem>The Love Album\u003c/em>. She’s also the subject of a new four-DVD box set of her films — and was named TCM’s star of the month for April, which means 28 of her movies will air during prime time this week on the network.\u003c/p>\n\u003cp>\u003cstrong>The Making Of A Star\u003c/strong>\u003c/p>\n\u003cp>Day started her career as a teenage dancer in Cincinnati. She was spotted by a Paramount Pictures talent scout who wanted to fly her out to Hollywood, but a car accident on the night of her going-away party shattered her leg and her dreams of being a professional dancer. As Day recovered from her injuries, she listened to the radio and discovered she had a talent for singing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had to lie down, and I was just laying down all the time, and a couple of years went by. And the bones in my right leg from the knee down were not healing,” she tells \u003cem>Fresh Air\u003c/em>‘s Terry Gross. “And that went on for a few years. … And [then] when I started to heal, that’s when I started to sing — by myself — in a beautiful club in Cincinnati at the age of 16.”\u003c/p>\n\u003cp>The club was 18-and-up, so Day’s bandleader lied to the club owners and told them that his young singer was, in fact, a legal adult.\u003c/p>\n\u003cp>“I kept forgetting that I wasn’t two years older for years,” she says. “As the years go on, and my mother said to me, ‘You know what, it just occurred to me. You’re not really 30. You’re 28.’ And I looked at her and said, ‘Oh my gosh, I forgot all about that.'”\u003c/p>\n\u003cp>\u003cstrong>‘Romance On The High Seas’\u003c/strong>\u003c/p>\n\u003cp>Day’s singing career eventually led her to Hollywood, where she got a part in the 1948 film \u003cem>Romance on the High Seas,\u003c/em> without knowing she was auditioning for the role.\u003c/p>\n\u003cp>“I was just out in Hollywood singing, and my manager was with me, and we were going to have lunch,” she says. “And he drove out to the studio, and I knew nothing about that. We were standing around, and I said, ‘What are we doing?’ and he said, ‘I’m arranging something.'”\u003c/p>\n\u003cp>Day’s manager told her that a young man was auditioning for a role in a movie and she needed to help him out. That man, unbeknownst to Day, was actually the film’s director.\u003c/p>\n\u003cp>“So I read my lines, and after that, he came up and took my hands and said, ‘Darling, you were very good’ and I thought, ‘How funny’ and said, ‘Thank you so much, it was nice to meet you.’ And with that, we left,” she says.\u003c/p>\n\u003cp>Day was due to leave Los Angeles the following morning, but received a phone call in her hotel room. It was actor Jack Carson.\u003c/p>\n\u003cp>“And he said, ‘Miss Day, this is Jack Carson. I know it’s early in the day to be calling you, and I heard that you were leaving for New York. I want to tell you something — you are going to be in the best part, the most important part, in the movie I’m doing next. And I want you to be in it,'” she says.\u003c/p>\n\u003cp>Day accepted the offer and soon began working on the film. On her second day of work, she was invited into a studio to watch herself on the screen for the first time.\u003c/p>\n\u003cp>“I went in and I just stood there, and Jack came up to me and he put his arms around me,” she says. “And he said, ‘Everything is just perfect. And you’re the one. And I really enjoyed it today.’ And he gave me a big hug.”\u003c/p>\n\u003cp>In the ’50s and ’60s, Day starred in a string of romantic comedies, but frequently played an independent working woman. In 1959’s \u003cem>Pillow Talk\u003c/em>, she played an independent interior designer opposite Rock Hudson. In \u003cem>Love Come Back\u003c/em>, she worked in the advertising world. In \u003cem>Touch of Mink\u003c/em>, with Cary Grant, she played a career woman.\u003c/p>\n\u003cp>“I didn’t feel different in any of them,” she says, “even though they were different. I loved being married, and I loved not being married but working on it. And doing what I was supposed to do and be. That’s the way I worked.”\u003c/p>\n\u003cp>\u003cstrong>Working With Animals\u003c/strong>\u003c/p>\n\u003cp>Day stopped making movies in 1968, in part because she wanted a quieter lifestyle than what was available in Los Angeles.\u003c/p>\n\u003cp>“I came out to Carmel and it was so nice, and I have so many doggies,” she says. “And I thought that this would really be nice.”\u003c/p>\n\u003cp>In 1971, Day co-founded Actors and Others for Animals, and began to take an active role in animal rescue work with the SPCA. She placed dozens of rescue dogs in people’s homes and rescued many on her own. At one point, she had 30 dogs living in her house.\u003c/p>\n\u003cp>“It was another area of the house,” she says. “There was a lovely outside place to eat, and it was so pretty and lovely with the fountain and everything. And on the other side of that was where I had the dogs. And they had a big area to run and they had a huge area to play. They were just fabulous and I kept them all.”\u003c/p>\n\u003cp>Day currently has six dogs and four cats.\u003c/p>\n\u003cp>“If I come across a doggie who needs a home, that’s when I take them,” she says. “They’re in a special area — an outdoor area — but the ceiling is all glass and they look up there and see the trees. They have two big rooms inside and then one outside. They just love it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13857152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727.jpg\" alt=\"\" width=\"780\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727-768x882.jpg 768w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003c/p>\n\u003chr>\n\u003ch3>\u003c/h3>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Singing ‘Que Sera Sera’ In \u003cem>The Man Who Knew Too Much\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>“The first time somebody told me it was going to be in that movie, I thought, ‘Why?’ I didn’t think there was a place to put that song. … I thought, ‘I’m not crazy about that. Where are they going to put it? For what?’ … I didn’t think it was a good song.”\u003c/p>\n\u003cp>\u003cstrong>On The Popularity Of ‘Que Sera Sera’\u003c/strong>\u003c/p>\n\u003cp>“I thought that was wonderful, because it became that because of children. And then I understood it. Because it was for our child in the movie. Then I realized, maybe it isn’t a favorite song of mine, but people loved it. And kids loved it. And it was perfect for the film. So I can’t say that it’s a favorite song of mine, but, boy, it sure did something.”\u003c/p>\n\u003cp>\u003cstrong>On What She Likes To Sing \u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I like to sing love songs. I like to sing others, too. There’s so many that I love. I love them and I love singing them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Doris+Day%3A+A+Hollywood+Legend+Reflects+On+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Actress and singer Doris Day made nearly three dozen films and more than 600 recordings. At the height of her career, she topped both the billboard and the box office charts. Day died of pneumonia on Monday at the age of 97. This \u003c/em>Fresh Air\u003cem> interview was first broadcast on April 2, 2012. \u003c/em>\u003c/p>\n\u003cp>The biggest female box-office star in Hollywood history, Doris Day started singing and dancing when she was a teenager, and made her first film when she was 24. After nearly 40 movies, she walked away from that part of her life in 1968, and started rescuing and caring for animals.\u003c/p>\n\u003cp>Now 87, the actress lives in Carmel-by-the-Sea, Calif. Last year, she released \u003cem>My Heart\u003c/em>, her first record since 1967’s \u003cem>The Love Album\u003c/em>. She’s also the subject of a new four-DVD box set of her films — and was named TCM’s star of the month for April, which means 28 of her movies will air during prime time this week on the network.\u003c/p>\n\u003cp>\u003cstrong>The Making Of A Star\u003c/strong>\u003c/p>\n\u003cp>Day started her career as a teenage dancer in Cincinnati. She was spotted by a Paramount Pictures talent scout who wanted to fly her out to Hollywood, but a car accident on the night of her going-away party shattered her leg and her dreams of being a professional dancer. As Day recovered from her injuries, she listened to the radio and discovered she had a talent for singing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had to lie down, and I was just laying down all the time, and a couple of years went by. And the bones in my right leg from the knee down were not healing,” she tells \u003cem>Fresh Air\u003c/em>‘s Terry Gross. “And that went on for a few years. … And [then] when I started to heal, that’s when I started to sing — by myself — in a beautiful club in Cincinnati at the age of 16.”\u003c/p>\n\u003cp>The club was 18-and-up, so Day’s bandleader lied to the club owners and told them that his young singer was, in fact, a legal adult.\u003c/p>\n\u003cp>“I kept forgetting that I wasn’t two years older for years,” she says. “As the years go on, and my mother said to me, ‘You know what, it just occurred to me. You’re not really 30. You’re 28.’ And I looked at her and said, ‘Oh my gosh, I forgot all about that.'”\u003c/p>\n\u003cp>\u003cstrong>‘Romance On The High Seas’\u003c/strong>\u003c/p>\n\u003cp>Day’s singing career eventually led her to Hollywood, where she got a part in the 1948 film \u003cem>Romance on the High Seas,\u003c/em> without knowing she was auditioning for the role.\u003c/p>\n\u003cp>“I was just out in Hollywood singing, and my manager was with me, and we were going to have lunch,” she says. “And he drove out to the studio, and I knew nothing about that. We were standing around, and I said, ‘What are we doing?’ and he said, ‘I’m arranging something.'”\u003c/p>\n\u003cp>Day’s manager told her that a young man was auditioning for a role in a movie and she needed to help him out. That man, unbeknownst to Day, was actually the film’s director.\u003c/p>\n\u003cp>“So I read my lines, and after that, he came up and took my hands and said, ‘Darling, you were very good’ and I thought, ‘How funny’ and said, ‘Thank you so much, it was nice to meet you.’ And with that, we left,” she says.\u003c/p>\n\u003cp>Day was due to leave Los Angeles the following morning, but received a phone call in her hotel room. It was actor Jack Carson.\u003c/p>\n\u003cp>“And he said, ‘Miss Day, this is Jack Carson. I know it’s early in the day to be calling you, and I heard that you were leaving for New York. I want to tell you something — you are going to be in the best part, the most important part, in the movie I’m doing next. And I want you to be in it,'” she says.\u003c/p>\n\u003cp>Day accepted the offer and soon began working on the film. On her second day of work, she was invited into a studio to watch herself on the screen for the first time.\u003c/p>\n\u003cp>“I went in and I just stood there, and Jack came up to me and he put his arms around me,” she says. “And he said, ‘Everything is just perfect. And you’re the one. And I really enjoyed it today.’ And he gave me a big hug.”\u003c/p>\n\u003cp>In the ’50s and ’60s, Day starred in a string of romantic comedies, but frequently played an independent working woman. In 1959’s \u003cem>Pillow Talk\u003c/em>, she played an independent interior designer opposite Rock Hudson. In \u003cem>Love Come Back\u003c/em>, she worked in the advertising world. In \u003cem>Touch of Mink\u003c/em>, with Cary Grant, she played a career woman.\u003c/p>\n\u003cp>“I didn’t feel different in any of them,” she says, “even though they were different. I loved being married, and I loved not being married but working on it. And doing what I was supposed to do and be. That’s the way I worked.”\u003c/p>\n\u003cp>\u003cstrong>Working With Animals\u003c/strong>\u003c/p>\n\u003cp>Day stopped making movies in 1968, in part because she wanted a quieter lifestyle than what was available in Los Angeles.\u003c/p>\n\u003cp>“I came out to Carmel and it was so nice, and I have so many doggies,” she says. “And I thought that this would really be nice.”\u003c/p>\n\u003cp>In 1971, Day co-founded Actors and Others for Animals, and began to take an active role in animal rescue work with the SPCA. She placed dozens of rescue dogs in people’s homes and rescued many on her own. At one point, she had 30 dogs living in her house.\u003c/p>\n\u003cp>“It was another area of the house,” she says. “There was a lovely outside place to eat, and it was so pretty and lovely with the fountain and everything. And on the other side of that was where I had the dogs. And they had a big area to run and they had a huge area to play. They were just fabulous and I kept them all.”\u003c/p>\n\u003cp>Day currently has six dogs and four cats.\u003c/p>\n\u003cp>“If I come across a doggie who needs a home, that’s when I take them,” she says. “They’re in a special area — an outdoor area — but the ceiling is all glass and they look up there and see the trees. They have two big rooms inside and then one outside. They just love it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13857152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727.jpg\" alt=\"\" width=\"780\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727-768x882.jpg 768w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003c/p>\n\u003chr>\n\u003ch3>\u003c/h3>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Singing ‘Que Sera Sera’ In \u003cem>The Man Who Knew Too Much\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>“The first time somebody told me it was going to be in that movie, I thought, ‘Why?’ I didn’t think there was a place to put that song. … I thought, ‘I’m not crazy about that. Where are they going to put it? For what?’ … I didn’t think it was a good song.”\u003c/p>\n\u003cp>\u003cstrong>On The Popularity Of ‘Que Sera Sera’\u003c/strong>\u003c/p>\n\u003cp>“I thought that was wonderful, because it became that because of children. And then I understood it. Because it was for our child in the movie. Then I realized, maybe it isn’t a favorite song of mine, but people loved it. And kids loved it. And it was perfect for the film. So I can’t say that it’s a favorite song of mine, but, boy, it sure did something.”\u003c/p>\n\u003cp>\u003cstrong>On What She Likes To Sing \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I like to sing love songs. I like to sing others, too. There’s so many that I love. I love them and I love singing them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Doris+Day%3A+A+Hollywood+Legend+Reflects+On+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Revenge Of The She-Punks' Sets Out To Rectify A Gender Imbalance",
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"content": "\u003cfigure id=\"attachment_13856924\" class=\"wp-caption alignright\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856924 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Revenge-of-She-Punks.jpg\" alt=\"Cover of 'Revenge of the She Punks: A Feminist Music History from Poly Styrene to Pussy Riot' by Vivien Goldman.\" width=\"708\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Revenge-of-She-Punks.jpg 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Revenge-of-She-Punks-160x203.jpg 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘Revenge of the She Punks: A Feminist Music History from Poly Styrene to Pussy Riot’ by Vivien Goldman.\u003c/figcaption>\u003c/figure>\n\u003cp>Punk rock might be a relatively young genre, but the legend of its history has already become more or less solidified.\u003c/p>\n\u003cp>Ask what makes punk \u003cem>punk\u003c/em> and you’ll probably get a story that starts in 1970s London, or maybe New York; you’ll get The Sex Pistols, The Ramones or The Clash; counterculture, anti-establishment and leather jackets.\u003c/p>\n\u003cp>Would you hear about bashing the wage gap? Shutting down slut-shaming? Or even Patti Smith? If not, veteran punk (and punk scholar) Vivien Goldman has news for you. In \u003cem>Revenge Of The She-Punks,\u003c/em> Goldman sets out to rectify this gendered imbalance, tracing the formation, rise and global reach of punk rock and demonstrating women’s central place within it. A self-proclaimed “feminist music history from Poly Styrene to Pussy Riot,” the book doesn’t just retell the story of punk with an added woman or two; it centers the relationships between gender and the genre, showing how, through the right lens, the story of punk is a story about women’s ingenuity and power.\u003c/p>\n\u003cp>In the manifesto that opens \u003cem>She-Punks\u003c/em> — sorry, that’s the “Womanifesto” — Goldman places the book’s origins in 1976. She was fresh out of college and working as a journalist at the British rock publication \u003cem>Sounds\u003c/em> when she saw, for the first time in her life, a woman onstage playing rock music. It led her to publish her first article about women in rock. By the ’90s, Goldman says, this type of article had become “a predictable annual staple of rock magazines,” fueled by lifeless cliches — but at the time, it was an exhilarating angle and, as this book attests, fertile ground for her lifelong dedication to the topic.\u003c/p>\n\u003cp>Since writing that 1976 article, Goldman has built a reputation as a punk lifer in every conceivable role: She’s worked as a publicist, author, editor and biographer; she’s recorded and performed her own music; she’s been a producer and a back-up singer. She’s taught at NYU’s Clive Davis Institute of Recorded Music long enough to earn the title “the punk professor.” And throughout her five decades as a punk, she has paid careful attention to female musicians and fans — “she-punks,” as she affectionately calls them — from the groundbreaking work of X-Ray Spex and The Slits through contemporary artists like Fea and Big Joanie. Goldman is driven by a true passion for the music’s transformative potential: “For this writer,” she writes in \u003cem>She-Punks\u003c/em>, “punk’s most enduring and significant achievement will always be its liberating impact on the less-privileged sex.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='pop_111468' hero='https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/GettyImages-579380108-1020x708.jpg' target='_blank']\u003c/p>\n\u003cp>\u003cem>She-Punks\u003c/em>‘ chapters are divided not chronologically but by themes, and each section opens with a playlist of the songs Goldman cites throughout the chapter. In “Girly Identity,” she explores self-knowledge and self-image within punk, including the impact of ’60s and ’70s feminist movements and the riot grrrl movement. “Money” focuses on the way she-punks have contended with the pressures of global capitalism. “Love/Unlove” combines songs about love and lust with those about sexual violence, positing the latter category as the former’s opposite; it’s a vexing choice and might perhaps serve the subject matter better to analyze them separately. Finally, “Protest” considers how she-punks have pushed back against repressive political regimes, gendered expectations, class privilege and more.\u003c/p>\n\u003cp>Throughout \u003cem>She-Punks\u003c/em>, Goldman maintains a global view; while the majority of the book focuses on British and American music, it also includes punk bands from Japan, India, Colombia, Indonesia and the Czech Republic (among others). Goldman has worked extensively on reggae — she was, after all, Bob Marley’s first U.K. publicist — and is especially attuned to the impact of Jamaican music on the development of punk. And in keeping with her ethos that our traditional notions of punk can cut important voices out of the story, Goldman’s book takes a wide view of what the genre comprises and who deserves to fall under its umbrella, featuring stories about the Afropunk scene, supermodel and new wave queen Grace Jones and poet and activist Jayne Cortez.\u003c/p>\n\u003cp>[aside postID='arts_13808185' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/09/BikiniKill.SR_-960x373.jpg' target='_blank']\u003c/p>\n\u003cp>Goldman’s tone throughout \u003cem>She-Punks\u003c/em> mixes her years of research with larger cultural observations and her own personal history (she’s thrift shopping with Patti Smith in one chapter; attending Ornette Coleman’s birthday party in another). The approach is both disarming and purposeful — supporting the feminist notion that women’s lived experiences constitute a valid form of knowledge — yet there are moments when her more casual word choice can be distracting (her claim that punk singer Poly Styrene’s biracial identity makes her representative of a “future breed,” for example, or her passing reference to homosexuality as a “subculture,” are disappointing).\u003c/p>\n\u003cp>There’s a thread of messiness that runs throughout \u003cem>She-Punks\u003c/em>: songs that could easily slip from one of the book’s chapter-defining themes to another; thoughts on race and LGBTQ identity that deserve to be more thoroughly developed. But attempting to encompass the entirety of this broad view of punk — and the diversity of women’s lives — in one volume is an ambitious mission. And for it to succeed, that messiness is inevitable; it only further underscores Goldman’s central argument that women’s contributions to punk are too important and varied to fit neatly into a clichéd article or two about “women who rock”; that womanhood is too complex and rich to be so easily categorized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The reality of women’s lives, Goldman and her playlists argue, can be brutal, rule-breaking and paradigm-redefining — and, after all, what’s more punk than that?\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>\u003c/p>\n\u003cp>Goldman’s tone throughout \u003cem>She-Punks\u003c/em> mixes her years of research with larger cultural observations and her own personal history (she’s thrift shopping with Patti Smith in one chapter; attending Ornette Coleman’s birthday party in another). The approach is both disarming and purposeful — supporting the feminist notion that women’s lived experiences constitute a valid form of knowledge — yet there are moments when her more casual word choice can be distracting (her claim that punk singer Poly Styrene’s biracial identity makes her representative of a “future breed,” for example, or her passing reference to homosexuality as a “subculture,” are disappointing).\u003c/p>\n\u003cp>There’s a thread of messiness that runs throughout \u003cem>She-Punks\u003c/em>: songs that could easily slip from one of the book’s chapter-defining themes to another; thoughts on race and LGBTQ identity that deserve to be more thoroughly developed. But attempting to encompass the entirety of this broad view of punk — and the diversity of women’s lives — in one volume is an ambitious mission. And for it to succeed, that messiness is inevitable; it only further underscores Goldman’s central argument that women’s contributions to punk are too important and varied to fit neatly into a clichéd article or two about “women who rock”; that womanhood is too complex and rich to be so easily categorized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The reality of women’s lives, Goldman and her playlists argue, can be brutal, rule-breaking and paradigm-redefining — and, after all, what’s more punk than that?\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": "Ani DiFranco Relives Her Indie Rock Rise: 'I Wanted A Different Kind Of Power'",
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"content": "\u003cfigure id=\"attachment_13856809\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/nowwallsani-800x1208.jpg\" alt=\"Cover of Ani DiFranco's new memoir 'No Walls and the Recurring Dream.'\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-1020x1540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-795x1200.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani.jpg 1357w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Ani DiFranco’s new memoir ‘No Walls and the Recurring Dream.’ \u003ccite>(Courtesy of the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/14966211/ani-difranco\">Ani DiFranco\u003c/a> grew up in a house with no walls. “It was like a brick carriage house there. Inside there was just one room on the first floor and one room on the second floor. So it was an intimate house for a non-intimate family.”\u003c/p>\n\u003cp>DiFranco’s deep craving for intimacy led her to writing music. And the things DiFranco wanted to write were exactly what a generation of women coming of age in the ’90s wanted to hear. DiFranco relives those early years in her new memoir, \u003cem>No Walls and the Recurring Dream.\u003c/em>\u003c/p>\n\u003cp>During her adolescent years, DiFranco remembers searching for connection and intimacy she never felt at home. “As a teenager, I went out into the world armed with my guitar and my little songs and my aggressive eye contact and I was looking to connect with somebody else deeply,” she says.\u003c/p>\n\u003cp>At one point in the memoir, DiFranco reminisces on shaving her head at 18. “It’s funny to think back,” she says. “I shaved it all off because I didn’t want to be a sex object and there I was playing in bars you know mostly surrounded by men with drinks in their hands. And I was getting attention for not the right reasons. I wanted a different kind of power, I think.”\u003c/p>\n\u003cp>DiFranco remembers the power of shaving her head was polarizing. The catcalling from men stopped, but so did casual pleasantries with strangers. The musician recalls people thinking she was a skinhead or punk ready to vandalize property.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People were visibly intimidated,” DiFranco says, “which, again: Here’s a girl moving through the world craving eye contact, craving human connection, even fleeting connection [from] passersby, you know. And so, the fact that people no longer even would look me in the eye … It really weighed on me and it started to accumulate in my chest. Even people who are politely nervous, just eventually enraged me.”\u003c/p>\n\u003cp>DiFranco poured that rage into her songwriting. As she wrote in her memoir, DiFranco struggled with making music and once it was made, she hated the idea of selling it. She remembers feeling repulsed by the idea of having to sell her tapes.\u003c/p>\n\u003cp>“I guess people were right in that I was kind of a punk kid. I was anti-everything, I was anti-capitalist,” DiFranco says.\u003c/p>\n\u003cp>Though she goes through many personal and professional trials in the book, DiFranco says her sheer determination always outweighed her self-doubt. “Youth is a powerful drug, you know? I was on a mission. So, yeah, I wasn’t gonna let anything stop me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ani DiFranco will discuss her new memoir on Tuesday, May 14 at First Church Berkeley as part of Berkeley Arts & Letters. Details \u003ca href=\"https://nowalls.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \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>\u003c/p>\n\u003cp>“People were visibly intimidated,” DiFranco says, “which, again: Here’s a girl moving through the world craving eye contact, craving human connection, even fleeting connection [from] passersby, you know. And so, the fact that people no longer even would look me in the eye … It really weighed on me and it started to accumulate in my chest. Even people who are politely nervous, just eventually enraged me.”\u003c/p>\n\u003cp>DiFranco poured that rage into her songwriting. As she wrote in her memoir, DiFranco struggled with making music and once it was made, she hated the idea of selling it. She remembers feeling repulsed by the idea of having to sell her tapes.\u003c/p>\n\u003cp>“I guess people were right in that I was kind of a punk kid. I was anti-everything, I was anti-capitalist,” DiFranco says.\u003c/p>\n\u003cp>Though she goes through many personal and professional trials in the book, DiFranco says her sheer determination always outweighed her self-doubt. “Youth is a powerful drug, you know? I was on a mission. So, yeah, I wasn’t gonna let anything stop me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ani DiFranco will discuss her new memoir on Tuesday, May 14 at First Church Berkeley as part of Berkeley Arts & Letters. Details \u003ca href=\"https://nowalls.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \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>Comedian Dave Chappelle will be awarded the Mark Twain Prize for American Humor this year, the John F. Kennedy Center for the Performing Arts has announced.\u003c/p>\n\u003cp>The stand-up comic, actor, producer and director joins a prestigious group of comedians to receive the award. Among them are Carol Burnett, Whoopi Goldberg, Bob Newhart and Richard Pryor — who won the very first Twain Prize in 1998.\u003c/p>\n\u003cp>“Dave is one of the truly original voices in comedy — the definition of a creative artist,” Matthew Winer, director of comedy and special programming at the Kennedy Center, said to NPR. “He’s a modern day sociologist, skewering stereotypes, defying boundaries and showing us that laughter can be a way to contextualize issues that we struggle to understand.”\u003c/p>\n\u003cp>“Dave is the embodiment of Mark Twain’s observation that ‘against the assault of humor, nothing can stand,’ ” Deborah F. Rutter, president of the Kennedy Center, said in a prepared statement. “For three decades, Dave has challenged us to see hot-button issues from his entirely original yet relatable perspective.”\u003c/p>\n\u003cp>The prize will be awarded at a Kennedy Center gala on Oct. 27, 2019, and a TV special of the evening will be broadcast on PBS stations Jan. 6, 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Edgy, politically incorrect and occasionally scatological, Chappelle’s career skyrocketed with three seasons of \u003cem>Chappelle’s Show\u003c/em> (2003-2006), one of the most popular comedy shows on TV. Co-created \u003ca href=\"https://www.npr.org/2017/02/23/516739139/chappelles-show-co-creator-moves-into-the-limelight-with-3-mics\">with Neal Brennan\u003c/a>, the sketches on Comedy Central spared no one.\u003c/p>\n\u003cp>Chappelle’s impersonations of \u003ca href=\"http://www.cc.com/video-clips/e748yj/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---prince---uncensored\">Prince\u003c/a>, \u003ca href=\"http://www.cc.com/video-clips/iuegla/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---rick-james-pt--1---uncensored\">Rick James\u003c/a> and \u003ca href=\"http://www.cc.com/video-clips/m7u3o1/chappelle-s-show-a-moment-in-the-life-of-lil-jon---injury\">Lil Jon\u003c/a> are now legendary. In a sketch that stretched the imagination and boundaries of racial satire, Chappelle \u003ca href=\"https://www.youtube.com/watch?v=JBC-9k3y1ew\">played Clayton Bigsby\u003c/a>, a blind white supremacist who doesn’t know he’s black.\u003c/p>\n\u003cp>It was “revolutionary,” must-see TV, \u003ca href=\"http://grantland.com/features/a-battle-best-chappelle-show-sketch-ever/\">wrote Rembert Browne\u003c/a>, who was a teenager when \u003cem>Chappelle’s Show\u003c/em> aired: “It was unacceptable to show up to high school the next day without knowing all the material from the previous night’s episode.”\u003c/p>\n\u003cp>\u003cem>Chappelle’s Show\u003c/em> earned three Emmy nominations and became a bestseller on DVD. But after signing a reported $50 million deal for Seasons 3 and 4, Chappelle famously and abruptly disappeared from entertainment altogether. He spent two weeks in South Africa and then moved to Yellow Springs, Ohio, with his family.\u003c/p>\n\u003cp>“I felt in a lot of instances I was deliberately being put through stress because when you’re a guy who generates money, people have a vested interest in controlling you,” \u003ca href=\"https://www.today.com/popculture/chappelle-tells-oprah-i-wasn-t-crazy-wbna11163322\">he told Oprah Winfrey\u003c/a>.\u003c/p>\n\u003cp>Chappelle eventually returned to stand-up. He signed a multimillion-dollar deal with Netflix. Last year, two of his Netflix comedy specials — \u003cem>Equanimity\u003c/em> and \u003cem>The Bird Revelation\u003c/em> — won a Grammy Award (packaged together) for best comedy album. \u003cem>Equanimity \u003c/em>also won an Emmy for outstanding variety special.\u003c/p>\n\u003cp>His latest specials address hot-button issues such as race, class, gender, President Trump and the #MeToo movement. Chappelle compared the current women’s movement to African Americans’ long struggle for equal rights, and even suggests South Africa’s Truth and Reconciliation Commission as a model for inspiration.\u003c/p>\n\u003cp>Not all of the jokes in his recent specials have landed well with all audiences. Critics have repeatedly objected to his \u003ca href=\"https://medium.com/@tylergfoster/i-wrote-dave-chappelle-a-letter-about-his-terrible-transgender-jokes-55478970b9f\">jokes about people who are transgender\u003c/a> and the \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/television/dave-chappelle-netflix-special.html\">#MeToo movement\u003c/a>.\u003c/p>\n\u003cp>Setting aside his fondness for dirty and transgressive material, Chappelle is socially conscious to his core. His father was a professor at Antioch College. His mother taught at Howard University. For high school, Chappelle attended the Duke Ellington School of the Arts in Washington.\u003c/p>\n\u003cp>“Dave is a hometown hero here in Washington, D.C., where he grew up,” Rutter also said. “We’re so looking forward to welcoming him back home [at the Kennedy Center].”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/11/13/501883403/snl-reflects-a-nations-emotional-tone-in-post-election-episode\">His appearance on\u003c/a> \u003cem>Saturday Night Live\u003c/em>, days after Donald Trump won the 2016 presidential election, also received an Emmy. His opening monologue took jabs at the president-elect, and skewered black and white stereotypes, before turning more serious at the end, as he reflected on a BET party he’d attended at the White House during the Obama administration.\u003c/p>\n\u003cp>“So, in that spirit, I’m wishing Donald Trump luck,” Chappelle said. “And I’m going to give him a chance, and we, the historically disenfranchised, demand that he give us one too.” He has, however, \u003ca href=\"https://thegrapevine.theroot.com/dave-chappelle-apologizes-for-snl-monologue-saying-to-1795253351\">since apologized for that remark.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/–IS0XiNdpk\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=Dave+Chappelle+To+Be+Awarded+Mark+Twain+Prize+For+American+Humor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Dave Chappelle will be awarded the Mark Twain Prize for American Humor this year, the John F. Kennedy Center for the Performing Arts has announced.\u003c/p>\n\u003cp>The stand-up comic, actor, producer and director joins a prestigious group of comedians to receive the award. Among them are Carol Burnett, Whoopi Goldberg, Bob Newhart and Richard Pryor — who won the very first Twain Prize in 1998.\u003c/p>\n\u003cp>“Dave is one of the truly original voices in comedy — the definition of a creative artist,” Matthew Winer, director of comedy and special programming at the Kennedy Center, said to NPR. “He’s a modern day sociologist, skewering stereotypes, defying boundaries and showing us that laughter can be a way to contextualize issues that we struggle to understand.”\u003c/p>\n\u003cp>“Dave is the embodiment of Mark Twain’s observation that ‘against the assault of humor, nothing can stand,’ ” Deborah F. Rutter, president of the Kennedy Center, said in a prepared statement. “For three decades, Dave has challenged us to see hot-button issues from his entirely original yet relatable perspective.”\u003c/p>\n\u003cp>The prize will be awarded at a Kennedy Center gala on Oct. 27, 2019, and a TV special of the evening will be broadcast on PBS stations Jan. 6, 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Edgy, politically incorrect and occasionally scatological, Chappelle’s career skyrocketed with three seasons of \u003cem>Chappelle’s Show\u003c/em> (2003-2006), one of the most popular comedy shows on TV. Co-created \u003ca href=\"https://www.npr.org/2017/02/23/516739139/chappelles-show-co-creator-moves-into-the-limelight-with-3-mics\">with Neal Brennan\u003c/a>, the sketches on Comedy Central spared no one.\u003c/p>\n\u003cp>Chappelle’s impersonations of \u003ca href=\"http://www.cc.com/video-clips/e748yj/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---prince---uncensored\">Prince\u003c/a>, \u003ca href=\"http://www.cc.com/video-clips/iuegla/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---rick-james-pt--1---uncensored\">Rick James\u003c/a> and \u003ca href=\"http://www.cc.com/video-clips/m7u3o1/chappelle-s-show-a-moment-in-the-life-of-lil-jon---injury\">Lil Jon\u003c/a> are now legendary. In a sketch that stretched the imagination and boundaries of racial satire, Chappelle \u003ca href=\"https://www.youtube.com/watch?v=JBC-9k3y1ew\">played Clayton Bigsby\u003c/a>, a blind white supremacist who doesn’t know he’s black.\u003c/p>\n\u003cp>It was “revolutionary,” must-see TV, \u003ca href=\"http://grantland.com/features/a-battle-best-chappelle-show-sketch-ever/\">wrote Rembert Browne\u003c/a>, who was a teenager when \u003cem>Chappelle’s Show\u003c/em> aired: “It was unacceptable to show up to high school the next day without knowing all the material from the previous night’s episode.”\u003c/p>\n\u003cp>\u003cem>Chappelle’s Show\u003c/em> earned three Emmy nominations and became a bestseller on DVD. But after signing a reported $50 million deal for Seasons 3 and 4, Chappelle famously and abruptly disappeared from entertainment altogether. He spent two weeks in South Africa and then moved to Yellow Springs, Ohio, with his family.\u003c/p>\n\u003cp>“I felt in a lot of instances I was deliberately being put through stress because when you’re a guy who generates money, people have a vested interest in controlling you,” \u003ca href=\"https://www.today.com/popculture/chappelle-tells-oprah-i-wasn-t-crazy-wbna11163322\">he told Oprah Winfrey\u003c/a>.\u003c/p>\n\u003cp>Chappelle eventually returned to stand-up. He signed a multimillion-dollar deal with Netflix. Last year, two of his Netflix comedy specials — \u003cem>Equanimity\u003c/em> and \u003cem>The Bird Revelation\u003c/em> — won a Grammy Award (packaged together) for best comedy album. \u003cem>Equanimity \u003c/em>also won an Emmy for outstanding variety special.\u003c/p>\n\u003cp>His latest specials address hot-button issues such as race, class, gender, President Trump and the #MeToo movement. Chappelle compared the current women’s movement to African Americans’ long struggle for equal rights, and even suggests South Africa’s Truth and Reconciliation Commission as a model for inspiration.\u003c/p>\n\u003cp>Not all of the jokes in his recent specials have landed well with all audiences. Critics have repeatedly objected to his \u003ca href=\"https://medium.com/@tylergfoster/i-wrote-dave-chappelle-a-letter-about-his-terrible-transgender-jokes-55478970b9f\">jokes about people who are transgender\u003c/a> and the \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/television/dave-chappelle-netflix-special.html\">#MeToo movement\u003c/a>.\u003c/p>\n\u003cp>Setting aside his fondness for dirty and transgressive material, Chappelle is socially conscious to his core. His father was a professor at Antioch College. His mother taught at Howard University. For high school, Chappelle attended the Duke Ellington School of the Arts in Washington.\u003c/p>\n\u003cp>“Dave is a hometown hero here in Washington, D.C., where he grew up,” Rutter also said. “We’re so looking forward to welcoming him back home [at the Kennedy Center].”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/11/13/501883403/snl-reflects-a-nations-emotional-tone-in-post-election-episode\">His appearance on\u003c/a> \u003cem>Saturday Night Live\u003c/em>, days after Donald Trump won the 2016 presidential election, also received an Emmy. His opening monologue took jabs at the president-elect, and skewered black and white stereotypes, before turning more serious at the end, as he reflected on a BET party he’d attended at the White House during the Obama administration.\u003c/p>\n\u003cp>“So, in that spirit, I’m wishing Donald Trump luck,” Chappelle said. “And I’m going to give him a chance, and we, the historically disenfranchised, demand that he give us one too.” He has, however, \u003ca href=\"https://thegrapevine.theroot.com/dave-chappelle-apologizes-for-snl-monologue-saying-to-1795253351\">since apologized for that remark.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>null\u003c/p>\u003cp>\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=Dave+Chappelle+To+Be+Awarded+Mark+Twain+Prize+For+American+Humor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "camp-lgbtq-celebs-shut-down-the-2019-met-gala",
"title": "Forget the Black Tie—LGBTQ+ Celebs Shut Down the 2019 Camp Met Gala",
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"headTitle": "Forget the Black Tie—LGBTQ+ Celebs Shut Down the 2019 Camp Met Gala | KQED",
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"content": "\u003cp>The queer and trans community has perfected the art of camp for decades through extravagant drag looks, otherworldly club kid fashions and themed vogue balls. Embracing the glittery, the tacky, the over-the-top, the gender-bending and the taboo, camp is an aesthetic that flies in the face of Western hetero notions of respectability and good taste, and looks good doing it.\u003c/p>\n\u003cp>Susan Sontag defined the flashy, kitschy style as a “love of the unnatural, of artifice and exaggeration.” Her 1964 essay “Notes on ‘Camp'” is the theme of this year’s Met Gala fundraiser for the Metropolitan Museum of Art—and LGBTQ+ celebrities absolutely killed it on the red carpet.\u003c/p>\n\u003cp>In February, \u003cem>Pose\u003c/em> star Billy Porter made homophobes quake in their boots with his androgynous Oscars look—an exaggerated, high-femme A-line gown with a masculine black blazer. Ever the king of extra, he dialed it up 10 notches with his Met Gala ensemble by The Blonds. Dressed like a luminescent rendition of Ra, the Ancient Egyptian sun god, Porter levitated above the red carpet on a throne carried by chiseled manservants. Naturally, he spread his gold bird wings once he returned to the ground.\u003c/p>\n\u003cfigure id=\"attachment_13856763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856763\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-800x550.jpg\" alt=\"Billy Porter attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-1200x824.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Porter attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Camp means as hugely over-the-top and grand and what some may feel is ridiculous and silly, and embracing all of those creative impulses inside us that very often are squelched,” Porter told \u003ca href=\"https://variety.com/2019/scene/news/met-gala-billy-porter-what-camp-means-1203206324/\" target=\"_blank\" rel=\"noopener\">Variety\u003c/a>.\u003c/p>\n\u003cp>Trans actress and activist Laverne Cox sparkled in her all-black Christian Siriano attire—an art deco-inspired gown with wisps of tulle that floated around her body like angel wings in Botticelli’s \u003cem>Birth of Venus\u003c/em>. With her turquoise hair and makeup as the only pops of color, the monochromatic outfit’s dramatic shape and texture did the talking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This sensibility, that is historically very queer, excited me to no end,” she told \u003ca href=\"https://www.eonline.com/news/1038799/laverne-cox-reveals-the-inspiration-behind-her-big-shoulder-moment-at-2019-met-gala\" target=\"_blank\" rel=\"noopener\">E!\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13856767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-800x592.jpg\" alt=\"Laverne Cox attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-1200x888.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laverne Cox attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janelle Monae, whose 2018 album \u003cem>Dirty Computer\u003c/em> was celebrated as a pansexual pop paean, wore a gravity-defying hat-made-of-hats and pop-art, portrait-style Siriano dress (with an eye complete with long lashes covering one of her breasts). Lady Gaga, who is bisexual, turned heads with not one, not two, but four outfit changes, stripping (a la a drag reveal) from an enormous hot-pink ball gown by Brandon Maxwell into fishnets and lingerie. Cardi B, who hasn’t formally declared herself bi but has spoken openly about experiences with women, stunned in a wine-red, feathered Thom Browne gown with an enormous train and female anatomy-inspired details.\u003c/p>\n\u003cp>Queer actor Ezra Miller opted for illusion: he wore a mask of his own face, and the dizzying makeup on his \u003cem>actual\u003c/em> face made it look like seeing double, as though through beer goggles. Model Cara Delevingne, who typically opts for masculine streetwear, wore a rainbow Dior playsuit with a bizarre headpiece made of plastic bananas and fake teeth, rainbow stripper heels and a Willy Wonka-esque cane. (I don’t know what it means, but I’m into it.)\u003c/p>\n\u003cfigure id=\"attachment_13856766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465-800x1200.jpg\" alt=\"Ezra Miller attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ezra Miller attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In comparison to these displays of queer ingenuity, some straight red carpet A-listers looked boring in slightly shinier-than-normal formalwear. \u003ca href=\"https://twitter.com/dashwestcloset/status/1125552633954099200\" target=\"_blank\" rel=\"noopener\">Kim Kardashian\u003c/a> showed up in typical skin-tight beige. \u003ca href=\"https://twitter.com/mefeater/status/1125579321068990466\" target=\"_blank\" rel=\"noopener\">Nicki Minaj\u003c/a> looked \u003cem>nice \u003c/em>but safe in pastel pink. And \u003ca href=\"https://www.buzzfeed.com/whitneyjefferson/heres-what-men-wore-to-the-met-gala-this-year\" target=\"_blank\" rel=\"noopener\">some Hollywood men\u003c/a> completely ignored the theme and wore black blazers.\u003c/p>\n\u003cp>Other straight celebs like \u003ca href=\"https://twitter.com/ComplexStyle/status/1125555339716378624\" target=\"_blank\" rel=\"noopener\">Katy Perry \u003c/a>and \u003ca href=\"https://twitter.com/thefader/status/1125559954180648960\" target=\"_blank\" rel=\"noopener\">Ciara\u003c/a> nailed the theme (Perry wore a literal chandelier; Ciara stunned in a three-foot-long afro). But this year’s Met Gala made history with its overt celebration of queer culture, and LGBTQ+ stars’ daring styles showed the world what camp is all about.\u003c/p>\n\u003cfigure id=\"attachment_13856764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856764\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855-800x1200.jpg\" alt=\"NEW YORK, NEW YORK - MAY 06: Cara Delevingne attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NEW YORK, NEW YORK – MAY 06: Cara Delevingne attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856765\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852-800x1200.jpg\" alt=\"Janelle Monae attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-800x533.jpg\" alt=\"Cardi B attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cardi B attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Neilson Barnard/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856769\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-800x631.jpg\" alt=\"Singer/actress Lady Gaga arrives for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. - The Gala raises money for the Metropolitan Museum of Arts Costume Institute.\" width=\"800\" height=\"631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-800x631.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-1200x947.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer/actress Lady Gaga arrives for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. – The Gala raises money for the Metropolitan Museum of Arts Costume Institute. \u003ccite>(Angela Weiss/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856785\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856785\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-800x558.jpg\" alt=\"Lena Waithe and Kerby Jean-Raymond arrive for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. \" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lena Waithe and Kerby Jean-Raymond arrive for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. \u003ccite>(Angela Weiss/AFP/Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856786\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856786\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-800x532.jpg\" alt=\"Hamish Bowles attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hamish Bowles attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Camp, a queer art form, was the theme of this year's annual Met Gala fundraiser.",
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"title": "Forget the Black Tie—LGBTQ+ Celebs Shut Down the 2019 Camp Met Gala | KQED",
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"headline": "Forget the Black Tie—LGBTQ+ Celebs Shut Down the 2019 Camp Met Gala",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The queer and trans community has perfected the art of camp for decades through extravagant drag looks, otherworldly club kid fashions and themed vogue balls. Embracing the glittery, the tacky, the over-the-top, the gender-bending and the taboo, camp is an aesthetic that flies in the face of Western hetero notions of respectability and good taste, and looks good doing it.\u003c/p>\n\u003cp>Susan Sontag defined the flashy, kitschy style as a “love of the unnatural, of artifice and exaggeration.” Her 1964 essay “Notes on ‘Camp'” is the theme of this year’s Met Gala fundraiser for the Metropolitan Museum of Art—and LGBTQ+ celebrities absolutely killed it on the red carpet.\u003c/p>\n\u003cp>In February, \u003cem>Pose\u003c/em> star Billy Porter made homophobes quake in their boots with his androgynous Oscars look—an exaggerated, high-femme A-line gown with a masculine black blazer. Ever the king of extra, he dialed it up 10 notches with his Met Gala ensemble by The Blonds. Dressed like a luminescent rendition of Ra, the Ancient Egyptian sun god, Porter levitated above the red carpet on a throne carried by chiseled manservants. Naturally, he spread his gold bird wings once he returned to the ground.\u003c/p>\n\u003cfigure id=\"attachment_13856763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856763\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-800x550.jpg\" alt=\"Billy Porter attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-1200x824.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Porter attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Camp means as hugely over-the-top and grand and what some may feel is ridiculous and silly, and embracing all of those creative impulses inside us that very often are squelched,” Porter told \u003ca href=\"https://variety.com/2019/scene/news/met-gala-billy-porter-what-camp-means-1203206324/\" target=\"_blank\" rel=\"noopener\">Variety\u003c/a>.\u003c/p>\n\u003cp>Trans actress and activist Laverne Cox sparkled in her all-black Christian Siriano attire—an art deco-inspired gown with wisps of tulle that floated around her body like angel wings in Botticelli’s \u003cem>Birth of Venus\u003c/em>. With her turquoise hair and makeup as the only pops of color, the monochromatic outfit’s dramatic shape and texture did the talking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This sensibility, that is historically very queer, excited me to no end,” she told \u003ca href=\"https://www.eonline.com/news/1038799/laverne-cox-reveals-the-inspiration-behind-her-big-shoulder-moment-at-2019-met-gala\" target=\"_blank\" rel=\"noopener\">E!\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13856767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-800x592.jpg\" alt=\"Laverne Cox attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-1200x888.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laverne Cox attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janelle Monae, whose 2018 album \u003cem>Dirty Computer\u003c/em> was celebrated as a pansexual pop paean, wore a gravity-defying hat-made-of-hats and pop-art, portrait-style Siriano dress (with an eye complete with long lashes covering one of her breasts). Lady Gaga, who is bisexual, turned heads with not one, not two, but four outfit changes, stripping (a la a drag reveal) from an enormous hot-pink ball gown by Brandon Maxwell into fishnets and lingerie. Cardi B, who hasn’t formally declared herself bi but has spoken openly about experiences with women, stunned in a wine-red, feathered Thom Browne gown with an enormous train and female anatomy-inspired details.\u003c/p>\n\u003cp>Queer actor Ezra Miller opted for illusion: he wore a mask of his own face, and the dizzying makeup on his \u003cem>actual\u003c/em> face made it look like seeing double, as though through beer goggles. Model Cara Delevingne, who typically opts for masculine streetwear, wore a rainbow Dior playsuit with a bizarre headpiece made of plastic bananas and fake teeth, rainbow stripper heels and a Willy Wonka-esque cane. (I don’t know what it means, but I’m into it.)\u003c/p>\n\u003cfigure id=\"attachment_13856766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465-800x1200.jpg\" alt=\"Ezra Miller attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ezra Miller attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In comparison to these displays of queer ingenuity, some straight red carpet A-listers looked boring in slightly shinier-than-normal formalwear. \u003ca href=\"https://twitter.com/dashwestcloset/status/1125552633954099200\" target=\"_blank\" rel=\"noopener\">Kim Kardashian\u003c/a> showed up in typical skin-tight beige. \u003ca href=\"https://twitter.com/mefeater/status/1125579321068990466\" target=\"_blank\" rel=\"noopener\">Nicki Minaj\u003c/a> looked \u003cem>nice \u003c/em>but safe in pastel pink. And \u003ca href=\"https://www.buzzfeed.com/whitneyjefferson/heres-what-men-wore-to-the-met-gala-this-year\" target=\"_blank\" rel=\"noopener\">some Hollywood men\u003c/a> completely ignored the theme and wore black blazers.\u003c/p>\n\u003cp>Other straight celebs like \u003ca href=\"https://twitter.com/ComplexStyle/status/1125555339716378624\" target=\"_blank\" rel=\"noopener\">Katy Perry \u003c/a>and \u003ca href=\"https://twitter.com/thefader/status/1125559954180648960\" target=\"_blank\" rel=\"noopener\">Ciara\u003c/a> nailed the theme (Perry wore a literal chandelier; Ciara stunned in a three-foot-long afro). But this year’s Met Gala made history with its overt celebration of queer culture, and LGBTQ+ stars’ daring styles showed the world what camp is all about.\u003c/p>\n\u003cfigure id=\"attachment_13856764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856764\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855-800x1200.jpg\" alt=\"NEW YORK, NEW YORK - MAY 06: Cara Delevingne attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NEW YORK, NEW YORK – MAY 06: Cara Delevingne attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856765\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852-800x1200.jpg\" alt=\"Janelle Monae attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-800x533.jpg\" alt=\"Cardi B attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cardi B attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Neilson Barnard/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856769\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-800x631.jpg\" alt=\"Singer/actress Lady Gaga arrives for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. - The Gala raises money for the Metropolitan Museum of Arts Costume Institute.\" width=\"800\" height=\"631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-800x631.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-1200x947.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer/actress Lady Gaga arrives for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. – The Gala raises money for the Metropolitan Museum of Arts Costume Institute. \u003ccite>(Angela Weiss/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856785\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856785\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-800x558.jpg\" alt=\"Lena Waithe and Kerby Jean-Raymond arrive for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. \" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lena Waithe and Kerby Jean-Raymond arrive for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. \u003ccite>(Angela Weiss/AFP/Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856786\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856786\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-800x532.jpg\" alt=\"Hamish Bowles attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hamish Bowles attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "John Singleton's Groundbreaking Legacy, and How 'Boyz N the Hood' Changed the Game",
"headTitle": "John Singleton’s Groundbreaking Legacy, and How ‘Boyz N the Hood’ Changed the Game | KQED",
"content": "\u003cp>Less than two weeks after John Singleton suffered a massive stroke, the trailblazing filmmaker has died in Los Angeles at the age of 51. The director, who made history with 1991’s \u003cem>Boyz n the Hood\u003c/em> as the youngest person and first African American ever nominated for a best director Oscar, died Monday at Cedars-Sinai Hospital after his family took him off life support.\u003c/p>\n\u003cp>“This was an agonizing decision, one that our family made, over a number of days, with the careful counsel of John’s doctors,” the family said in a statement released to NPR, adding that he “passed away peacefully, surrounded by his family and friends.”\u003c/p>\n\u003cp>“John Singleton is a prolific, ground-breaking director,” they said, “who changed the game and opened doors in Hollywood, a world that was just a few miles away, yet worlds away, from the neighborhood in which he grew up.”\u003c/p>\n\u003cp>[aside postID='arts_13856230' *hero='GettyImages-84985966_1920_JohnS-1020x834.jpg'* target='_blank']\u003c/p>\n\u003cp>Singleton wasted little time leaving his mark on the film industry. At just 23 years old, fresh out of the University of Southern California’s film school, the young filmmaker launched into the project that would become his signature achievement: \u003cem>Boyz n the Hood\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film was an ode to the neighborhood where he grew up, South Central LA, an area notorious for its pervasive poverty and gang violence. The film’s stars grapple with that environment onscreen, trying to make sense of the community tensions that helped catalyze the riots that \u003ca href=\"https://www.npr.org/series/525773617/the-los-angeles-riots-25-years-on\">erupted in LA\u003c/a> the following year.\u003c/p>\n\u003cfigure id=\"attachment_13856251\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ap_9107130115_custom-69a3f7e58140f3986a7a6280919e812c9bb513ee-800x1186.jpg\" alt=\"John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations.\" width=\"800\" height=\"1186\">\u003cfigcaption class=\"wp-caption-text\">John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations. \u003ccite>(Bob Galbraith/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those characters is Doughboy, played by rapper Ice Cube. Doughboy’s half-brother is gunned down — a fate that Singleton himself feared while growing up, as he told NPR around the time the film was released.\u003c/p>\n\u003cp>But Singleton, the son of a pharmaceutical sales rep and a mortgage broker, also explained that he probably shared more in common with Tre Styles — played by a young Cuba Gooding Jr. Like the character, his mother sent him to live with his father to keep him out of trouble.\u003c/p>\n\u003cp>“My father, you know, just did what he could do to set me straight, and you know, because it’s only so far you can go, you know, with your mom. Moms just like will rationalize what she [asks] — but Pops will say, ‘No, you do this because I said do this,’ you know?” he said in 1991. “And a lot of my friends didn’t have that.”\u003c/p>\n\u003cp>What they had instead, Singleton added, was a model rooted in the hopelessness of life in the ‘hood.\u003c/p>\n\u003cp>“It’s like: ‘My brother went to jail. My daddy went to jail. I know I’m going to go to jail.’ You know what I’m saying? That’s the mentality,” he said. “It’s like it’s a given. It’s like there’s no future.”\u003c/p>\n\u003cp>The film earned him Oscar nods for director and screenplay. Singleton was the first African American to be nominated for directing, and at just 24, he was the youngest nominee in that category’s history — a record that stands today.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bws8Rssl9Ex/\u003c/p>\n\u003cp>In 2002, more than a decade after the film’s release, Singleton reflected on the sincerity of his project — and how that differed from some of the imitators born of its success — on NPR’s \u003cem>The Tavis Smiley Show\u003c/em>.\u003c/p>\n\u003cp>“If you see the films I make and if they are in an urban setting, I basically have an agenda to not only entertain, but for you to feel something and to say something. Because this is where I’m from, you know what I mean?” he explained. “I’m making you feel something for this environment. I’m not exploiting it.”\u003c/p>\n\u003cp>His seminal first film was far from his last.\u003c/p>\n\u003cp>Among other films, Singleton went on to direct 1993’s \u003cem>Poetic Justice,\u003c/em> starring \u003ca href=\"https://www.npr.org/artists/15817903/janet-jackson\">Janet Jackson\u003c/a> and a 22-year-old \u003ca href=\"https://www.npr.org/artists/88479205/tupac-shakur\">Tupac Shakur\u003c/a>, and the 2000 blockbuster remake of \u003cem>Shaft\u003c/em>. More recently, he shifted his attention to the small screen, directing episodes of \u003ca href=\"https://www.npr.org/tags/442559771/empire\">Empire \u003c/a>and \u003ca href=\"https://www.npr.org/2016/02/01/465136955/the-people-v-o-j-simpson-bursts-with-sharp-scenes-powerful-performances\">The People v. O.J. Simpson: American Crime Story\u003c/a>. He also co-created \u003ca href=\"https://www.npr.org/2017/07/02/535281096/-snowfall-fx-s-new-drama-about-the-crack-epidemic-in-los-angeles\">Snowfall\u003c/a>, an FX drama about the crack cocaine epidemic that returned Singleton to his roots in South Central LA.\u003c/p>\n\u003cp>Throughout, he continued to challenge the film industry to tell the kinds of stories — and see the kinds of faces — he never had the opportunity to see when he was a film student. And he didn’t forget to enjoy himself while he was at it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been in this business for over 26 years, and I haven’t lost my soul.” Singleton \u003ca href=\"https://interviews.televisionacademy.com/interviews/john-singleton?clip=88433#about\">told the Television Academy Foundation\u003c/a> in 2016. “There are a whole lot of people who are very, very successful that they don’t even know which way is up anymore, right? And I feel really cool that I’ve had my highs and my lows and stuff — and I’m happy, you know what I mean?”\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>\u003c/p>\n\u003cp>The film was an ode to the neighborhood where he grew up, South Central LA, an area notorious for its pervasive poverty and gang violence. The film’s stars grapple with that environment onscreen, trying to make sense of the community tensions that helped catalyze the riots that \u003ca href=\"https://www.npr.org/series/525773617/the-los-angeles-riots-25-years-on\">erupted in LA\u003c/a> the following year.\u003c/p>\n\u003cfigure id=\"attachment_13856251\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ap_9107130115_custom-69a3f7e58140f3986a7a6280919e812c9bb513ee-800x1186.jpg\" alt=\"John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations.\" width=\"800\" height=\"1186\">\u003cfigcaption class=\"wp-caption-text\">John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations. \u003ccite>(Bob Galbraith/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those characters is Doughboy, played by rapper Ice Cube. Doughboy’s half-brother is gunned down — a fate that Singleton himself feared while growing up, as he told NPR around the time the film was released.\u003c/p>\n\u003cp>But Singleton, the son of a pharmaceutical sales rep and a mortgage broker, also explained that he probably shared more in common with Tre Styles — played by a young Cuba Gooding Jr. Like the character, his mother sent him to live with his father to keep him out of trouble.\u003c/p>\n\u003cp>“My father, you know, just did what he could do to set me straight, and you know, because it’s only so far you can go, you know, with your mom. Moms just like will rationalize what she [asks] — but Pops will say, ‘No, you do this because I said do this,’ you know?” he said in 1991. “And a lot of my friends didn’t have that.”\u003c/p>\n\u003cp>What they had instead, Singleton added, was a model rooted in the hopelessness of life in the ‘hood.\u003c/p>\n\u003cp>“It’s like: ‘My brother went to jail. My daddy went to jail. I know I’m going to go to jail.’ You know what I’m saying? That’s the mentality,” he said. “It’s like it’s a given. It’s like there’s no future.”\u003c/p>\n\u003cp>The film earned him Oscar nods for director and screenplay. Singleton was the first African American to be nominated for directing, and at just 24, he was the youngest nominee in that category’s history — a record that stands today.\u003c/p>\u003c/p>\u003c/div>",
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Films that debuted online and only got a limited theatrical release simply would be out of luck.\u003c/p>\n\u003cp>But when the academy’s \u003ca href=\"https://www.oscars.org/about/board-of-governors\">board of governors\u003c/a> released its rules for next year’s prize — a book that runs to 35 pages, all told — the would-be changes were not among them.\u003c/p>\n\u003cp>[documentcloud url=”https://www.documentcloud.org/documents/5977147-92aa-Rules.html” responsive=true]\u003c/p>\n\u003cp>“We support the theatrical experience as integral to the art of motion pictures, and this weighed heavily in our discussions,” John Bailey, president of the academy, said in a statement \u003ca href=\"https://www.oscars.org/news/academy-announces-rules-92nd-oscars\">released Tuesday night\u003c/a>. “Our rules currently require theatrical exhibition, and also allow for a broad selection of films to be submitted for Oscars consideration.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The updates that \u003cem>did \u003c/em>make their way into the rulebook were rather more innocuous.\u003c/p>\n\u003cp>The animated feature category was placed on surer footing. 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But none made nearly the impact as the change that never was.\u003c/p>\n\u003cp>Not long after the idea to restrict eligibility surfaced publicly, the objections arrived in a deluge. Netflix, which has leaped enthusiastically into the arena of prestige films, with efforts such as its 2019 \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">best picture nominee\u003c/a>, \u003cem>Roma\u003c/em>, pointedly \u003ca href=\"https://twitter.com/NetflixFilm/status/1102418557760024578\">subtweeted the proposal\u003c/a>. The company said it supports broadening access to films and “giving filmmakers more ways to share art” — and that “these things are not mutually exclusive.”\u003c/p>\n\u003cfigure id=\"attachment_13855735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg\" alt=\": Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for 'Roma,' poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">: Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for ‘Roma,’ poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal authorities got involved in the dust-up as well. Justice Department official \u003ca href=\"https://www.justice.gov/atr/staff-profile/meet-assistant-attorney-general\">Makan Delrahim\u003c/a> warned the academy that the proposed restrictions \u003ca href=\"https://www.npr.org/2019/04/03/709429778/justice-department-warns-academy-new-oscar-rules-may-raise-antitrust-concerns\">“may raise antitrust concerns”\u003c/a> if they serve to eliminate competition and hurt the sales of certain movies.\u003c/p>\n\u003cp>Given the notable financial boost offered by Oscars recognition — which, in the case of at least one \u003ca href=\"https://deadline.com/2017/03/moonlight-table-19-love-taxes-specialty-box-office-1202037156/\">recent best picture winner\u003c/a>, represented 10% of its total box office gross — the Justice Department may have had a reasonable argument if it decided to bring a lawsuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bailey suggested that the decision Tuesday doesn’t exactly mean the conversation is over, however: “We plan to further study the profound changes occurring in our industry and continue discussions with our members about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The updates that \u003cem>did \u003c/em>make their way into the rulebook were rather more innocuous.\u003c/p>\n\u003cp>The animated feature category was placed on surer footing. It used to be the case that the category’s prize would only be given out if at least eight eligible films were released that year. That caveat now has been stripped from the record.\u003c/p>\n\u003cp>And the foreign language film category has gotten a name change. Just call it the international feature film category now.\u003c/p>\n\u003cp>“We have noted that the reference to ‘Foreign’ is outdated within the global filmmaking community,” said Larry Karaszewski and Diane Weyermann, the co-chairs of the category’s committee. “We believe that International Feature Film better represents this category, and promotes a positive and inclusive view of filmmaking, and the art of film as a universal experience.”\u003c/p>\n\u003cp>There were a few other changes too, of course, which you can check out in the full text of \u003ca href=\"https://assets.documentcloud.org/documents/5976684/92aa-Rules.pdf\">the rulebook\u003c/a> below. But none made nearly the impact as the change that never was.\u003c/p>\n\u003cp>Not long after the idea to restrict eligibility surfaced publicly, the objections arrived in a deluge. Netflix, which has leaped enthusiastically into the arena of prestige films, with efforts such as its 2019 \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">best picture nominee\u003c/a>, \u003cem>Roma\u003c/em>, pointedly \u003ca href=\"https://twitter.com/NetflixFilm/status/1102418557760024578\">subtweeted the proposal\u003c/a>. The company said it supports broadening access to films and “giving filmmakers more ways to share art” — and that “these things are not mutually exclusive.”\u003c/p>\n\u003cfigure id=\"attachment_13855735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg\" alt=\": Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for 'Roma,' poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">: Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for ‘Roma,’ poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal authorities got involved in the dust-up as well. Justice Department official \u003ca href=\"https://www.justice.gov/atr/staff-profile/meet-assistant-attorney-general\">Makan Delrahim\u003c/a> warned the academy that the proposed restrictions \u003ca href=\"https://www.npr.org/2019/04/03/709429778/justice-department-warns-academy-new-oscar-rules-may-raise-antitrust-concerns\">“may raise antitrust concerns”\u003c/a> if they serve to eliminate competition and hurt the sales of certain movies.\u003c/p>\n\u003cp>Given the notable financial boost offered by Oscars recognition — which, in the case of at least one \u003ca href=\"https://deadline.com/2017/03/moonlight-table-19-love-taxes-specialty-box-office-1202037156/\">recent best picture winner\u003c/a>, represented 10% of its total box office gross — the Justice Department may have had a reasonable argument if it decided to bring a lawsuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bailey suggested that the decision Tuesday doesn’t exactly mean the conversation is over, however: “We plan to further study the profound changes occurring in our industry and continue discussions with our members about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé Surprise Drops Live Coachella Album, Netflix Doc Now Streaming",
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"content": "\u003cp>Mere days after Coachella 2019—where the specter of Beyoncé’s grand performance last year loomed large—she premiered \u003cem>Homecoming: A Beyoncé Film\u003c/em> on Netflix today, as expected. [aside postid='forum_2010101870195']\u003c/p>\n\u003cp>But, ever the generous queen, Beyoncé offered up a worthwhile supplement. A live album showcasing over an hour and a half’s worth of the over two-hour performance is out now. Covering 40 tracks—which comprises a vast bricolage of her own discography and others’—it features her cover of Maze’s “Before I Let Go,” her cover of “Lift Every Voice and Sing” and Blue’s own take of the black national anthem.\u003c/p>\n\u003cp>For what it’s worth: \u003cem>Lemonade\u003c/em> still is not on Spotify, so for subscribers, this might be the best way to hear “Formation,” “Hold Up” and “Freedom,” among other interspersed \u003cem>Lemonade\u003c/em> tracks.\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/album/35S1JCj5paIfElT2GODl6x\" width=\"800\" height=\"800\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Copyright to NPR. For more, visit \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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